NYS Music 20​17

Category: Reviews

  • Hearing Aide: Sharon Coates ‘here now’

    Rochester-based songwriter and vocalist Sharon Coates recently released her second album just in time for winter, entitled here now. This eleven-track jukebox brings a variety of styles to our ears, with a persistent folk and americana intention, only complimented by her soft vocal timbre.

    Her intriguing lyrical stories take us through her personal timeline, apparent in her reminiscent song “The Town Where I Live,” and in her evolution of complex concepts through poetry in “Cathedral.” Joining her on the record are instrumentalists Dave Drago, Alex Northrup, Jacob Walsh and Dave Chisholm, and in sync, their sound is familiarized as Southern country, with use of an accordion, banjo, organ, and even a trumpet to round out the sound.

    With interesting rhythm changes and unique guitar strumming patterns, songs like “Mexico” and the major-minor combative “Just Don’t” stand out as the album’s commanders. The song’s opening track “A Bullet Ain’t Got A Name” has a slight Tom Petty hint to it, with a light, smooth groove to introduce Coate’s new chapter. Her initial release was back in 2016, and it wasn’t long before she was ready to release new material to her listeners, and this album was well delivered the second time around. There’s no reason for her to be here now, when she’s been here all along, releasing music back-to-back.

    Despite her library of music, Sharon Coates puts her music in few places. To listen to her full album, you can go to her Bandcamp site, or stream a few songs form her album below.

    Key Tracks: Mexico, Just Don’t

  • Dark Star Orchestra Continues 20th Anniversary Celebration at Paramount Hudson Valley

    On Nov. 12, Dark Star Orchestra traveled downstate from a show at the Palace Theater in Albany to Paramount Hudson Valley in Peekskill the next night to continue celebrating their 20th year of performing authentic Grateful Dead show replications. The saying “never miss a Sunday show” was once again validated by DSO’s stellar sets at the Paramount a day after the 20th anniversary of their first show in 1997.

    Dark Star Orchestra Paramount Hudson ValleyA fun game for the audience at any DSO show is to take a guess as to what Grateful Dead show the band is covering (which they later reveal before their encore). Shortly after the start of the first set it was fairly easy to narrow the time frame to the late 1980s/early 19990s from the prominence of the keys and later the style of the drum break.  DSO broke form slightly to perform a selective setlist in the style of a particular show which in this case was based on the stylings of 7-19-1990 at Deer Creek Music Center in Indiana. Even though the show wasn’t an exact replica of a Grateful Dead setlist, it showed DSO’s endowment for channeling a particular Grateful Dead style seamlessly through set substitutions to maintain the feel of a real Dead show.

    Set 1 started with a quick recognition of “Jack Straw” and continued on with an easy groove through the set. The 1940s blues standard “It Hurts Me Too” anchored the first set with a remarkable feature of singer Lisa Mackey’s vocals. Rounding off the first set was “Deal,” starting off like any Grateful Dead performance of the song interlaced with plenty of noodling intricately replicated by Jeff Mattson (who replaced long-time DSO guitarist John Kadlecick in 2010). Like a firecracker on a short fuse Mattson’s noodling quickly went from its regular form to a fiery hot guitar jam before coming back around to a quick refrain of the chorus.

    The second set was a bit more true to the Deer Creek show it was modeled after with just two song substitutions. True to a Grateful Dead second set the song run was continuous until the encore even with the contrast between some adjacent songs. Leading in from a “Playing In The Band” reprise, original DSO drummers Rob Koritz and Dino English gave the subtle hints about the drum break about to happen. Koritz and English began with a more structured duet between the two kits before loosening up to move around for a more improvised percussion break including some electronic drums (something Billy Kreutzman and Mickey Hart started incorporating in the late 1980s). While “Space” is what it is for some folks, it’s a good opportunity to zone in and hear something unexpected. The latter part of the second set capped off the show with a strong finish. A Spanish jam akin to Maurice Ravel’s 1928 composition “Bolero” (from which the music of Jefferson Airplane’s “White Rabbit” was inspired) segued into a crescendo that progressed through “Dear Mr. Fantasy,” “Black Peter,” and “Not Fade Away.”

    Keyboardist Rob Barraco took a few moments before the encore to explain a little bit of the setlist and to plug DSO’s four-night Jamaican excursion in January. The Dead’s 7-19-1990 show only included “U.S. Blues” but DSO took the opportunity to make it a perfect close to the show by adding on “Mr. Charlie.” With many unique and excellent Grateful Dead cover acts out there, Dark Star Orchestra has shown again their consistency in delivering a genuine Grateful Dead tribute.

    Dark Star Orchestra, Paramount Hudson Valley, Peekskill, NY

    Set 1: Jack Straw*, They Love Each Other*, Good Times Blues, Row Jimmy*, Blow Away, It Hurts Me Too, Althea* > Deal
    Set 2: Foolish Heart* > Playing In The Band* > China Doll* > Uncle John’s Band* > Playin’ Jam* > Drums* > Space* > Dear Mr. Fantasy > Black Peter* > Not Fade Away*

    Encore: U.S. Blues*, Mister Charlie

    * denotes songs from the Grateful Dead setlist

    (Omissions from Grateful Dead 7-19-1990 setlist: Desolation Row, Picasso Moon, Promised Land, Victim or the Crime, All Along The Watchtower)

    Check out a recording of this DSO show on archive.org.

  • Children Of Bodom Return To Rochester With 20 Years Down And Dirty Tour

    Rochester welcomed back Finnish death metal band, Children Of Bodom on Sunday with their commemorative tour celebrating the release of their first album, Something Wild. The American leg of their 20 Years Down & Dirty Tour hit 24 for cities, Rochester being the last American stop before heading for Canada. Joining Children Of Bodom on tour were fellow Finnish Thrash Metal band, Lost Society and Carach Angren, a Black Metal band from the Netherlands along with Uncured, a Death Metal band from New York City.

    Children Of Bodom This tour wasn’t one to miss, reaching both new and old Children Of Bodom fans, playing songs from their first three albums. The crowd showed diversity in sporting a variety of shirts, patches and attire, drawing in metalheads from as far as Albany and Syracuse to Anthology, a restored multi-level auto warehouse on East Avenue. While the crowd initially looked sparse and scattered before the show began as the evening progressed more people began filtering in, filling up the venue.

    NYC’s own Progressive Death Metal four piece, Uncured kicked the night off. The band released it’s first full length album Medusa in March 2017.Uncured features brothers Zak and Rex Cox on guitars and vocals, Liam Manley on drums, and Jon Kita on bass.

    Following Uncured were fellow Finns, Lost Society who unleashed their energy, keeping the crowd wanting. Hailing from Jyväskylä, Finland, the band consists of guitarist and lead vocalist Samy Elbanna, guitarist and backing vocalist Arttu Lesonen, bassist and backing vocalist Mirko Lehtinen, and drummer Ossi Paananen.

    The third band, Carach Angren added an interesting and darker change in atmosphere and was met with an enthusiastic crowd. The band sported corpse paint, an interesting mic stand which included a spinal chord and hip bones, which the vocalist temporarily sporting a skull mask and crown for their set. Carach Angren is Dennis “Seregor” Droomers on vocals, Clemens “Ardek” Wijers on keyboard and Ivo “Namtar” Wijers on drums.

    By the time the final and headlinging band, Children of Bodom, took the stage, the crowd was riled, ready and waiting. Frontman Alexi Laiho wasted no time adding a special touch in the getting CoB fans pumped up and wanting more, eagerly met with the crowd throwing up their “horns.” The band’s return to Rochester was well received after the long wait with their prior show with Black Label Society and Clutch at the Main Street Armory on January 30, 2012. Children of Bodom is Alexi Laiho on vocals/lead guitar, keyboardist Janne Wirman, bassist Henkka Seppälä, drummer Jaska Raatikainen and Daniel Freyberg on rhythm guitar.

    Setlist: Deadnight Warrior, In the Shadows, Needled 24/7, Hatebreeder, Lake Bodom, Warheart, Hate Me!, Red Light In My Eyes Part 2, Downfall, Everytime I Die, Hate Crew Deathroll, Kissing The Shadows, Children of Bodom

    Encore: The Nail and Towards Dead End

    Play

    Play Video

    Play Video

    Play Video

    Play Vid

  • Welcoming Home Moriah Formica: Gritty Vocalist Wows Local Fans

    Don’t underestimate Moriah Formica. Yes, she’s only 17. Yes, she’s small in stature. And yes, she can rock and roll just like Joan Jett.

    Formica’s concerts at Jupiter Hall on November 24 and 26th followed her successful time on The Voice and she was clearly welcomed home by local fans. Hailing from Latham, NY, Formica became nationally known for her powerhouse performances on the reality television show earlier this fall.  She returned to a sold out show Friday, November 24, and played to a well attended, eclectic audience on the 26th with her old band.

    Formica’s microphone wasn’t on during the first part of her initial song, leaving her characteristically clear and strong voice out of the music for a few minutes. When the technology was fixed, though, her vocals grounded the group as they pushed through covers and even some original music, including “Save Me” and “Lovestruck”. It looked like all hard work and no play until the artist began chatting with the audience, sharing perspectives on love and her desire to not always be perceived as aggressive.

    The acoustic set in the middle of the concert revealed a more vulnerable side. She sang “No Regrets,” a song about losing love, and “The Voice,” and also shared life experiences about being in love in 10th grade with “Here’s My Heart.” Her breath control was solid as she held clear and pitch-perfect notes, continuing through “Stone Cold” with pianist Dustin Deluke.

    After the acoustic set, the band rejoined her for some grittier and heavier rock songs. Ending with a cover of “Barracuda,” Formica had heads nodding and bodies jumping.

    Formica performed for 65 minutes with very few breaks for conversation. Rapid fire, intense and demonstrating undeniable clarity and pitch, Formica’s performance was a wonderful reminder not to underestimate her. Yes, she’s a local kid. Yes, The Voice didn’t maintain her on the show.  And yes, she’s got a lot further to go with her career as a female rocker who can powerfully move an audience with both vocals and guitar. But it’s unlikely she’ll stay home for long.

  • Hearing Aide: Vendetta ‘Press Play [and Live]’

    Brooklyn-based alternative hip hop artist Vendetta has released his debut album Press Play [and Live]. After cutting his teeth in the music industry as the front man for Hollywood Drive-By, Vendetta is striking out on his own with this solo project.

    Armed with a microphone, a laptop, and a deep-seated love for rhythm, Vendetta (aka Vijay Ramcharitar) weaves together stylistically divergent influences. Funky rhythms and rocking riffs pave a foundation for his raps. As the moniker Vendetta implies, his lyrical themes are rife with conflict. Urban survival vs. escapism. Violence vs. humanitarianism. Dive bars vs. block parties.

    Lead track “The Getaway (Vendetta Day)” is a groovy number about getting away from the stress of city life for a cruise along the East Coast. The song melds together an array of influences, from old-school hip hop artists like Tupac to alternative rock in the vein of Red Hot Chili Peppers. “Two Things” further explores the impact that music has to uplift spirits in the face of adversity. The chorus goes “Two things I remembered: the CD that I picked / And the feeling I got when I pressed play and lived.” The feel-good summer jam “BBQ Sauce” features the vocal styling of friend and fellow musician Rocksteady (Jason Hernandez).

    Press Play [and Live] was recorded at Westfall Recording Company, Farmingdale NY, with production and engineering by Nick “Karate” Gallick.

    Key Tracks: The Getaway (Vendetta Day), Two Things, BBQ Sauce.

  • John Carpenter Live Anthology Tour 2017 Wraps up at The Palace Theatre

    It’s the first snowy evening of the season on November 19 and I can think of no better way to spend it than by checking out the “Master of Horror” John Carpenter and his incredibly talented band on the final date of their live Anthology: Movie Themes 1974-1998 tour. What a treat for those in attendance at the Palace Theater in Syracuse. They got to see the famed movie director change up roles and get behind a synthesizer to perform themes from his beloved horror flicks with clips from the films playing on a giant screen behind him.

    Carpenter took the stage promptly at 7:30 and showed that he is a man of many talents. He made eye contact, danced and pointed at fans as he worked his way through his impressive catalog. Carpenter came well-armed with a gifted back-up band comprised of Tenacious D’s drummer Scott Seiver, their guitarist John Konesky, their bassist John Spiker and Carpenter’s son Cody Carpenter on lead synth and his godson whom Carpenter described as, “the prince in waiting” Daniel Davies on lead guitar.

    The group produced an impressive sound. They took fans through the main title theme from “Escape from New York,” “Assault on Precinct 13” and “The Fog.” In an excellent tribute to the late “Rowdy” Roddy Piper and Harry Dean Stanton, Carpenter and the band donned sunglasses as they performed “Coming to L.A.” from “They Live.” This drew a large roar of applause from the crowd. The fans also went wild when Carpenter stated, “I believe in love and I believe in love that lasts forever,” as he introduced the opening notes to his infamous “Halloween” theme. Fans of Carpenter’s Halloween will be excited to note that it appears he will be releasing a follow up to the 1978 film due to hit theaters October 2018. It is even rumored that Jamie Lee Curtis will reprise her role as Laurie Strode. Yeah, I’m excited!

    The group ended the main set with the theme from the ever creepy “In the Mouth of Madness.” Do you read Sutter Cane? They barely stepped off stage for a moment before returning and punching through a four-song encore that culminated with Carpenter advising everyone to “drive home safely this evening. Christine’s out there.” They ended their set with “Christine Attacks.” It was fantastic to see Mr. Carpenter bring his work to life in such a unique way. He seemed to be legitimately having a great time and proved that he is in fact a “master of horror.”

    Setlist: Escape from New York: Main Title, Assault on Precinct 13: Main Title, Village of the Damned: March of the Children, The Fog: Main Title Theme, Vortex, Mystery, They Live: Coming to L.A., Starman: Starman Leaves (Jack Nitzsche), The Thing: Main Theme – Desolation (Ennio Morricone), Distant Dream, Big Trouble in Little China: Pork Chop Express, Wraith, Halloween Theme – Main Title, In the Mouth of Madness: In the Mouth of Madness

    Encore: Body Bags, Vampires (Santiago), Prince of Darkness: Darkness Begins, Christine: Christine Attacks (Plymouth Fury)

  • A Perfect Circle and The Beta Machine Deliver Powerful Performance

    A Perfect Circle made a stop on their current North American tour at the War Memorial at the Oncenter in Syracuse, NY on Sunday. The band is on the road as a prelude to their touted upcoming album to be released sometime in 2018. A new single, “Doomed,” was issued this past October to pacify the anxious fans. APC has not released an album since their 2004 collection of covers titled Emotive.

    The show started promptly at 7:30. Opening act The Beta Machine is on tour in support of their debut EP release All This Time. Despite a few technical difficulties, the band stayed calm and worked their way through a melodic and harmonious set. Bassist Matt McJunkins promised that he and drummer Jeff Friedl would be back in a few minutes before leaving the stage since they’re both in Keenan’s other spin off band, Puscifer, as well as A Perfect Circle.

    Between sets there were multiple warnings about the use of cell phones, cameras and other electronic devices resulting in ejection. This policy was hardcore. I got yelled at for trying to send a quick message to my son’s sitter in between the sets. Not sure who or what I was taking pictures or videos of when there was no one on stage, but be warned, they are very serious about this policy.

    A Perfect Circle took the stage behind a semitransparent curtain and led off with “The Package” from Thirteenth Step. The shadows of band members Billy Howerdel, James Iha, Maynard James Keenan, Matt McJunkins and Jeff Friedl could be seen moving around the stage; it was a pretty cool effect. A few notes into the second song, “The Hollow,” the curtain dropped. Howerdel was the most active, running around the stage, engaging fans. Maynard remained hidden in low lights and a cloud of smoke for much of the show. James Iha also remained in the background allowing McJunkins to take the lead.

    APC worked their way through a nineteen song setlist. Keenan’s vocals melded flawlessly with Howerdel’s and McJunkin’s on the John Lennon cover “Imagine” and the Brinsley Schwartz cover “(What’s So Funny ‘Bout) Peace, Love and Understanding.” The guitars and drums created a rhythmic grind in the politically charged “Counting Bodies Like Sheep to the Rhythm of the War Drums.” The live version gave me chills.

    The band did not take any breaks. Keenan paused only for a moment to introduce the band. Iha took the spotlight for a quick satire on the cold weather in Syracuse and they were right back to the music. They played a two-hour set that culminated with their new single, “The Doomed,” followed by “The Outsider” and they ended the evening with the softer melodic tune “Feathers.”

    Setlist: The Package, The Hollow, The Noose, Weak and Powerless, Rose, Imagine (John Lennon cover), By and Down, Thomas, (What’s So Funny ‘Bout) Peace, Love and Understanding (Brinsley Schwartz cover), Orestes, Vanishing, Magdalena, A Stranger, 3 Libras (All Main Courses Mix), Hourglass, Counting Bodies Like Sheep to the Rhythm of the War Drums, The Doomed, The Outsider, Feathers

  • Hearing Aide: The Nice Ones “The Nice Ones”

    “If there’s one thing that can be said about the album, it is that it is brimming with emotion,” said guitarist Sam McGarrity. Boy, he wasn’t kidding. This emotional direction is a new concept for this group, but that doesn’t mean they still haven’t lost sight of their style. I only say this because as good as their first track sounds, it is very misleading in terms of the direction of the album. As for the rest of their work, it’s well orchestrated, produced perfectly and gives each member a chance to shine.  One of their most notable traits is their ability to build upon ideas while keeping things linear. With rock based bands, things can get a little repetitive. But The Nice Ones never get comfortable and can keep things interesting throughout the entirety of a track.

    “Siren Song” is a surprising first start for the group. They’ve released two albums prior to this one and none of them are styled in the way “Siren Song” is, but loyal fans can rest assured that they haven’t lost their roots. With delicate instrumentation and Patrick Surdam’s fragile voice, the song acts as prelude which attests to McGarrity’s claim of the collection being full of sentimentality.  

    “Know Better”  jumps right into their rock and roll style with the only similarity being Surdam’s voice. It’s a straightforward and completely contradictory song to the the prior track. It has a great instrumental hook in the chorus and, again, the group has done a stupendous job of building an arc worth waiting for. There’s plenty of highs and lows to keep thing interesting in an otherwise very rudimentary song.

    “Good Kids” is dance worthy, glowing with positive energy and is a track that would be a tremendous hit in a live setting. The guitar hook is an ear worm, in a good way.  And once again, they create an arc in their song that builds in a direction that a new listener would never expect. This is undoubtedly one of their key tracks.

    Don’t be fooled,  “Surfer Girl” is not what it seems. The tone switches back and forth several times and ends in a way that’s completely different than the intro in terms of instrumental and lyrical content. Surdam first speaks of a girl that he “thought of kissing” and ends the song talking about how he should have killed this girl when he had the chance. This one will be listed as another key track because of its contradictory style and, once again, the incredible rise and fall of emotion.

    What I’m loving most about the album is how their songs never finish the same way they start. The only similarity is the key, and even that’s arguable. “John Honre Burns!” is one of the most dynamic tracks on the album and has an incredibly misleading intro.  The only other time we hear the sultry riff of the intro is half way through the track when it repeats and that’s it. After the second verse, the feeling of rage grows exponentially until the end of the song when it comes crashing down.

    Lastly is “Burn it Down,” the most anxious and chaotic track on the album. It leaves a bit of a bitter taste in the listener’s mouth considering what the tone was at the start of the album. It’s fast, rambunctious, but oddly good. McGarrity said this was an emotional track and anger is the emotion that this album was missing. Well, listeners will sure get their fill of anger with this one. It just isn’t a track most groups would place at the end of an album. Looking past that, it’s well orchestrated and a fun listen. 

    Although the album is “brimming with emotion,” it is a little sporadic. This isn’t an album that people will listen to from beginning to end; it’s too all over the place. I encourage people to riffle through the album to find something they like because there really is something for everyone.

    Key Tracks: Siren Song, Good Kids, Burn it Down

  • Doyle Bramhall II Brings the Heat to the Westcott

    When Doyle Bramhall II comes to town, you make a point to attend the show. Bramhall, who has collaborated with such prominent musicians as Eric Clapton, Sheryl Crow, Tedeschi Trucks Band and Roger Waters, put on a scorching show at the Westcott Theater in Syracuse on Wednesday. For someone of such prominence in the music world, it’s a shame the house wasn’t full. Those who were in attendance, however, were appreciative of what they were about to witness. Many of those present represented a who’s-who of the Central New York music scene.

    Doyle Bramhall II is touring in support of his 2016 Concord Records release, Rich Man, his first solo album in 15 years, along with his superb band (Anthony Cole on drums and sax, Adam Minkoff on keys and guitar and Ted Pecchio on bass.). Bramhall’s style takes its influence from the blues and jazz as well as world music.

    The opening number, a cover of the Serge Gainsbourg and Jean-Claude Vannier title track from the 1969 film Les Chemins de Katmandou, set the tone of the evening early. The chattiness of the crowd was self-policed, putting the focus entirely on the magic that was happening on stage.

    Doyle Bramhall

    Doyle is a left-handed guitarist who plays with right-handed stringing on a guitar flipped upside-down. This unique style of play makes for some interesting sounds.

    While Bramhall let his influences fly with some select covers, including George Harrison’s “Let Me Down,” Johnny “Guitar” Watson’s “I Get a Feeling” and the Isaac Hayes instrumental “Hung Up on My Baby,” his unique style and interaction with his band mates showed that this is a band in a groove and ready for bigger things.

    Bramhall’s originals framed the set. “My People,” from his latest, revealed Bramhall’s Middle Eastern influences and served as a great transition from “Les Chemines de Katmandou.” After the intro, the song moved into a more typical blues style, reminiscent of Bramhall’s friend Joe Bonnamassa.

    Speaking of Bonnamassa, rumors circulated throughout the night that the blues legend may be in the house, as he and his band were performing in nearby Ithaca the following night. While Smokin’ Joe didn’t appear at the Westcott on this evening, his band was in attendance to take in the show.

    Bramhall and his band worked the crowd musically and sarcastically. When enthusiastic fans began shouting out requests, particularly songs from his tenure with Arc Angels, a band that included Charlie Sexton and the members of Stevie Ray Vaughan’s Double Trouble. Bramhall responded with a spectacularly sarcastic, “That’s right, just shout out anything. We’ll play it,” only to tease a few notes of one particular blues song until abruptly stopping, saying, “Sorry, we don’t really know that one.”

    As the night wore on, Bramhall worked in more originals from his latest, revealing his guitar prowess as well as the expertise of his band. While most blues based electric guitarists can claim Jimi Hendrix as an influence, Bramhall revealed that Hendrix is not only an influence but a kindred spirit. Bramhall’s left-handed style emulated Hendrix and at times, he used feedback as a voice in his songs. This was explicitly realized in his set closer “The Samanas.”

    The band closed out the night with a joyful , psychedelic rendition of the Beatles’ “She Said, She Said” that had the crowd singing and dancing along to it.

    Bramhall is a musician with superior skills and a lineage to be envied. His solo work is on par with the best in the game and deserves to be more widely heard. It is highly recommended to check him and his superior band out in a live setting.

    Opening act, Althea Grace, an artist produced by Bramhall and part of the Concord Records stable of musicians, performed a solid acoustic set inspired by artists as varied as Led Zeppelin and Brandi Carlisle.

    Check out Bramhall’s fan-shot set closer, “The Samanas” below:

    Doyle Bramhall II Setlist:

    Les Chemins De Katmandou (Jean-Claude Vannier & Serge Gainsbourg cover), My People, The Veil, Keep You Dreamin’, Hands Up, I Get a Feeling (Johnny “Guitar” Watson cover), Mama Can’t Help You, Let It Down (George Harrison cover), Rich Man, Hung Up on My Baby (Isaac Hayes cover), New Faith, The Samanas

    Encore: She Said She Said (The Beatles cover)

  • Ron Gallo and Naked Giants Blow the Doors Off the Bug Jar

    “I don’t know why there’s anyone here but it’s fucking awesome,” said Ron Gallo a few songs into his blistering rock and roll set at the Bug Jar in Rochester. “I thought the rule was, the first time you play a place only three people show up…”

    But this show, from top to bottom, was in complete defiance of all rules. As that’s the very definition of punk, it was very fitting that the show ended with both Ron Gallo’s trio and their tour mates, Seattle trio Naked Giants, all on stage, mostly shirtless, romping through The Stooges’ “TV Eye,” screaming and thrashing about the stage like a group of maniacs.

    Rules likely also dictate that the opening band will be some half-baked group of local musicians defiling gems from The Stones or trying to work up yet another rendition of “Crazy.” But on this night, the crowd was treated to 40 minutes of excellent original songs from Rochester’s Dangerbyrd. Mixing blues, country and early 60’s psychedelia, they settle comfortably near the sounds of The Band and Credence Clearwater Revival, keeping it simple while nailing it in the process.

    Next up were the aforementioned Naked Giants, a trio of Gianni Aiello on bass, Grant Mullen on guitar and Henry LaVallee on drums. They played with a frenetic energy, going after every single note with reckless abandon, completely untethered. The set began with a noisy, effects-laden jam, swimming in cymbal crashes. Aiello danced about the stage, somehow still keeping total control of his bass sound which, at times, he seemed to be changing with every other pluck of the strings. They weren’t a band to follow the rules either. The bass was as much a lead as the guitar was and traditional song structure took a back seat to rhythm and pure enjoyment. No one was having more fun than the three on stage.

    The small stage couldn’t contain LaVallee’s excitement when, just a few songs into the set, he kicked the back door open and ran outside mid-song, the first of many times that door would swing open that night. Mullen shredded impressively throughout their set which included songs like “Slow Dance 2,” “Pyramids,” “Twist” and the closing White Stripes-esque “YaYa.” The energy was infectious and the mostly unfamiliar crowd was smitten by set’s end.

    By the time guitarist Ron Gallo and his trio (bassist Joe Bisirri and drummer Dylan Sevey) took the stage, the crowd was at a fever pitch. Gallo played off of this by stepping to the mic, monotonously and stiffly reading from a piece of paper: “My name is Ron Gallo. That is also the name of our band. We are excited to be at the Bug Jar in Rochester New York, one four six oh seven. Thank you and enjoy yourself.” It was the calm before the storm, immediately followed by fuzzed out bass blasts and a heavy guitar jam. Usual rock show protocol would dictate that the guitar player wouldn’t jump into the crowd until late in the show, but Gallo was jamming from within the crowd before the first song even started.

    The entry jam lead into an opening combo of “Put the Kids to Bed” and “Kill the Medicine Man” off his stellar new album, Heavy Meta. They mixed tracks from the album together with new songs (“Man Keep Your Hands on Your Pants”), older songs (“Really Nice Guys”) and covers (Des’ree’s “You Gotta Be”). When “All the Punks Are Domesticated” got called out from the crowd, Gallo responded,”…is the name of the next song we’re going to play” and launched into it without missing a beat. During the slow dripping, heavy blues of “Black Market Eyes,” Gallo followed LaVallee’s earlier lead and left the stage out the back door. 30 seconds later he returned running through the back of the crowd and back on stage to rejoin the band for a another heavy rock jam.

    The racing train car of a rock show finally went off the rails during his solo on “Young Lady, You’re Scaring Me.” He once again went out the back door, this time mid-solo, and with his guitar, continued to play outside on Monroe Avenue. He eventually reentered the room, bringing along the boys from Naked Giants as well as a couple of other new fans off the street. The two bands shared the stage as a double-trio for raucous versions of “Sorry Not Everybody is You” and “Age of Information” from a split EP they released together earlier this month. They followed that up with a through-the-roof cover of The Beatles’ “Helter Skelter” which was a meta (heavy meta?) description of exactly what was happening. Playing the denouement to that climax, the six were prompted to play one more song, which brings us back to the shirtless and thrashing “TV Eye.”

    Ron Gallo Setlist:
    Intro > Put the Kids to Bed > Kill the Medicine Man, Man Keep Your Hands On Your Pants, Really Nice Guys, Please Yourself, Black Market Eyes, All the Punks Are Domesticated, You Gotta Be (Des’ree), It’s All Gonna Be OK, Temporary Slave, Young Lady You’re Scaring Me, Sorry Not Everybody is You*, Age of Information*, Helter Skelter (Beatles)*
    E: TV Eye*
    *with Naked Giants