A persistent cold rain taps the window while the trees shake it off with the blowing breeze. But you sit comfortably warm in your living room. Feet warming by the fire. Belly warming by a glass of your favorite brown liquor. Ears and soul warming by the new Hand Habits’ album, Wildly Idle (Humbly Before the Void).
It fills the empty void of sound in the room pleasantly enough. As your mind grows heavy with thoughts of the day, it almost passes by without notice. Then it grabs you. Maybe it was the angelic harp-like strum from “Actress.” It could have been the softened “I Want You (She’s So Heavy)”-esque building progression of “In Between.” Or perhaps it was the gentle hook and groove in “All the While.” Regardless, it grabbed you, and trained your ears on the subtler moments.
The moments grow and feel more complex with each listen. The droning proggish guitar lead in “Book On How To Change” gets punctuated in the background with slashes of reverb-drenched guitar. “Nite Life,” a pleasant psychedelic groover, has layer upon layer of musical treasures floating just below the surface. The repetitive vocal close of “Demand It” is decorated with a swirling multi-part guitar jam.
Each moment on Wildly Idle (Humbly Before the Void) feels crafted to the nth degree, but remains simple, sparse and intimate. It makes sense then that multi-instrumentalist Meg Duffy is responsible for every bit of instrumentation and production. A native of the Albany area, she has been playing extensively with Mega Bog and Kevin Morby for the past few years. Now striking out on her own, Hand Habits becomes the latest branch on a Woodsist family tree that has been sprouting incredible talent at an impressive pace.
Key tracks: All The While, Book On How To Change, Nite Life
Friday Feb 3, moe. brought some explosive energy to the Higher Ground in Burlington, VT for the first of two sold out shows. As a popular and intimate venue, the crowd packed the venue like sardines in a can and quickly connected with the band making for a heater of a night. It can’t go without mentioning that Burlington has one of the best selection of breweries in the northeast and Higher Ground serves a lot of them on tap.
As attendees gulped down the micro-brews, the band warmed up with a solid “Captain America” featuring a tight solo from Chuck. As they jammed a bit, Vinnie shifted drum rhythms to a slightly quicker speed, allowing a smooth transition into the funky “Akimbo.” While tuning up their instruments, Chuck took to the microphone to comically introduce themselves saying, “Hello Everybody, we are moe. and we are not from Vermont. But, we like Vermont. We are Vermont-curious.” before counting off their own gloomy “Brittle End.”
The Instrumental “CalifornIA” came next with a playful boost of energy as Al took his turn with a ripe solo that unfolded to an unforgettably extended “Bring You Down.” Taking a brief moment, the band then invited Jamie Masefield to the stage to sit-in on mandolin for the remainder of the first set. Vinnie began the traditional “stick-count” and intro for “Happy Hour Hero.” When the bridge arrived, Chuck graciously gave Jamie the reins of the solo giving the song an earthly bluegrass feel. Not too long into the jam, Jamie persuaded Chuck to share finger-picking licks with him while the rest of the band kept a steady pace, gradually picking up momentum. When the groove was satisfied, they collectively segued into a steamy “Silver Sun” to end the set. Before taking a break, Al whimsically gave praise to Masefield with “One of Vermont’s natural resources!”
Returning to the stage, Garvey heckled Rob a little bit to get “ready to rock” by hilariously improvising a brief song with the remaining members. They quickly jumped into a pumped up “Puebla” featuring some technical fretwork by Chuck, who seemed to be the shining bright that evening. Without a huddle, they thumped into “Crab Eyes” with a fantastic solo by Al. Next came a massive “Yodelittle > Down Boy > Yodelittle” sandwich featuring some stellar bass grooves by Derhak. Jim and Vinnie percussively attacked “Y.O.Y.” with a vengeance as they transitioned into a fiery “Water” to end the set. With minutes left of the show, moe. rocked out Pink Floyd’s “In The Flesh” while Loughlin stepped up to the mic and belted out the lyrics. The ensemble then propelled the brimming Higher Ground with the sing-a-long favorite “Plane Crash,” to conclude the show.
Following onto the next night, moe. topped-off the first part of their winter tour with one more sold-out performance at the Calvin Theatre in Northampton, Massachusetts. Oddly, the Marquee sign on the front of the building was only half lit, highlighting the word “Vin,” which must have been some sort of foreshadowing of the performance that was about to unfold. The theatre quickly filled as fans were anticipating a fun-filled, top-notch performance. Shortly after their initial start time, members of the group embraced the stage and warmed up with “Defrost > Waiting for the Punchline.” Next came the new Rob-sung “Prestige Worldwide” which included a knarly performance by Jim. moe. then brought the mood down a couple levels with the fan-favoirte “Four” before segueing into the booty-shaker “Seat of My Pants.” During Al’s quaking solo, the crowd went ballistic as he played his guitar against the top of a fan’s head, using it as a slide. Moe. then churned up a mega “McBain” to round up the first set.
There’s really only one thing to say about the second set, Non-stop Party! Simple as that. moe. played a monstrous triple-decker “The Pit” bundled with a conga-filled jam in”Deep This Time” and a 25 minute “Recreational Chemistry.” But, it didn’t stop there. The segues were endless as every member was firing on all cylinders and Garvey’s fierce guitar work on “Bullet” was dangerously captivating. Jim displayed a colorful vibraphone solo that led into a percussively dominant “Brent Black” and featured an intense drum jam with Vinnie joining Jim on his congas and timbales! At this point, the audience was sucked into the energy of the duo’s performance, cheering and hollering with excitement as some recorded it with their phones for future reminiscing. As Vinnie jumped back on his drum set, Rob emerged from stage-side and entertained the audience with a beefy bass solo.
Before the band continued with the encore, Al traditionally took a few minutes to interact with the fans with some announcements. Giving fans a heartfelt “Letter Home” and “New York City” was a great way to bring the tour to a close before they pick back up in a few weeks. Before everyone began filtering out, Rob took to the mic one last time to request a quick photo. In doing so, he convinced half of the venue to give their photographer, Paul Citone, the middle finger from behind the band. Once again, proving this band to be one of the best in the business!
Higher Ground – 2.3.17
Set I: Captain America > Akimbo, Brittle End, CalifornIA > Bring You Down, Happy Hour Hero* > Silver Sun*
Set II: Puebla, Crab Eyes, Yodelittle > Down Boy > Yodelittle, Y.O.Y. > Water
Encore: In The Flesh, Plane Crash
*w/ Jamie Masefield
Calvin Theatre – 2.4.17
Set I: Defrost > Waiting for the Punchline, Prestige Worldwide, Four > Seat of My Pants > McBain
Set II: Tubing the River Styx > The Pit > Deep This Time > The Pit > Rec. Chem. > The Pit > Bullet > Brent Black
A mainstay of the Celtic touring bands, Gaelic Storm returned to the Hudson Valley in January with a delightfully entertaining night of music to wrap up one segment of touring before heading back out on the road for a number of shows in Florida.
Hitting the stage with a swift start, Gaelic Storm quickly warmed the room up with “Pina Colada in a Pint Glass.” The mood for the night was set early with some quick jokes from the stage about football including an affectionate jab at the Jets. Before the set was through, the band had a little dance contest fun for both the ale-tipped adults and the few kids in the crowd, to the tune of “Darcy’s Donkey.”
With over 3,000 shows under their belt in their 21 years, it’s no surprise that the band was so natural and comfortable with being on stage. With plenty of humor and wit, singer Patrick Murphy was cracking jokes and sharing plenty of stories between songs which, most of the time, were as entertaining as the music itself.
After a break, Gaelic Storm came back for a looser, rowdier second set with a set of jigs and their version of the classic “Whiskey in the Jar,” getting a few more dancers in the isles. The second set also brought the entertaining far-fetched, but possibly true, story behind “The Night I Punched Russell Crowe” and audience favorite “Scallywag” to close the set.
The band returned for a two song encore starting with a cover of “Stand By Me” and their own “One More Day Above the Roses.” Before the last song, Murphy took a moment to praise the Paramount – “small towns have the nicest theaters” – a remark made with regard to the many venues the band has played.
Set 1: Pina Colada In A Pint Glass, Jigs, Never Drink ‘Em Dry, Cape Cod Girls, Rustling Goat Gang, Girls’ Night In Galway, Girls of Dublin Town, Darcy’s Donkey, Black And Tan
Set 2: Jigs, Whiskey in the Jar, The Night I Punched Russel Crowe, Rubber Arm, Drink the Night Away, Green Eyes/Red Hair, Scalliwag
On February 4 at the Hollow Bar and Kitchen in Albany, two area bands brought the popular venue to its knees with twists, turns, jams and family.
Opening for Formula 5 was Ampevene, which brought a progressive feel to open the show. Led by guitarist and songwriter Gabe Stallman, Ampevene led the growing crowd through an hour of fun. There was a good deal of energy and musicianship from the hard working band.
After a short break, Formula 5, who are putting the finishing touches on their upcoming album All Points North, took the stage with a handful of the band’s family members in the crowd.
“Pedro” opened the show and set the tone for a highly improvisational, four-song opening stanza that saw guitarist Joe Davis unleash his now signature fury upon his red Gibson SG. After 15 or so minutes, the band landed on a Dire Straits cover, “Money For Nothing.”
The pairing of “Excalibur” and “Come Along” closed the set, with both tunes lasting well over 10 minutes. Formula 5 had opened their hometown show with the poise and confidence of a seasoned rock band. It’s clear that the start of their current and lengthy tour, coupled with all the time spent in the studio, is doing wonders for the band.
Wasting no time to start the second set, the foursome leaped right into a song off the new album, “Trout Waters Pt. I.” Davis and keyboardist Matt Richards quickly locked into a groove that bled into an “Out of Water Jam,” which saw the band extend the song to nearly 20 minutes. At one point, drummer was playing a sort of off beat techno beat that allowed the rest of the band to throw down a dance party.
Following the conclusion of Trout Water Pt 2 was another new tune, “Q&A,” continuing the theme of jamming out every song in the second set. A take on the Talking Heads’ “Burning Down The House” gave way to another song off the new album, ” Sad Bed.”
Up next was a surprise cover of Jeff Beck’s “Thelonious,” a song that showed off the chips of bassist James Woods. “Earthbound Tim” and “Catch Me” put the finishing touches on a set that never let up. There wasn’t a lull in the energy at any point, showing how far Formula 5 has come in the last few years.
On February 18 in Hudson Falls, Formula 5 will play a show that happens to fall on Davis’ birthday. The band has started a march of sorts to sell out the show, which would be a first for the band.
But first, Formula 5 will settle into a show at the Brooklyn Bowl on Tuesday, February 7, with fellow Albany bands Mister F and Goose.
Set 1: Pedro* -> Money For Nothing&, Excalibur, Come Along
Set 2: Trout Waters, Pt. I -> Out Of Water Jam -> Trout Waters, Pt. II Q&A > Burning Down The House^ -> Sad Bed* -> Thelonious! Earthbound Tim* -> Catch Me
Encore: It Goes…
* Unfinished
& Dire Straits cover
^ Talking Heads cover
! Jeff Beck
Ampevene setlist: Florida, Pre Kong Jam, Kong, Rometheu, Rometheu Outro Jam, Tracalysis, Valencia, Pre Tumultuous Jam (first time played), Tumultuous
The impetus was a one-off tribute to The Last Waltz during last spring’s New Orleans Jazz and Heritage Festival, and Warren Haynes and Don Was put together an all-star cast of musicians to celebrate the 40th anniversary of the Band’s all-star farewell concert at San Francisco’s Winterland Ballroom on Thanksgiving Night, 1976.
That performance spiraled into yet another tribute during Haynes’ annual Christmas Jam featuring many of the same musicians. All involved agreed that it was too good and too fun not to continue. The Last Waltz 40 Tour was born.
Upon entering the picturesque Palace Theatre, attendees were treated to a full scale reproduction of the original Waltz stage, chandeliers and all. With the stage aglow in indigo, the mood was set before the musicians even set foot on stage.
While billed as a tribute to the now 40-year-old classic concert, this show felt fresh, more of a celebration of this great slice of Americana. Those in the know understand that what was originally released in the film and the three-LP album in 1978 was far short of the actual four hour-plus long show back in 1976. Thursday’s show was closer in length to that evening, clocking in at three hours and 20 minutes.
The “Band” for this tour was fronted by Warren Haynes, founder of Govt Mule and former Allman Brothers Band guitarist. There isn’t much Haynes hasn’t had a hand in. Among his unlikely group of merrymakers was former Doobie, Michael McDonald, outlaw country artist Jamey Johnson, avant-jazz keyboardist and virtual mad scientist of the keys, John Medeski, of Medeski, Martin and Wood, Dirty Dozen Brass Band drummer Terence Higgins and uber-producer and bassist Don Was. The four-piece horn section, anchored by Bonerama trombonist Mark Mullins, performed the late Allen Toussaint‘s arrangements throughout the night, adding just perfect punch of authenticity to the classic songs of the Band.
The night began with the PA pumping in the introductory theme from the movie, bringing the capacity crowd to its feet. Johnson took the lead vocals on “Up on Cripple Creek,” giving proper reverence to Levon Helm while maintaining his Nashville twang. Each time Johnson took the lead throughout the night was a pleasure, particularly during his performance of “Georgia on My Mind.” Johnson channeled the legendary Ray Charles with a touch of Willie Nelson in a soulful country-fied take of this classic that had the audience cheering throughout. McDonald’s piano solo and Haynes’ guitar solo complemented Johnson’s vocals perfectly.
The music of the Band is the music of America (despite four of the original five members being Canadian). In their productive years, this group defied classification as they waded through the waters of blues, country, New Orleans-style funk and classic rock. At their peak, they were lauded by such legends as Eric Clapton and George Harrison, the former even expressed an interest in becoming a member at one point. There is a direct line that can be drawn from the Band through the Eagles, Tom Petty, Big Star, R.E.M., Wilco, My Morning Jacket to Blitzen Trapper. They compiled the best of American music into one package and launched the careers of a hundred bands. That is what this tour was all about. The fact that Haynes and Was could gather musicians of different genres and generations to pay tribute to this band attests to that truth.
Late in the first set, New Orleans royalty, Ivan and Cyril Neville, joined the festivities for a funky version of Bobby Charles’ classic “Down South in New Orleans,” a song performed with Dr. John in the original show. Medeski displayed his virtuosity on the keys here as Cyril and Ivan provided the vocals. This was followed by the biggest curve ball of the night, a slinky, slowed-down, funky version of the classic blues song “Who Do You Love.” Cyril drove home the beat on the congas accompanied by Higgins in the pocket, while Ivan joined Medeski on the keys. The contrast from the original, performed by Ronnie Hawkins, couldn’t be more pronounced, yet it fit the setlist perfectly. Haynes worked the pedals, Medeski and Ivan worked the keys and everyone with a microphone in front of them harmonized the chorus to a T. Mullins tossed in a muted trombone solo to cap off a true highlight of the night.
The first set concluded with Johnson leading a sing-along to the Band classic “The Night They Drove Old Dixie Down.” Johnson’s contributions to this show cannot be overstated. The man has the vocal chops to handle anything in the Band’s repertoire.
Following a quick 20 minute intermission, the band jumped feet first into the second set with a stellar horn intro to the classic “Ophelia.” Johnson again took the lead singing as Don Was kept the back end with a huge smile on his face. Haynes contributed one of his trademark solos and the stage was set for a second set that somehow ended up overshadowing the first.
At the original, a maroon jump-suited Van Morrison appeared to perform his classic “Caravan” with the Band backing. On this night, Haynes played the role of Van the Man. Morrison’s voice is difficult to replicate. Haynes made it sound effortless on his turn at the mic. His soulfulness combined with the horn section made it seem as if one was back at the Winterland in 1976.
Michael McDonald took center stage for Neil Young’s “Helpless,” tossing in a bit of his blue-eyed soul that gave his own imprint on the song. McDonald is still at the top of his vocal game and his unique cover of Young’s classic was a welcome addition to the setlist. McDonald was the wild card of this lineup. While he’s contributed keys and vocals to many classics throughout his career, covering someone like Neil Young isn’t something one would expect from him. He made it his own while still keeping true to Young’s original.
As if the night couldn’t get more exciting, John Medeski took over McDonald’s keyboard while the Doobie sat aside him playing banjo for the Johnson-led “Rag Mama Rag.” Medeski put on one of the performances of the night with his assault on the keys, putting the audience’s feet in motion and the keyboard on notice. His performance on this song alone cemented his status as one of the best keyboardists in the game today. One could not help but focus on him as he played.
Following this run-through, the Palace crowd was treated to an appearance from the first of two original The Last Waltz performers in “Steady Rollin’” Bob Margolin. Accompanied on harp by Chris O’Leary from Levon’s Barn Burners, Margolin introduced himself as someone who performed with blues legend Muddy Waters at the original. He told a story of an after-show jam session at the hotel with Ronnie Wood, Levon Helm, Eric Clapton and Bob Dylan, where they performed a series of Robert Johnson songs. O’Leary then broke into his harp intro to Robert Johnson’s “Kindhearted Woman Blues” as Margolin laid some old school blues on the Palace crowd. He then broke into a stomping version of “Further on Up the Road,” performed by Clapton in the original, with Haynes on vocals. The 68 year old Margolin displayed more energy than just about anyone on stage during this performance, frog-hopping towards the front row while wailing away. Those who didn’t know him prior, took note this night.
Following Margolin’s electric performance was the part of the night everyone was anticipating. Original member of the Band, Garth Hudson gingerly approached the stage to a standing ovation, decked in a wide-brimmed black hat to hit the keys for “The Weight.” Johnson kicked off the vocals, followed by Haynes and then McDonald, providing that Doobie bounce to one of the Band’s signature songs. O’Leary and Margolin remained onstage for this one. O’Leary provided the “Wait a minute, Chester” portion with a bouncing spirit that had the crowd bouncing along as well.
A soulful rendition of “I Shall Be Released” was delivered with aplomb by Johnson accompanied by a classic Hudson keys solo. Unfortunately, he wasn’t very visible behind the keyboards, aside from his wide-brimmed hat, however the sounds coming from the keys were unmistakably Hudson.
The entire band left the stage following “Released,” leaving Hudson alone at the keys with the spotlight on as he performed his signature improv “The Genetic Method,” a nearly five minute piece inspired by Bach’s “Toccata and Fugue in D Minor” that accompanies “Chest Fever.” This one featured vocals by all the leads including an especially soulful take from McDonald. Each musician on stage was admiring Hudson’s work throughout smiling at the legend as they performed. Haynes’ solo was particularly inspired in this one.
“Don’t Do It” closed the night on a high note with inspired vocals from O’Leary and McDonald with a pop from the horns that left the audience dancing in the aisles with smiles on their faces.
The Last Waltz and the Band are American (and Canadian) treasures. Forty years on and the music that was created is still celebrated and inspirational. The audience in attendance was a mix of those who saw the Band in their heyday as well as those who have been influenced by the artists influenced by them. The music is still as relevant today as it was when it was originally performed and yet sheds a light on the history of American music. This tour was a celebration of that legacy but also a continuation of it. As the years go by musicians will still perform these songs and the legacy will still be celebrated. Here’s to more of that. Thank you to Don Was and Warren Haynes for providing us with this celebration, which will no doubt continue at least until the 40th anniversary of the movie’s release in 2018.
MoogFest announced a Protest Stage at the May 2017 festival, in Response to HB2/Travel Ban. A statement from the festival invites fans to “Attend the Protest Stage, a dedicated space for resistance. As one of our key themes this year, Protest will also be brought to life through workshops, installations, conversations, and masterclasses. We will stand in full accord with artists from various communities to collectively celebrate inclusivity and elevate the fight against discrimination here in North Carolina and across the world.
Read WBUR’s interview with singer/activist India.Arie and her songs for Black Lives Matter and Martin Luther King, Jr’s birthday.
Father John Misty’s “Two Wildly Different Perspectives” is a poignant take on US immigration policy, saying of the incredibly touching video, “More kids are going to die now thanks to the unbelievably selfish immigration policy of places like Saudi Arabia and the USA.”
Of Tomorrow, a funk/hop-hop group out of Washington D.C. released a video for “Order of the Red Banner,” with the lyrics “Remember the November of treason and plot – when we stayed home, woke up and groaned, and this is what we got.
And Eminem appeared on the Big Sean song “No Favors,” calling the president a bitch and vowing to “make his whole brand go under.”
“Going downtown to meet my old girl Mary, her legs are long and her lip is hairy.” This is one of the lyrics from the opening song “Going Downtown” on Popa Chubby and his newest album to date, The Catfish. Popa Chubby, hailing from the Bronx, is a blues rock veteran with a remarkable discography to his name that is also a hilarious play on words. My initial impression of Popa Chubby through his music is cemented by the literature found in the inserts of his CD; a humble and experienced artist who pours his soul into creations.
Music isn’t music if it does not evoke and inspire some sort of feeling in your heart. As I listen through “The Catfish”, I feel as though this is the soundtrack to driving through the countryside or mountains upstate in a drop-top Chevelle or low-riding Harley-Davidson. Popa Chubby brings clean and driving blues guitar (with great choice of tones, by the way) coupled with rock n’ roll vocals that have a hint of that iconic guttural 90s alt rock feel. Throughout the album, there is a fairly balanced trade-off between vocals and lead guitar, as though the guitar tells a story that words simply cannot. As for the story being told, it is the simple yet widely relatable message of embracing life through love, lust, pain and freedom.
It’s my personal thought that music, like food, can be made even better when paired with the right choice of drink. I would pair something grungy like Nirvana with a tall pint of stout, or something smooth and jazzy like Amy Winehouse with a glass of cherry wine. I feel like hearing the songs on this album live at a bar or club would be best enjoyed with a glass of bourbon poured neat. And live, I can’t even imagine how enjoyable the songs off of The Catfish would be. Popa Chubby shows his versatility and songwriting skill by fusing multiple styles of music on a number of tracks. For example, the song “Bye Bye Love” features a reggae inspired rhythm section with Jimi Hendrix-esque lead guitar. “Wes Is More” is jazz to the max, and features solos from all instruments on the track. One of my personal favorites, “Slow Down Sugar” features a drum beat and trumpet that any hip hop producer would sample quick, fast, and in a hurry, and there’s even Red Hot Chili Pepper-style rapping on the song too.
Overall, “The Catfish” from Popa Chubby is an enjoyable experience that you can lose yourself if you are looking to drive around without purpose or get your mind off of stressful thought. The solos are memorable while not overbearing, and the instrumentation is top notch. Kudos to Popa Chubby for being the multi-instrumentalist that he is, as well as the musicians he credited for the studio recordings. The lyrics capture the humble, experienced yet larger than life personality I imagine Popa Chubby to have and his voice captures the soul he’s got. The album takes you through ups and downs, like any good record should.
Popa Chubby is currently touring the U.K. and Europe, and if you are on the other side of the pond you’ll be able to catch through Mid-February. He returns for several state-side shows starting in Schenectady, February 17 2017 at the Van Dyke Lounge. If you’re in town, get a taste of his blues rocker stylings with that glass of bourbon I was talking about. Order the album here.
Key Tracks: Going Downtown, Bye Bye Love, Wes is More
Gary Allan isn’t your typical mainstream country musician. Allan’s roots are firmly planted in a classic country soil, and the southern California and Bakersfield influence is apparent in his music and compositions.
Performing to a sold out crowd at The Turning Stone Casino, Allan’s abilities to seamlessly switch gears on stage from an upbeat tempo to ballad is effortless. Backed by one of the most talented bands I’ve seen recently, the setlist showcased their skills perfectly. Between Allan’s ruggedly sexy voice and the band’s ability to lull you in with each tune, you fall in love with this show a little more as each song is performed.
Playing popular hits such as “Song About Rain,” “Airplanes,” “Do You Wish It Was Me,” and “Best I Ever Had,” although comfortable and welcoming, it wasn’t the popular songs that struck a chord in me. It was the classic sound, the Bakersfield rockabilly, and rock-based tunes that made me sit up and take notice of this ensemble. Songs like “Guys Like Me” with a heavy slide guitar, and “Man of Me” that featured piano, fiddle, slide guitar, and heavy percussion and guitar blew me away. While “Half of My Mistake” and “Smoke Rings In the Dark” showcased a definite southern California sound with a little Tex-Mex/Bakersfield sound mixed within.
In a generation of new country sounds, it was refreshing to hear a classic country sound like “Nothing On But the Radio” and “It Would Be You.” His new music on Set You Free truly stands out to me. The honesty of the lyrics, the deliverance of the emotions with songs like “It Ain’t The Whiskey,” and the super sultry sexy “Sand in My Soul” truly draws you in and makes you fall in love with this album.
Further reflecting his classic country sound were covers such as “Her Man,” by Waylon Jennings, and “Fast As You,” a Dwight Yoakum favorite, highlighted the smoldering country and Bakersfield sounds that are slowly making their way back in to mainstream country today.
Allan is true class and classic at the same time. With songs like “Learning How to Bend,” he demonstrates his talent in songwriting and performance. He has a way of drawing you in to his songs where they become your life. That’s a gift. Perhaps it’s because of the honesty in his music. He doesn’t march to the beat of popular tides, he’s true to his roots and to his sound. You feel his music because he feels his music.
The stand out performance of the evening was “Get Off on the Pain.” The honesty in which Allan delivers this song cranks it up to over drive and he leaves it all on stage with that number.
Closing out the show with “Drinking Dark Whiskey,” this Chris Stapleton, Mike Henderson number, once again highlighted Allan’s classic country sound and the tide that country music is to turning to today. With a new album on the horizon, it is my prediction we have yet to see the best of Gary Allan. This ever evolving musician has just begun to make his mark on the country music stage.
Setlist: Tough All Over, Radio, Man to Man, Guys Like Me, Do you Wish It Was Me, Smoke Rings, Sand in my Soul, It Ain’t the Whiskey, Half of My Mistakes, Her Man (Waylon Jennings cover)It Would Be you, Get Off on the Pain, Song About Rain, Airplanes, Learning How to Bend, Life Ain’t Always Beatuitful, Best I Ever Had, Man of Me, Right Where I Need to Be.
Encore: Every Storm, Fast As You (Dwight Yokam cover), Drinking Dark Whiskey (Chris Stapleton/Mike Henderson cover)
Nestled in the hills of eastern Pennsylvania sits a popular music venue that welcomes all genres of artists and is accompanied with a beautiful view of the surrounding mountains. Penn’s Peak has hosted a vast array of talent from country stars to rock legends of sorts. On Thursday, Feb 2 they welcomed the beloved moe. for the first time in their career.
There was an abundance of energy as the venue staff and fans were excited to see them at the peak. Seemingly in the middle of nowhere, the inside of the building appeared as if you were walking around the inside of Noah’s ARC, constructed with large wooden beams and beautifully polished wooden floors. These features were significantly enhanced with beautiful lighting by Pulse Lighting’s own lighting designer, Justin Casey.
moe. took to the stage with some pep in their step and busted out of the gate with an energetic “Spine Of A Dog” that seamlessly segued into “Spaz Medicine.” After Al finished a ripping solo, the mood was reduced enough to flow into Tori Amos’ “Cornflake Girl.” The remainder of the first set was a monstrous segue that started with “Timmy Tucker” and featured the fairly new instrumental, “Montego.” Highlights of the second set include a long awaited “Stranger Than Fiction” followed by a juicy “Rebubula” sandwich that included “Jazz Wank” and “Buster.” As the guys took a short encore break, they re-emerged after the Al.nouncements and capped off the night with “Downward Facing Dog” and David Bowie’s “Fame.”
Set 1: Spine of a Dog > Spaz Medicine > Cornflake girl, Timmy Tucker > Hector’s Pillow > Montego > Mar Dema > Okay Alright
Set 2: Do or Die, ZOZ > Moth, Stranger than Fiction, Rebubula > Jazz Wank > Buster > Rebubula
The interview was wrapping up just a few minutes before her show was to start. Was there anything you’d like to add that my questions didn’t touch upon?, I asked. “We didn’t even talk about my sobriety,” said Erin Harkes.
The local musician and, as of four years ago, comedian is never shy about the subject of alcoholism. Her sobriety has been covered in newspaper features. It’s a part of her comedy skit.
I didn’t want to ask, because I didn’t want readers to think it defined you.
“It’s very much a part of me,” said Harkes. “I would not be who I am without my sobriety.”
According to the National Council of Alcoholism and Drug Dependence, Inc., roughly one in twelve people in the United States suffer from alcohol or substance abuse. Harkes has been sober for six years. Those participating in Alcoholics Anonymous carry a token depicting the length of their respective sobriety. A reminder. A last extension of a helping hand before one walks into a bar.
Harkes spends her life in bars. According to last year’s schedule, she worked 274 shows; on a 365-day calendar, that’s three-quarters of her days. The musical comedienne quit her day job about four years ago. “It’s a hard thing to do when you’re surrounded by …,” she said, gesturing behind her: a bar that stretched the length of the room, lights bouncing off bottles of liquor and the shiny metal of beer taps. In a career that often obligates her to perform in front of her former vice, she expressed pride in her ability to maintain the course.
But, Harkes said she understands not to be overconfident. She’s her own manager, and her own accountant. “No one does me better than me,” said said. She’s her own boss in a line of work that requires a thick skin impervious to crowds unreceptive to her jokes, indifferent to her songs, or the occasional heckler. It’s also needed when she listens to her body, feels a familiar urge, and packs up her equipment. She said it doesn’t happen often, but it boils down to a short conversation between herself and the venue owner: the owner either understands or she doesn’t play there again. Her attitude is not out of contempt. In the end, she said, she has to take care of herself.
Despite her propensity for travel — again, 274 shows last year — Harkes has attempted to be more selective with her shows. When she first quit her job, she said she would take every opportunity presented her way. Last year, she attempted to taper off the number of shows by selecting quality over quantity. It was a means to prevent herself from burnout. There’s also the balance between her music career, and her comedy one.
“If I wasn’t doing music full time, I’d probably be doing a lot more comedy,” said Harkes. Her reputation is strongest with music, so it pays more. “It’s like you couldn’t take an unpaid work day to go do whatever your hobby is. So, it’s really hard for me to take comedy shows. They have to be really worth it. … I have to sit down and seriously look at it. Is it really worth it? Is it a good investment? Sometimes the return, you don’t make any money at all doing comedy. So, I just work really hard on the other end to supplement it.”
So, you’re a double threat like a Bo Jackson?
“[Laughs.] Do you really have to make a sports reference to a musician?” she asks.
Adam Sandler?
“I prefer Bo Jackson.”
Truth be told, she holds on to early comparisons to former Fleetwood Mac lead singer, Stevie Nicks. Harkes’ soulful lyrics, her music delivery and, perhaps, her light-hued locks, has had people comparing her another double-threat. (Nicks has long been known as a dancer during live performances, and is recognized for her contributions to fashion, as well.)
“The first music I remember listening to was Fleetwood Mac,” said Harkes. “I loved the harmonies. I loved everything about it. … I was born in 1977. Clearly these albums were before my time. I’d just like to state that [for the record],” she said, as she laughs some more.
Jackson — again with the sports reference — was a rare gem of an athlete who excelled at two professional sports. He would often be asked as to which he prefered, and obscurely referred to one as a hobby over the other. Harkes said she loves both music and comedy — and doesn’t want to choose.
“I love music,” she said. “It provides for me. I feel very blessed. I mean, I work really hard and it just blows my mind that I’m able to do it [for a living]. The comedy is way harder. I don’t know if it’s because it’s still new to me still. The excitement is so fresh. I get nervous, and I enjoy that.”
“They each have their pros and cons,” Harkes said. “I wouldn’t say I love them equally. I love them much differently.” With music, she said, she sits down and dives into the music. No interaction with the crowd is needed. However, she describes comedy as sometimes “terrifying,” because she’s not able to hide behind anything. The interaction between performer and audience is vital to the quality of a show. “It’s like every few seconds, someone’s standing on your chest.”
“With the comedy, you need the audience and you need the attention,” said Harkes. “It seems like I’m putting myself in a precarious situation, because I’m already an attention-starved individual.”
It’s January, and Harkes has her schedule planned out for the entire year. She’s the regular host of the all-female comedy show “Chicks Are Funny” at the Funny Bone in Crossgates, in addition to the hundreds of shows to which she travels. There is no time to reflect on her progression, but she said she sets goals with each coming year; one of which was performing last year at Carolines on Broadway in New York City.
“I don’t ever like to tell people my goals,” said Harkes, “and I’m the only one who knows if I fail them.” But, just as she did when she quit her day job, she’s taking the opportunities that come to her. Only this time, the opportunities are getting much better. Before she was able to establish goals for 2017, she was already accepted to perform at the Boston Comedy Festival. And on television, she was asked to appear for the third season of Hulu’s “Laughs TV.”
“The things I didn’t expect, the things I didn’t anticipate I would get, I got them,” said Harkes. “I don’t know. Sometimes it’s throwing so many things up onto the wall and seeing what sticks.”
A persistent cold rain taps the window while the trees shake it off with the blowing breeze. But you sit comfortably warm in your living room. Feet warming by the fire. Belly warming by a glass of your favorite brown liquor. Ears and soul warming by the new Hand Habits’ album, Wildly Idle (Humbly Before the Void).
The Instrumental “CalifornIA” came next with a playful boost of energy as Al took his turn with a ripe solo that unfolded to an unforgettably extended “Bring You Down.” Taking a brief moment, the band then invited 
Following onto the next night, moe. topped-off the first part of their winter tour with one more sold-out performance at the 
Music isn’t music if it does not evoke and inspire some sort of feeling in your heart. As I listen through “The Catfish”, I feel as though this is the soundtrack to driving through the countryside or mountains upstate in a drop-top Chevelle or low-riding Harley-Davidson. Popa Chubby brings clean and driving blues guitar (with great choice of tones, by the way) coupled with rock n’ roll vocals that have a hint of that iconic guttural 90s alt rock feel. Throughout the album, there is a fairly balanced trade-off between vocals and lead guitar, as though the guitar tells a story that words simply cannot. As for the story being told, it is the simple yet widely relatable message of embracing life through love, lust, pain and freedom.
But, Harkes said she understands not to be overconfident. She’s her own manager, and her own accountant. “No one does me better than me,” said said. She’s her own boss in a line of work that requires a thick skin impervious to crowds unreceptive to her jokes, indifferent to her songs, or the occasional heckler. It’s also needed when she listens to her body, feels a familiar urge, and packs up her equipment. She said it doesn’t happen often, but it boils down to a short conversation between herself and the venue owner: the owner either understands or she doesn’t play there again. Her attitude is not out of contempt. In the end, she said, she has to take care of herself.