NYS Music 20​17

Category: Reviews

  • The Rest in Space Tour Sells Out Clifton Park

    The Clifton Park performance on Sunday, March 5 for the Rest in Space Tour may have left fans covered in pizza and Doritos, but smiles were stretched across their faces. Pierce The Veil acted as kings for a day performing at the sold out venue alongside Falling In Reverse and Crown The Empire as they all brought the Rest in Space Tour to Upstate Concert Hall in Clifton Park.

    The show opened with metal group Crown The Empire who kicked off their set with the hit “Zero” off of their most recent album, Retrograde. Crown The Empire kept the energy up from the very start of their set, encouraging fans to crowd surf to the front of the venue. Front man Andy Velasquez tried to encourage the action by discussing their tradition of having crowd surfers at the venue.

    During their hit “The Fallout,” a fan crowd surfed to the front of the venue with two beers in hand for the band. “Is this what I think this is? This is the best day of my life,” said Velasquez as he took the beers from the fan. This was the first time that Crown The Empire played a sold out show the Clifton Park venue. Due to this, there seemed to be additional energy and joy given off by the band. The set contained an entertaining performance by Velasquez by using all areas of the stage to get fans’ attention, as well as from bassist Hayden Tree and guitarist Brandon Hoover.

    Following Crown The Empire was the rock band Falling In Reverse who initiated a food fight during their set. Fans found themselves being victims of the “Bad Girls Club” after foods like Doritos and an entire pizza were rained upon them. Besides food being thrown around during “Bad Girls Club,” the song of the night seemed to be the way the crowd reacted to “Fashionably Late.”

    When the band started “Alone,” a fight broke out in the middle of the song, and as security escorted people out of the venue, Falling In Reverse decided to start the song over again. This was Falling In Reverse’s first performance at the Clifton Park venue since their headlining show in 2012 which resulted in front man Ronnie Radke leaving mid-set due to his disapproval of actions by the audience.

    After personally kicking out fans who came to the show to protest Falling In Reverse, this was the first time in four years that the band decided to play their set at the venue. Although this led to the show starting on an odd note, by the end of the set, Radke seemed grateful for the way the crowd responded to their set. The band all bowed together, as Ronnie thanked the crowd for the performance

    When Pierce The Veil took the stage, the sold out venue became the loudest it was the entire evening. All four members took the stage exhibited intense energy which included guitarist Jaime Preciado jumping to all parts of the stage. “Do you guys like to make noise out there, Clifton Park?” said frontman Vic Fuentes as the crowd screamed back at him.

    Their set opened with fan favorite “Dive In,” off of their new album, Misadventures. A more emotional song of the night, Fuentes spoke a little before performing their first single off of their new album, “The Divine Zero.” “I was a super timid kid and I didn’t have that voice yet, I didn’t have my confidence yet,” said Fuentes. For Fuentes, music became his, “one thing” to build up his confidence. With this, he dedicated the song to everyone in the audience.

    A treat for older fans of Pierce The Veil, for their Rest in Space Tour show, the band decided to do an acoustic performance of “Stay Away From My Friends,” a song off of their second full-length album Selfish Machines, and a song not commonly done by the band live.

    Besides the songs they performed, Pierce The Veil gave an incredible performance. There were minimal errors to be heard in their live performing in comparison to their studio recording. Vocals by Fuentes were crisp, and he was able to do harsh vocals that complemented that of their recordings. The guitar by Preciado was exceptional compared to that of their recorded work. During fan favorite “Bulletproof Love,” Pierce The Veil brought one lucky fan on stage with them throughout the beginning of the song for Fuentes to serenade.  “Are you ready to cut f-cking loose on this last song?” said Fuentes as they led into their encore.

    When it came to the end of their performance, Pierce The Veil closed their set with their intense, powerhouse song, “King For A Day.” The venue felt electric with the energy from the vocal performance by Fuentes, guitar by Preciado, the bass chords by bassist Tony Perry and drumming by drummer Mike Fuentes. The Rest in Space tour concludes on March 10 in Pheonix, A.Z.

  • Trey Anastasio Brings Acoustic Phish to Troy

    The Capital Region of New York has long been stomping grounds for Phish fans. The Times Union Center, formerly known as the Pepsi and Knickerbocker Arenas, has hosted the Vermont boys several times over the last 20 years. SPAC has become a summer tradition for three-night runs and Mike Gordon has played The Egg in Albany multiple times, most recently in November. Troy, NY is now on the map for phans as our fearless leader Trey Anastasio made his second stop of his three-city solo acoustic concert series there on Friday, March 10.

    trey troy
    photo by Dave DeCrescente

    Having played at The Troy Savings Bank Music Hall with the Vermont Youth Orchestra in 2001, Trey told the sold-out crowd of 1,200 that he had been “dying to come back ever since.” The intimate venue, built in 1870 is a stark difference to the mega arenas and amphitheaters in which we congregate for Phish. It proved to be the perfect intimate setting for an evening with Trey, who played 22 songs straight through with a two-song encore. The vast majority of the songs were from the Phish catalog, punctuated with side-splitting comedic tales and tidbits from the Grammy-nominated guitarist’s career. A world class musician and captivating story teller, he is now the Garrison Keillor of the jam scene.

    Kicking things off quickly with “Strange Design,” “Blaze On,” “Mountains in the Mist” and “The Wedge,” he paused briefly to discuss the venue, acknowledging the acoustics of the “legendary room.” Every single movement he made across his guitar sounded as if it were in high resolution – crisp and clear. Next up was “Shade,” and then with some apprehension, a wealth of nervousness and true humility, he told a tale of a birthday letter sent to him from friend and lyricist Tom Marshall during his time spent in Washington County, NY. Despite a tough situation, this letter gave way to the creation of “Backwards Down the Number Line” in which he played after acknowledging one fan’s birthday in the crowd.

    From there he went into “Twenty Years Later” and “Tide Turns” and put the crowd in stitches with a story about a Vermont snowshoeing excursion with Les Claypool and Stewart Copeland, setting the stage for “Rubberneck Lions,” a song he says is his favorite the trio did as Oysterhead.  He then switched guitars to something bigger and boxier for “The Inlaw Josie Wales,” a song that sounded angelic and sweet in this form.

    Sandwiched between two stories involving bandmates Mike Gordon and Jon Fishman, he played a beautiful rendition of “Free.” This was then followed by “Kill Devil Falls,” and “Wolfmans Brother” in which the audience lent their voices as a loop pedal allowed him to layer a jam on top of his own chords. He then performed “The Line,” and then whistled his way through “Lizards.”  “Guelah Papyrus,” “Wading in the Velvet Sea” and “Lawn Boy” preceded a touching and tear jerking “Summer of ’89,” dedicated to his wife of 22 years, Sue, who listened to the song from the audience that Trey says documents their relationship. Then as if to say “enough of the mush,” Trey delivered the always dark “Carini” followed by “Chalkdust Torture” to close the set.

    https://www.instagram.com/p/BRev_4gBm7K

    After a standing ovation, Trey returned to encore with David Bowie’s “Rock n’ Roll Suicide” and ended the evening with “More,” the third track off Phish’s 2016 album Big Boat.

    As we picked our jaws up from the floor and embraced our neighbors with hugs and emotional high fives, our hearts overflowed with love and gratitude for this man who has provided so much joy in our lives. The Collar City has a whole new glow and meaning to those of us lucky to witness such a special evening.

    Setlist: Strange Design, Blaze On, Mountains in the Mist, The Wedge, Shade, Backwards Down the Number Line, Twenty Years Later, Tide Turns, Rubberneck Lions*, The Inlaw Josie Wales, Free, Kill Devil Falls, Wolfmans Brother, The Line, Lizards, Guelah Papyrus, Wading in the Velvet Sea, Lawn Boy, Summer of ’89**, Carini -> Chalkdust Torture

    Encore: Rock n’ Roll Suicide†, More

    *Oysterhead song
    ** dedicated to wife, Sue
    † David Bowie cover

  • The Radio Dept. Performs at Brighton Music Hall

    The Radio Dept. kicked things off in Boston on Tuesday, March 7, playing to a packed crowd at Brighton Music Hall. The indie dream-pop group from Sweden consists of Johan Duncanson who started making music with Martin Larsson in the late 90s and scored some impressive reviews from NME upon their first album release, Lesser Matters in 2003. For this tour they were backing their newest 2016 album, Running Out of Love, which is their fourth studio album and is a great representation of how The Radio Dept. is able to consistently bust out music within the realms of their niche style they began to perfect back in the early 2000s.

    RadioDept1

    “Swedish Guns” is a clear favorite off their newest record and in the live format the group was able to put on a show with the song in a manner complete with necessary energy yet with the laid back, shoe-gaze nature of The Radio Dept. Actually what makes The Radio Dept. so enticing as a live band and a band on record is their ability to incorporate from so many genres. This is where the keyboards shine as an entirely vital aspect of their somewhat playful sound. Another favorite off their new album has to be “Committed To The Cause,” which has a groove similar to something Thievery Corporation might come out with, matched with a 90s style bass line along the likes of “Cannonball,” by The Breeders. What really makes the song come together is the synth line halfway through – a definite crowd favorite of the night. The chemistry between Duncanson and Larsson is clear on stage as two friends who have been playing together for quite some time are consistently feeding off each other to push and maintain their musical bounds. Sometimes reeling in comparisons to the likes of Pet Shop Boys, The Radio Dept. is a perfect modern, indie, more down tempo version of the 80s legends.

    RadioDept2

    With a duo opener straight from Brooklyn, GERMANS eased the early birds into the night with vocals and bass performing on top of song samples. Their hit song “Cruel” has everything a modern Brooklyn indie band reminiscent of the 80s could ask for.

    [ngg_images source=”galleries” container_ids=”358″ sortorder=”8987,8980,8986,8979,8985,8981,8982,8983,8984″ display_type=”photocrati-nextgen_pro_slideshow” image_crop=”0″ image_pan=”1″ show_playback_controls=”1″ show_captions=”0″ caption_class=”caption_overlay_bottom” caption_height=”70″ aspect_ratio=”1.5″ width=”100″ width_unit=”%” transition=”fade” transition_speed=”1″ slideshow_speed=”5″ border_size=”0″ border_color=”#ffffff” ngg_triggers_display=”always” order_by=”sortorder” order_direction=”ASC” returns=”included” maximum_entity_count=”500″]

  • Hearing Aide: Lord Electro ‘Business’

    The Albany based trio Lord Electro has made an epic sound for such a humble group, their debut album Business is highly synthetic, immersive and overall impressive. This is the first full length album for the group and they’ve done a immaculate job. The production quality is top notch, their performance is tight and it will leave listeners with a few pleasant ear-worms. They’re playing all over the tri-state area, mainly focused in New York, as well as an album release show on Friday, March 10 at The Hollow in Albany, NY.

    They’ve played with big names like The New Deal, Soule Monde (Ft. members of TAB), Roots of Creation, Conehead Buddha and have been influenced by groups like The Disco Biscuits, Lotus, Phish, NERVE and STS9. They haven’t reinvented the livetronic style, but they have created a great album to add to the library of livetronica lovers. The group consists of Dan Gerken on Synth, Steve Mink on bass and synth and Jordan LeFluer drums.

    The title track “Business” is first up and it’s a little generic to start, but as the saying goes, ‘If it ain’t broke, don’t fix it.” It builds nicely through a variety of unique tones from Gerken and is very spacious and trance-like with mild peaks and drops. The direction isn’t very surprising but it will definitely get people moving in a live setting. Vocal hooks will have listeners humming the tune for days making this a key track. Again, it’s easy to forget that only three men are creating this music, through the help of loops and drum tracks of course, but it is still impressive nonetheless.

    “Spiral” is truly encapsulating, partly because of the instrumental track, but also because of the thought that went into the vocals. Again, Gerken’s voice is sultry and spot on, harmonized at some points and thoroughly impressive. That voice laid over a never-stopping beat is a really nice touch considering it’s an overlooked aspect of livetronica.

    “The Slumber” is another track that incorporates that fantastic voice from Gerken. That, on top of a darker take on a trance tone makes for an excellent song. The verses aren’t the most incredible pieces of music ever created, but the chorus is astounding. The lyrics, “Too much, too fast” will be ringing out in the heads of listeners as well as this washy, never ending riff that leaves listeners feeling trapped in a whirlpool of sound.

    Towards the end, “Reflections” comes in a little slow to start, but pulls through in the end in the best possible way. LeFluer stays consistent the whole way through, Mink lays down a fantastic, highly addictive, but slightly repetitive groove and Greken digresses from a peppy and tight synth run to an intense, falling lick that gives a nice contrast of light and dark tones.

    Overall, this album won’t revolutionize the livetronica genre, but it is well thought out, well produced and will be an absolute blast to see performed live. Lord Electro perform later this month at Dino BBQ in Troy NY, March 24, The Monopole in Plattsburgh NY March 25 and several other New York based shows mid March through late April. Tour dates are on their Facebook page as well as hard copies of their CD for purchase and digital downloads available on iTunes.

    Key Tracks: Business, The Slumber, Reflections

  • moe. Packs the F Shed for Another Hometown Throe.down

    moe. closed out its Syracuse residency Saturday, March 4, with a scorching show at the F Shed. A show that featured a hot first set, a second set “Kids” sandwich and three-song encore.

    The above referenced residency had moe. spending a few days in town being feted by the Syracuse Area Music Awards as inductees into that organization’s Hall of Fame, along with a three song performance at Friday’s award ceremony.  Saturday was the culmination of a great weekend of music in the Salt City.

    The frigid night began with guitarist Chuck Garvey’s monotone greeting, “Welcome to the hockey rink. Are you ready to rock? I said, ‘Are you ready to rock?’ I can’t hear you. Are you ready to rock?” As he fiddled with the tuning knobs of his Fender Stratocaster, he proclaimed, “I’m not quite ready to rock.” The lackluster delivery of a standard arena rock tone gave an ironic insight to the night’s proceedings. moe. – and Garvey – were, in fact, ready to rock.

    The F Shed is one of the more unique venues on the live music circuit, as it is literally a shed. Located in the Regional Market on Syracuse’s north side, the market provides not only a venue for live music, but a year-round location for farmer’s markets and flea markets. Garvey’s hockey rink reference isn’t a far stretch. One could easily see a set of dasher boards and red and blue lines being a part of this facility. With outside temperatures hovering in the zero range, the indoor temps seemed just slightly warmer upon entry. Thoughts of an impending hockey game weren’t a far stretch.

    The show opened with a boom, boom, boom, as the band busted into “Crab Eyes” from Wormwood. The song had a heavy Garvey/Jim Loughlin presence, which set the tone for the remainder of the night. The band dipped into its early 2000s catalog of songs featuring Garvey’s vocals and Loughlin’s percussion often.

    The first set was segue after segue as the band whirled through “Threw It All Away” and a rare moe., version 1.0 run-through of “Funky Reuben” before seamlessly moving back into “Crab Eyes.” The nearly all-segued first set continued with Garvey leading the way out of a spacey “Silver Sun.” “Akimbo” closed the solid first set, finally allowing the near capacity crowd to catch its breath.

    Following an extended setbreak, the band kicked into a low-key “Moth” to usher in the second set. moe. kept it mellow as Rob Derhak’s familiar bass intro to “Kyle’s Song” segued out of “Moth.” Garvey’s mid-song solo kicked up the pace with the crowd following suit.

    Throughout the night, the lights incorporated the industrial sized ceiling fans into the scenery, creating a scene reminiscent of Willy Wonka’s ‘Fizzy Lifting Drink.’

    The opening notes of “Kids” ripped open a box of crazy that resulted in a “Kids” sandwich to wrap up the second set. “Down Boy” set a funky tone into “Hector’s Pillow” and “Bring You Down” before settling back into “Kids.”

    After a quick break, Al Schnier returned with his usual slate of al.nouncements. Offering a cheers to the crowd with a can of Utica Club, Schnier ran through engagement announcements and show numbers from various fans as well as a tease of moe.down’s return to Snow Ridge Ski Area this summer.

    An energetic encore began with the slow swirling build up of “Wind It Up,” with Loughlin’s mallets working overtime. The closing chorus turned into a sing-along as lights lit up the inside of the shed. The crowd-pleasing “Nebraska” followed with nearly all in attendance joining in.

    moe. has often used classic rock staples as show closers. Tonight was one of those times. The Who’s “Baba O’Riley” has been tackled by many but moe. seemed particularly equipped to replicate the synthesizer opening using Loughlin’s malletkat and guest violinist Nick Picciccini from Floodwood tackling the signature solo with ease.

    “Baba O’Riley” ended the night on a high note. The entire night capped off a three-day celebration of moe. as hometown heroes following the band’s induction into the Syracuse Area Music Awards (SAMMYS) Hall of Fame on Thursday and a performance at the awards ceremony on Friday.

    Seeing moe. perform in their home area creates a great homey vibe that reveals a fondness of their roots as a blue collar jamband from Central New York. At this point in their storied career, moe. is playing with  an energy that is still infectious to the long-timers yet finds them gaining new fans along the way. The return of moe.down to its original location in the Tug Hill can only add to what could end up being the peak year in the band’s career.

    Setlist:

    Set I: Crab Eyes > Threw It All Away > Funky Reuben > Crab Eyes, Captain America > Rise > Silver Sun > Akimbo

    Set II: Moth > Kyle’s Song > Kids > Down Boy > Hector’s Pillow > Bring You Down > Kids

    Encore: Wind It Up, Nebraska, Baba O’Riley*

    * with Nick Piccininni (Floodwood) on violin

    [ngg_images source=”galleries” container_ids=”353″ display_type=”photocrati-nextgen_pro_mosaic” row_height=”180″ margins=”5″ last_row=”justify” lazy_load_enable=”1″ lazy_load_initial=”35″ lazy_load_batch=”15″ ngg_proofing_display=”0″ captions_enabled=”0″ captions_display_sharing=”1″ captions_display_title=”1″ captions_display_description=”1″ captions_animation=”slideup” order_by=”pid” order_direction=”ASC” returns=”included” maximum_entity_count=”500″]

  • Twiddle and Aqueous Host Memorable Weekend at Buffalo’s Town Ballroom

    Vermont jam band Twiddle and Buffalo groove rockers Aqueous teamed up for a legendary weekend of music. Saturday March 4, not only marked Twiddle’s first two-night run at the historical venue, but also marked Aqueous’ debut.  Saturday night was marked a sell out, while Sunday night ticket sales landed just under capacity.

    twiddleaqueousbuffalo4

    Aqueous made the most out of their debut weekend.  The band’s hometown fan base came out in full support, with many AQ fans traveling to witness the group’s first shows at the Town Ballroom. Mike Abrahamson made the five hour drive from Hudson Falls, NY and commented, “I’ve never heard a crowd that loud for the opening band. It was insanity.”

    Saturday night, Aqueous opened with the fan favorite “Strange Times.” Moving forward, the set progressed to a newer tune, the recently debuted “Second Sight.” “Numbers and Facts” took a highly talked about turn, when the band switched gears midway and debuted a cover of the NWA classic “Express Yourself,” featuring bassist Evan McPhaden on vocals with Twiddle bassist Zdenek Gubb on bass duties.  McPhaden took to crowd surfing before returning to the stage to conclude “Numbers and Facts” with the band. Aqueous closed out their debut set with the high energy “Don’t Do It” from their EP Best in Show.

    [singlepic id=9040 w= h= float=center]

    Twiddle held nothing back on night one, instantly commanding the room with “Blunderbuss” an intense, high energy instrumental that is slated for release on the upcoming Plump – Chapter 2.  Their Saturday night set was a varied list of fan favorites that spanned the band’s catalog including  “Brick of Barley,” “Carter Candlestick,” “Indigo Trigger” and “Lost in the Cold.”

    Twiddle also welcomed Aqueous guitarist Mike Ganzter for the Twiddle instrumental “Latin Tang.”  Ganzter’s guitar work added an incredible layer of guitar harmonies.  It also added an incredible layer of on-stage camaraderie. There is an evident level of musical respect and appreciation between the two bands that shines, specifically when Gantzer and Twiddle guitarist Mihali Savoulidis take the stage together.

    The night concluded with Ganzter returning to the stage with McPhaden on synth. The pair sat-in with Twiddle for the Ray Parker Jr. hit “Ghostbusters.” The encore choice was inspired by a plaque in the venue, listing the site at one of Western New York’s most haunted buildings.  Formerly known as the Town Casino and used as a speakeasy during Prohibition, employees of the Town Ballroom often report ghost sightings, unexplained sounds through the venue’s basement tunnels and the venue’s equipment often turning on without explanation.

    Both bands used Saturday night’s momentum to launch a Sunday night burner. Aqueous came out firing, bringing a unique twist to some of their most beloved tunes. The night was kicked off with “Underlyer” and “Marty.” AQ then fired into an alternative funk version of “Eon Don” (nicknamed “Eon Ron”) before bringing on Twiddle drummer Brook Jordan for the David Bowie classic “Let’s Dance.” Vocals on the tune were handled by Aqueous drummer Rob Houk. Aqueous concluded their two-night run at the Town Ballroom with the high energy favorite “Origami.”

    Longtime Buffalo fan Matt Shotwell enjoyed the band’s take on songs he’s heard at many previous shows: “Still can’t get over how they gave seemingly every song at least a slight reworking. New tempos, new licks and teases aplenty.”

    [singlepic id=9040 w= h= float=center]

    Sunday night proved that Aqueous is poised to move into larger venues.  Their sound is built to fill a larger space. Abrahamson summed it up best telling NYS Music, “The boys absolutely commanded the attention of the room without hiccups. The sound was perfect in my opinion. It can be hard to upscale your sound to a bigger stage but they had no problem whatsoever.”

    Their incredible use of layers and depth, enhanced by Lighting Director Ryan Bress, showcased an entire stage package that hometown fans have longed to see. Bress, also went on to light Twiddle both nights to rave reviews.

    Twiddle brought high energy on Sunday night.  The mellow mood established by first set opener “Subconscious Prelude” was quickly turned on its ear as the band turned the Town Ballroom into a dance party fueled by “Apples>Funkytown>Apples.” Set one also contained fan favorite “Gatsby the Great” and concluded with the instrumental tune “The Catapillar.”

    Set two kicked off with “Earth Mama” followed by the moody and edgy combination of “Wasabi Eruption > The Box.” The four-song set concluded with “Syncopated Healing” featuring Ganzter on a quitar solo that had fans of both band’s talking.  NYS Music Photographer Tim Merrill, who was shooting at the time even noted that “Gantzers solo during syncopated had me in tears in the pit. It was beautiful.” Ganzter returned to the stage with Twiddle for a Radiohead “Karma Police” encore.

    Taylor Cauwels, who traveled both nights from Rochester, summed up the feelings of a lot of fans at the conclusion of the weekend. She told NYS Music, “So thankful for this band and the medicine they provide. I leave every show with more “frends” than I came with. The amazing feelings that radiated throughout the Ballroom were almost overwhelming. My cheeks still hurt from smiling so much.”

    Gantzer left the weekend feeling supported by their local fan base. “I feel a true sense of pride and admiration for our fan base at this moment in time,” he said. “Our hometown crowd really brought it (as they always do), and the weekend was full of absolute magic because of their incredible energy and excitement; it was a shared experience and one that I’ll likely never forget.”

    The weekend was not only a success for Twiddle and Aqueous, but also for the Twiddle fan funded organization The White Light Foundation.  The charity held its first event in Buffalo successfully raising money for two Western New York charities, Crisis Services and Going to The Dogs Rescue. 

    Ganzter noted that, “We also have been having THE BEST time with the twiddle boys and their awesome crew, so we’re psyched to keep this momentum going with them on and off stage!”

    Twiddle and Aqueous hit the road together again and head to Keene, New Hampshire on March 17 and March 18. The two bands will also be making stops together in Stroudsburg, PA and Washington, D.C. before concluding their shows together at the Playstation Theatre in New York City on March 31 and April 1. Aqueous was also recently announced on Twiddle’s Festival Tumble Down which will be held in Burlington on July 28 and July 29.

    Twiddle Setlist via uTwiddle.net

    Saturday 3/4/2017
    Set 1: Blunderbuss, Polluted Beauty, White Light, Brick Of Barley, Carter Candlestick

    Set 2: Wildfire, Indigo Trigger, Dr. Remidi’s Melodium, Latin Tang[1], Lost In The Cold Encore: Ghostbusters[2]

    Show Notes: [1] “Latin Tang” featured Mike Gantzer (Aqueous) on guitar. [2] “Ghostbusters” featured Mike Gantzer (Aqueous) on guitar and Evan McPhaden (Aqueous) on bass.

    Sunday 3/5/2017
    Set 1: Subconscious Prelude, Apples -> Funky Town -> Apples, Gatsby The Great, Dusk ‘Til Dawn, The Catapillar

    Set 2: Earth Mama, Wasabi Eruption -> The Box, Syncopated Healing[1] Encore: Karma Police[1]

    Show Notes: [1] “Syncopated Healing” and “Karma Police” featured Mike Gantzer (Aqueous) on guitar.

    Aqueous setlist via – aqueousband.com

    Saturday 3/4/2017
    Set 1: Strange Times, Second Sight, Numbers and Facts > Express Yourself1 2 3 > Numbers and Facts, Don’t Do It

    Show Notes: 1NWA cover, Aqueous debut 2 Evan rapping (Last Evan rap – 2013/5/11 436 shows)3 Gubb [Twiddle] on bass, Donkey Kong theme in DDI, Post rapping Evan crowd surfed. #rockstar

    Sunday 3/5/2017
    Set 1: Underlyer > Marty, Eon Don > Let’s Dance1 2 > Complex Pt. I, Origami

    Show Notes: 1 Rob on vocals 2 Brook Jordan [Twiddle] on drums, Let’s Dance last played 2016/8/11 67 shows

    [ngg_images source=”galleries” container_ids=”362″ display_type=”photocrati-nextgen_basic_slideshow” gallery_width=”420″ gallery_height=”300″ cycle_effect=”fade” cycle_interval=”8″ show_thumbnail_link=”1″ thumbnail_link_text=”[Show picture list]” ngg_triggers_display=”never” order_by=”pid” order_direction=”ASC” returns=”included” maximum_entity_count=”500″]

  • Scythian ‘Where Have You Been All My Life?’

    On a frigid Saturday night in the early part of March, many brave New Yorkers left their cozy warm homes and made their way to the Homer Center for the Arts to see a band called Scythian.  Known to many bluegrass, Americana, and Celtic fans, this high intensity band had yet to cross my path. I was anxious to see what they were all about.

    Scythian

    Currently based out of the Washington, DC area, they personally describe their style as Celtic, gypsy, Americana, and punk; and I believe that’s a pretty accurate description of their eclectic sound.  With a history of eastern European ancestry, bluegrass influences of their region, and love of Celtic music, the blend is seamless and energy highly intense.  With fiddle, accordion, bass, penny whistle, percussion and guitar to name a few of the instruments to accompany, they quickly escalated the heat in the room. It took them no time at all to get the crowd to their feet in the beautiful venue that once was a church.  Dancing in the isles outside the pews and in the balconies, the packed crowd stomped and clapped and danced the night away.

    With brothers Alex and Dan Fedoryka, Nolan Ladewski, newcomer Fritz McGirr, and Thomas Pillon filling in for sister Larissa Fedoryka, this band demonstrated their multiple musical skills, charming personalities, and energetic stage presence throughout the entire evening.  All night long I couldn’t tell who was having more fun, the band or the audience.

    With a six-year absence from the area, Scythian was warmly welcomed back to New York on one of the coldest nights around, and I personally hope their return is much sooner as they now are one of my favorite live bands to see.  Scythian, where have you been all my life?

    Scythian

    Set 1: Lagan Love, Scratchbox Reel, My Son John, Wisemaid Set, Paint This Town, Gypsy Fiddle, Hey Mama Ya, Go Lovely Rose, Drums of Belfast, Jump at the Sun, Road to Galway, New York Girls

    Set 2: Far Away, New Reel, I Will Go, Stop the Show, End of the Street, Leaving of Liverpool, The Ocean, Danny Boy, Same Old Man, Plackets, Girl Named You, Caeli, Dance All Night, Those Were the Days

    Encore: Fields of St. James, The Parting Glass

    Scythian

  • St. Paul and The Broken Bones Flow Like a Mighty River in Albany

    The eight-piece powerhouse that is St. Paul & The Broken Bones took the stage at The Egg in Albany on Sunday, March 5 in classic soul – R&B fashion, with the lights dimmed and front man Paul Janeway cloaked in a cape. As the sound of “Crumbling Light Posts, Part 1” built to a crescendo, he shed the cape as the band exploded into their next number, in which Janeway sang “Just flow with it.” It was good advice. Janeway and the Broken Bones took the audience on quite a journey, from funk to earth shaking shouts to heartbreaking soul music, changing tempo and dynamics while the attendees’ enthusiasm continued to build.

    The group consists of Chad Fisher on trombone, Allen Branstetter on trumpet, Jason Mingledorff on saxophone and flute, drummer Andrew Lee, bassist Jesse Phillips, guitarist Browan Lollar, and Al Gamble on organ and piano, with Paul Janeway on lead vocals. A consummate showman clad in a leopard print jacket and pants with gold shoes, Janeway pulled out all the stops, dropping to his knees, rolling on the floor, shimmying and sliding all over the stage, and doing a crowd walk halfway up and across the theater during the emotionally wrenching “Broken Bones and Pocket Change.” The band changed gears once again, following up with the crowd singing and dancing to “Call Me.” The bulk of the set was from 2016’s Sea of Noise, but there were a few remarkable cover songs. During the encore, a fan called out for some Otis Redding. Janeway responded that the band hadn’t played the song yet on this tour, but led them into a showstopping rendition of “I’ve Been Loving You Too Long.” Despite over ninety minutes of music and a four song encore, St. Paul & The Broken Bones adhered to one more bit of showmanship – always leave the audience wanting more.

    Opening act Aaron Lee Tasjan captured the audience’s attention before he even played a note, taking the stage bedecked in a black and white star-spangled suit, silver boots, and a wide brimmed cowboy hat.

    He led his trio through an eight song set peppered with humor and story telling between songs. The songs were from his 2016 album Silver Tears, released on the New West Records label. Describing him as alt-country, or folk rock with a gritty undertone, doesn’t completely tell the story. Some songs, including “Little Movies” had an ethereal Brian Ferry / Electric Light Orchestra vibe, and Tasjan certainly showed his considerable guitar skills on “Ready to Die” and also when he was invited onstage for an encore with the headliners for a cover of David Bowie’s “Moonage Daydream.” You should put both of these acts on your list of artists to listen to and go see live.

    Set Lists:

    Aaron Lee Tasjan: Out of My Mind, Little Movies, Memphis Rain, Lucinda’s Room, 12 Bar Blues, Where the Road Begins and Ends, Ready to Die, Success

    St. Paul & The Broken Bones: Crumbling Light Posts, Pt. 1, Flow With It (You Got Me Feeling Like), Like a Mighty River, I’ll Be Your Woman, Tears in the Diamond, All I Ever Wonder, I’m Torn Up, Unknown (band instrumental), Brain Matter, Waves, Midnight on the Earth, I’ve Been Working (Van Morrison cover), Broken Bones & Pocket Change, Call Me, Sanctify

    Encore: Is It Me?, I’ve Been Loving You Too Long (Otis Redding cover), Moonage Daydream (David Bowie cover, joined by Aaron Lee Tasjan), Burning Rome

  • Hearing Aide: Telehope ‘Chasing Dreams’

    The Cincinnati, OH based band Telehope released their debut and self-produced album Chasing Dreams on January 1 of this year. Lengthwise, the group’s eight-track album fits in between some people’s description of an EP and a full-length album. With that being said, Telehope most certainly does not lack content as each song showcases the best of what this up and coming band has to offer our thriving music scene.

    This quintet, consisting of Mark Brad, Adolph Goetz, Ben Malson, Nate Trammel and Brett Sackenheim, combines each of their individual talents to create the sound that is Telehope. In most of today’s music, musical interludes seem to be less prevalent than they used to be. Telehope has thankfully not fallen into this trap and utilizes the emotional power of instrumental outros in songs such as “Joy” and “Have My Heart”.

    They have also effectively matched a song’s musical mood with a title’s intended meaning as seen in “Insomnia,” the third track on their album. “Ghost” is another interestingly arranged song as it begins stripped down with merely vocals and ukulele. Near the end, just as you think the song is beginning to wind down, the volume of all the instruments and vocals drastically increases for a split second catching the listener (certainly myself) off-guard. Though at first I questioned this creative choice, I came to the conclusion that it added an element of surprise ‘coincidentally’ reflecting the purpose of the song’s title.

    Pulling from influences that are visible in their music such as Walk the Moon and The 1975, this indie/pop band hopes to shine positivity through their music and succeeds in doing just that with their first album.

    Key Tracks: Joy, Have My Heart, Ghost, Chasing Dreams

    https://www.youtube.com/watch?v=m-LHDgwukA8

  • The Griswolds Rock Out at The Waiting Room

    Friday, March 3:  the first Sunday of Lent. In Buffalo, that normally means every restaurant has their take on fish fries out and people are trying to better themselves through personal sacrifice. However, those attending The Waiting Room that evening found themselves in a very party-friendly environment. One that resulted in a lot of spilled beer on the floor. But given that the band was from Australia, a country known for their heavy drinking, it seemed only fitting. And it also seemed fitting that the band, The Griswolds, named for the Vacation film series family often driven to their limits, was the main event.

    The Griswolds hail from Sydney, Australia and were on tour behind their new album, High Times for Low Lives. The lineup, made of Christopher Whitehall on lead vocals and guitar, Daniel Duque-Perez on keyboards and guitar, Tim John on bass and Lachlan West on drums, claim to be inspired by the likes of 2000’s indie bands Vampire Weekend, MGMT, and Of Montreal along with Kanye West and the Beach Boys.

    Whitehall definitely gives off the impression of an Australian man, with a scruffy head of long hair along with a somewhat trimmed beard. His thick accent when he spoke to the crowd was the common kind of slurred speech people often expect to hear from Australians. That sort of made his open attempts of getting the audience to party all the more amusing. His guitar sported the phrase “Love Trumps Hate” in a slightly more pleasant looking matter than if Tom Morello would’ve done it.

    The music itself does bear the influences of the band on its sleeves. The walk-on music for the band was the same “In High Places” sample by Mike Oldfield, used in Kanye West’s “Dark Fantasy” before going into “Role Models.” The various tricks performed were often found in prominent 2000’s acts, like the weird synth vocals in “16 Years,” the psychedelic sounding keyboards of “Right on Track” and high-pitched chorus line of “Be Impressive.”

    At one point, Whitehall asked if anyone in the audience had a birthday, and a few did raise their hands. He then told the crowd it was the drummer’s birthday and replied, “This is the best birthday ever” in a similarly thick accent. After a round of “Happy Birthday,” the band delved into their own song titled “Birthday,” one that played much slower and less joyous, but went in deeper. Compared to the much more upbeat, “If You Wanna Stay,” which probably got the most party-like reception the band wanted, The Griswolds really run a gauntlet of various tastes.

    After ending with “Down and Out,” complete with Whitehall doing a guitar solo with the guitar strapped to his back, and a plainly obvious attempt at an encore, they played the very Vampire Weekend-esque “Beware the Dog,” another song where the drummer got into the hard rhythms. In a rather surprising move, Whitehall, after asking the audience if they wanted one more, invited one of the opening acts, Dreamers, onto the stage. The now 8-person band on stage, in one last bit of fun-giving, played the ever-classic “Hey Ya!” Whitehall and Dreamers singer Nick Wold traded verses and lines in the chorus, trying to channel whatever parts of Andre 3000 they could muster.

    The Griswold’s music was plenty entertaining enough, with their odd mix of new wave, electronics, and funk rhythms. But at the same time, they didn’t make too much of an impression of me beyond that. I was interested in seeing this band because of the question, what would a band named The Griswolds sound like? And now that I have, I can say I’ve heard plenty of other bands trying the same thing. It’s not anything original, but it’s not anything to completely discount either.