NYS Music 20​17

Category: Show Reviews

  • Boogie Low Holds Album Release Party at the Westcott Theater

    On March 18, Boogie Low took the stage at the Westcott Theater in Syracuse, NY for the release of their highly anticipated, self-titled debut album. With Matthew West (lead guitar/vocals), Loudon Smith (rhythm guitar/vocals), Tommy Dennis (bass guitar), and Brandon Au (drums/percussion). The energy was electric as you walked through the doors with Syracuse natives Barroom Philosophers, who kicked the night off with a set filled with groove heavy funk/rock tunes.

    boogie lowIf one observation from the night was made, it was that the crowd came to dance. Boogie Low opened their set with “Eldin,” a fan favorite, and cheers rang out as they began jamming through their reggae influenced brand of jam rock. Each song was met with enthusiastic cheers from their loyal fan base, and it was clear why so many people braved the cold for this event.

    Vocalist Loudon Smith emphatically thanked the fans for the continued support they’ve showed and was genuinely grateful to experience such a positive response from the crowd. Boogie Low jammed for nearly two hours, playing favorites like “Mckenna” and “Walk On,” and also introduced live for the first time ever “Dirt Nap” from their new album. They also invited David Koegel of Barroom Philosophers on stage to add his exceptional vocals to “Shadows” which sent the crowd into a dancing frenzy, and the night came to an end with an encore of Grateful Dead’s “Love Light,” leaving the audience longing for more.

    This was an event that won’t be forgotten, and the positive vibes and energy radiated off the crowd as they emptied into the cold Syracuse night. If you are a fan of reggae and rock acid fusion I strongly suggest making it to one of Boogie Low’s upcoming shows, where you can purchase their new album “Boogie Low.” It will also soon be available on Spotify and iTunes. You can catch Boogie Low at JP’s Tavern in Baldwinsville NY on March 25 and Funk ‘n Waffles in downtown Syracuse on April 21. Get your tickets for their show on April 21 with Mosaic Foundation here.

    Setlist: Eldin Back 2 Nothing Amie Mckenna Dirt Nap Roots, Walk On, Tommy’s, Better Way, Miss Bliss, Better Days, Land Ho, Trust Ourselves, Colas in the Sky, Mystic River, Shadows, Mexico

    Encore: Turn on Your Love Light

  • Consider The Source, Felix Martin and Ampevene: PROG Rock Nation at The Hollow

    It was a night of pure psychedelic/prog rock heaven at The Hollow in Albany on Saturday, March 18 as the musical explorations of Ampevene, Felix Martin and NYC-based headliner Consider the Source took the stage to an enthusiastic crowd of the band’s faithful fans.

    First to take the stage was Ampevene, a locally based quartet founded by guitarist Gabe Stallman. The band’s roster includes Mack Hogan on bass, Darryl Kniffen on drums/percussion, and Ava Smith on keyboards. Their sound is a self-described eclectic mix of free form frenzy, jagged riffs, and hypnotic rhythms. Ampevene was formed in 2013 and since it’s inception has played Albany’s coveted Lark Street festival in 2015. They also have produced three EPs, the latest of which is entitled Rometheu which the band chose as the opener for the show. It was one of the only times throughout the night they blended lyrics with the incredible instrumental skills of the band. One of the high points of the hour long set in my opinion was the use of imaginative sounds that were crafted by talented keyboardist Ava Smith. They provided a beautiful sonic layer that enhanced the psychedelic musical experience that Ampevene created early in the evening.

    After a brief break in the action the musical journey continued with the talent of Venezuelan guitarist Felix Martin whose claim to fame is being able to simultaneously play two guitars at once. His website describes his amazing skill in this way, “Felix uses his self-designed 14 and 16-string guitars, which are two regular guitars in one, in a way never seen or heard before.” Felix and his band which is comprised of bassist Killian Duarte and drummer Victor Carracedo are currently wrapping up their 10 date tour with Consider The Source while promoting their newly released album Mechanical Nations.

    Felix and his band started their show with “Carnat,” which showcased the slap style guitar playing Felix is renowned for on an instrument that looks like it was cooked up in Frankenstein’s lab. Two separate guitars attached together at the neck in a most unnatural way, but yet yields wondrous results at the hands of guitar virtuoso Martin. Up next was newly released “Bom,” which illustrated how tight the band plays as an ensemble ever pleasing the crowd with it’s upbeat hypnotic tempo. Midway through the show bassist Killian Duarte aptly stated to the energized audience “Let’s keep things heavy and proggy” and they did not disappoint. The tone of the show was aggressive with the three piece creating a wall of sound that was reminiscent to Primus, featuring lots of chest cavity pumping bass with head bouncing percussion.

    Last on the bill were headliners Consider the Source, the NYC power trio, whose credits since their formation in 2004 include playing Burning Man, Gathering of the Vibes, Catskill Chill, and numerous other nationally renowned music festivals took the stage. CTS is comprised of Gabriel Marin on fretless doubleneck guitar, bassist John Ferrara, and drummer/percussionist Jeff Mann. Consider The Source’s music showcases a Middle Eastern flair and features pieces with hypnotic melodies such as set opener “Aquarians.” The sonic landscape that filled the room took the audience on a mystical journey into unchartered territory with pieces such as “Closer To Home” and “Abdiel.” The enthusiastic crowd seemed transported to the desert with female spectators breaking out in impromptu belly dancing reminiscent of some ancient Bedouin tribe. The musical menagerie that is Consider The Source is deceiving in its sound, with multi-layered and complex rhythms; it easily feels like these sonic sculptures could have been created by a band twice its size. The craftsmanship and camaraderie of the band was obvious and while CTS was playing early in the set, both previous opening frontmen Gabe Stallman from Ampevene and Felix Martin stood by appreciatively taking in the show in the nearby wings along side the captivated audience.

    Consider the Source’s next local performance will be on May 5 at the Putnam Den in Saratoga Springs. They will also be featured at this year’s Disc Jam festival June 8th- 11 in Stephentown NY.

    Ampevene Setlist: Romethu, Ottro Jam, Tracalysis, Intro Jam, Tumultuous, Valencia

    Felix Martin Setlist: Carnat, Bom, Bom Continues, Eight Moon Headress, Nomadic Tree, Santos, Barquisimetal, Flashback

    Consider The Source Setlist: Aquarians, Many Words of Disapproval, Keep Your Pimp Hand Strong, Closer To Home, Abdiel (Second 1/2), (Good Point) Wandering Bear, A Monument To Compromise, Blue Steel

  • Yarn Performs at Albany’s Parish Public House

    Brooklyn, NY based Yarn stopped by Albany’s Parish Public House on Thursday, March 16, and played to an excited “home” crowd. Yarn boasts not one, but two capital region members. Band leader Blake Christiana is from Schenectady, NY and Trevor MacArthur on vocals and guitar is from Clifton Park, NY. The crowd was excited to hear many of the songs from their 2016 release This is the Year, as well as old favorites. They closed out the evening with Jim Croce’s “Bad, Bad Leroy Brown,” leaving the stage to join the crowd for very well received last song.

  • Flashback: Phish at the Binghamton Forum, 25 Years Later

    On a Friday night in late March of 1992, the 20th to be exact, everything changed. Phish had more or less hooked me the prior July and I had worn through my tapes of Junta and Lawn Boy and the handful of bootlegs I had acquired. The band’s major label debut on Elektra, A Picture of Nectar, had just been released in February and that ragtag collection of songs, new and old, was also quickly absorbed into my consciousness. After a couple of missed opportunities, I finally found myself at a real live Phish concert.

    Listen along to a SBD of Phish from March 20, 1992 at the Binghamton Forum, courtesy of PhishTracks.

    Back in those days, before the internet and instant satisfaction, there wasn’t much available to prepare for such an experience. No Phish.net. No YEMBlog. No YouTube videos. No LivePhish. No listening to the show from the night prior, week prior or many months prior. More or less, I was going in blind.

    Nine month’s worth of anticipation and my excitement was bubbling over. Driving to the venue with my friend’s father, who was equally geeked, he was spouting off comparisons to Zappa (over my head) and telling of how he heard they jumped on trampolines in rhythm with music. Taking a pre-show bathroom break, I suddenly was peeing next to a few giggling hippie college girls. They were climbing in through the men’s bathroom window, sneaking into the show. This was an event, this was a happening and it seemed it wasn’t just me feeling it.

    The band took the stage in darkness. They broke the silence with a pair of deep monotonous notes, repeated a few times. Then a creepy falsetto “Wiiiiiiiilson” rang out and white lights hit Trey and Mike’s faces from below against the dark background. It was like a scene out of Spinal Tap or reminiscent of “Bohemian Rhapsody.” Spooky, theatrical, campy. I knew of Wilson the character from other songs like “Lizards” and mentions of Gamehendge in A Picture of Nectar‘s liner notes and elsewhere, but I had never heard or knew of the actual song “Wilson.” In this light, I was freaked out by this opening sequence. I didn’t know what the hell was going on, but I loved it.

    My newb-iness would shine through repeatedly throughout the first set. Phish had just released Nectar, but it was a prolific period for them and they were already working out the material that would later become their next release, Rift. Though “Brother” wasn’t on Rift and it was heavy in the rotation dating back to the fall, it was new to me. Trey introduced it by making a joke about the orchestra pit in front of the stage. “This is the alligator moat up here, make sure you don’t fall into it.” Later they even changed the lyrics to “alligator pit.” None the wiser, I assumed the name of the song was “Alligator Pit,” a mistake that lived on months later when I acquired a recording of the show. I can still remember those tapes, with the deep red cover and Jim Pollock artwork, and the third song mislabeled as “Alligator Pit.” Later in the set, they would play the new song “Maze,” though I thought they were singing “living in outer space” and I can remember my friend and I dancing around the aisle singing along with the final chorus, “We’re living in outer space!” That was also mislabeled on my tape. Another new song, “Mound,” had bassist Mike Gordon purposefully goading the the crowd to clap along to it’s simplistic blues beat before mixing it up and leaving the crowd clapping instead on the off beat. Fooled again! After wild runs though complex and head-spinning material, when they landed on “Mound” I felt a bit of a relief with something a bit more straightforward. But that quickly went out the window when what I thought was a blues number turned into a zany, genre-less romp. It was like a “Mike’s Corner” column come to life.

    The first set was stocked full of Phish’s signature intricate instrumental gymnastics with “Reba,” “Glide,” the newly minted “Rift,” “Fluffhead,” “Lizards” and the set-closing “Run Like an Antelope.” Each was executed flawlessly. These are my baselines – when they can’t dismount on those or their ilk, points are deducted. Second song into the show and I was presented with a top-notch “Reba.” My baseline “Reba.” If it isn’t at least as good as this one, it isn’t all that great. And this one was incredible. A jam I know so well I can sing along.

    This whole show would serve as my Phish baseline. The versions of these songs would be what I would judge every subsequent version. The energy at this show was the energy upon which I would judge all others. This show, these versions and these memories hold up after countless listens 25 years and 100 shows later. It was a great show with unique touches throughout, setting a high bar to hurdle for future shows. It’s like eating your first barbecue at the Dinosaur BBQ, which I also did around this same time. While it isn’t necessarily the best, it sets an unusually high bar for the rest.

    And the care free, off-the-wall energy exhibited at this show is also my baseline. Drummer Jon Fishman came out to play trombone during “Antelope” and played a bagpipe hooked up to a vacuum cleaner during a cover of Syd Barret’s “Terrapin.” Weird and wild! They ended the show with instructions for a secret language intent on confusing random concert-goers. What in the holy hell?! The language was prompted by musical signals. One of the signals was the theme song from my favorite TV show at the time, The Simpsons, and I was blown away. These guys like what I like! When you’re a sophomore in high school, that is the pinnacle of cool. Another signal had the entire crowd and band simultaneously falling to the ground. I didn’t realize you could smile and laugh so much and so heartily at a music show. These guys were crazy and played by their own rules. And I loved it!

    After one near 90-minute set, I could have left and been completely satisfied. But it was only half over. And that second set started with “Mike’s Song.” It has been my favorite song to see live for as long as I can remember and I trace it, once again, back to this baseline show. To see “Mike’s” in those days was to see the perfect amalgamation of Phish’s energy, music and wackiness. On this night they opened with a hearty tease of Yes’ “Roundabout.” As an avid consumer of classic rock radio at the time, my heart almost stopped. Would they?  They wouldn’t. But what they did do… oh boy. Here came those trampolines my friend’s father spoke of. The stage was filled amply with smoke. Strobe lights flashed revealing Mike and Trey’s bouncing shadows amidst the white-out. The smoke would engulf the first handful of rows at least and the pounding bass, swirling organ and powerful drumming were your only guides. Some fans these days clamor for the return of the so-called ‘second jam,’ but I would rather see the the return of tramps, smoke and strobe lights during “Mike’s Song”. Trey’s guitar solo was drenched in feedback, bringing the energy to a fever pitch. Heavy, dark and glorious. I think my eyes may have just glazed over. The rest of the set was a blur of more oddball, genre-jumping, rule-breaking signature Phish-iness. Trey was certainly the hero, even if it was Mike’s birthday. But it was a lot of high-pitched noodling to absorb in one night for this sixteen-year-old. By the time their blistering cover of “Fire” closed out the night, my head was spinning from all the guitar. I had had my fill and was ready to go. But the next morning, I was primed and ready to go again. Fortunately, it would be less than two months later that they’d be playing my hometown for show number two.

    25 years and 100 shows later, here I am. The sheer volume of music introduced to me through this band, both directly and tangentially, be it Frank Zappa, bluegrass, jazz and so much more, makes this first show much more than just a first show, but a defining moment in a lifelong musical journey.

    Setlist via Phish.net

    Broome County Forum, Binghamton , NY

    Set 1: Wilson > Reba, Brother[1], Glide > Rift, Fluffhead > Maze, The Lizards, Mound > Run Like an Antelope[2]

    Set 2: Mike’s Song > I Am Hydrogen > Weekapaug Groove [3], Sanity[4], The Sloth, The Mango Song > Cavern, Uncle Pen, Harry Hood, Cold as Ice >Terrapin[5] > Cold as Ice, Possum > Secret Language Instructions[6] > Possum[7]

    Encore: Lawn Boy, Fire

    [1] Lyric changed to reference “alligator pit.”
    [2] Fish on trombone and Simpsons signal.
    [3] Oom Pa Pa and Random Note signals.
    [4] Band and crew nicknames shouted in intro. More names mentioned in ending vocal jam.
    [5] Fish on Bag-Vac.
    [6] Simpsons, Random Note, Turn Turn Turn, and All Fall Down signals introduced with Bowie being played in background.
    [7] Two Simpsons signals and an All Fall Down signal.

  • Garth Brooks and Rabid Albany Crowd Show Love For One Another

    It sure didn’t feel like a Sunday night in Albany’s Times Union Center on March 12, as the Garth Brooks World Tour played its third and final night at the Capital Region venue. Garth’s three hour set, which also featured his wife and country/food network star Trisha Yearwood, had the whole arena shaking, testing the building’s foundation.

    garth brooksFans ate up and reacted thunderous to everything Brooks did on stage, prompting him to scream and raise his arms in triumph, like a MMA fighter winning his match after every song. The atmosphere that was created between fans, and one of the best entertainers, not only in country music, but the music industry itself, has to be experienced in person. Brooks sounded amazing; his powerful country southern twang just draws you in and almost hypnotizes you with every lyric he sings, especially on hits like “The River,” “Unanswered Prayers,” and “The Thunder Rolls.”

    I’ve never seen so much love and admiration between fans and an artist like Brooks. Brooks is such a class act and in a league of his own when it comes to an artist, caring for his fans. During Brooks set, he admitted that back in 1992 when he first came to the Capital Region area, he was afraid, because of the stereotypes of the Northeast, but it’s nights like this, that prove all of that wrong, and that country music is well received in the area.

    The energy in the building was unbelievable. Brooks constantly ran around the arena-width round stage set up, while waving and howling at fans. Every fan in the building, reacted to every first note, and sang every word, to every song. The fans were so vocal on every song, the tour should be renamed “Sing along with Garth and Trisha.” Fans at times even drowned out Brooks, when he performed and talked to the crowd in between songs. The crowd was so loud in singing his songs, it felt like a 17,000 plus choir that was part of the show.

    Garth was so amazed by the crowds participation, he said to them that they were singing his songs, like it was their songs, and if they keep singing like this, he’ll stay and play all night.

    When the night was over, fans leaving the arena were on a natural high, as they sang “Friends in Low Places,” together as they filed down the staircases leaving the Times Union Center.

    After openers Karyn Rochelle and Chris Lane, opened the show with solid performances, all that stood in the way of fans, from Brooks, was a countdown clock to Garth. As every second inched closer, the Times Union Center began to vibrate.

    A brief video package started playing on the video wall backdrop, reflecting Garth’s career and the achievements he’s earned throughout, The video wall lifted to reveal Garth’s band, as Brooks shot up on a platform from underneath the stage. Brooks started his extensive set with “Baby Let’s Lay Down and Dance,” followed by “Rodeo.” By the second line in the first verse in “Rodeo,” Brooks realized quickly that the vocal fans in Albany meant business, as he yelled to fans “Oh you came here to sing!”

    garth brooksOnce the song ended, Brooks said to the crowd “Thanks again people, it’s been 20 years since we been back, thank you [the fans] for coming back.” Brooks then went on to say that fans were going to get everything that the two previous nights saw, and more.

    Brooks spoke briefly about when he goes to concerts as a fan, he wants to hear the old stuff, and know fans feel the same when wanting to hear their favorite songs when coming to a show performed by their favorite artist. He then told the crowd that he and the band brought all their old stuff with them. Brooks then joked to the crowd “Speaking of old stuff, you got to remember, I’m like 117 years old. The only way this big ass is gonna get through this night, is your gonna have to pick me up and carry me over the finish line.” Brooks then said to the crowd before playing “The River,” “We can talk about the old stuff all night, let’s find out who knows the words to the old stuff.” Cell phones started to light up for this song, as the crowd sang along.

    Fans held their breath for a brief moment as Garth’s high energy convinced himself to climb to the top of the sphere like structure that surrounded his drummer during the song “Ain’t Goin’ Down (‘Til The Sun Comes Up).” Amazed on how hot the crowd has been through the night, Brooks said to the crowd “This is a Sunday Night?”

    Brooks conducted a 2 minute scream off between fans in attendance, on what section of the arena could be the loudest. Brooks double pointed at each section like a gunslinger drawing his weapons.

    garth brooksGarth stood in awe, took off his cowboy hat, and applauded the audience after they sang “Unanswered Prayers,” with him in a magical performance.

    Fans went crazy when they heard the sound of thunder starting to roll. Garth talked about how the next song didn’t catch on right away, and it took a while for it to eventually become a hit. As he started singing the first verse of the song, Garth, hearing fans still singing right on cue with him told fans to “Bring It.” Everyone could not get enough of Garth and reacted to every gyration, note, and crash.

    garth brooksTrisha Yearwood soon took over the show, and gave her husband a breather. Garth did stay on stage and play some guitar during her set.

    Yearwood started off with “XXX’s and OOO’s (An American Girl).” Yearwood stated after the song that they had the best weekend performing in Albany. She said “It’s been loud, it’s been fun, you have been singing every word. It’s been incredible, thank you, thank you, thank you for a great weekend Albany.”

    Yearwood told the crowd that she’s been listening to them sing, and that they sounded really good, and asked, if they knew the next song, to please sing it with her. She continued that the song has a really high note in it, then joked to the crowd “So I’m expecting a lot.”

    Fans then held it down throughout Trisha’s amazing vocal performance of “How Do I Live.” Yearwood slowly made her way around the stage giving all fans in the arena a glimpse of her as she waved. When she came full circle, Yearwood turned the ending of the song over to the Albany fans. She held the mic in the air and said “It’s on you Albany.” In that instance, a breathtaking concert moment was created as fans did not let Yearwood down including hitting the high note she talked about. Yearwood said after the song, “Even the high note Albany, great job.”

    For those of you who know the lyrics, a real life Katie and Tommy in the crowd holding a sign, caught the attention of Yearwood as she was explaining the rules of the kiss cam for the upcoming and last song in her set “She’s In Love With The Boy.” Yearwood brought them up on stage for the song. Couples were kissing and dancing as Trisha sang the feel good song. After the song, Katie and Tommy walked away with not only one hell of a memory, but Yearwood autographed her sign, and not to be outshined Brooks autographed the guitar he was playing and handed it over to the couple.

    Garth returned with a cover of Billy Joel’s “Shameless,” and “Callin’ Baton Rouge,” before performing “Friends In Low Places.” As Brooks hit the first note, the place erupted. The crowd was at peak singing volume and insanity at this point. Fans received a special treat during the song as Garth explained to fans, that on the new World Tour, he and the band, don’t perform the third verse of the song. He then stated “I am thinking though, it’s the last night here. It has been 20 years since we been back here.” Brooks then joked that still wasn’t enough before stating “But when you think about a Sunday night, kicking the shit out of any other Saturday night…that’s enough reason to say screw it, let’s do the damn thing, so New York if we’re going to break the rules, I got to hear you sing this as loud as you have ever sang before.” Confetti cannon’s shot white streamers over the crowd as the song ended.

    Garth came back out for an encore. Before he got started, he thanked fans for coming out and wished those who needed to leave cause they have work tomorrow, safe travels.

    A lot of artist should take note from Brooks, and change the norm of an encore if you perform all your hits during your set. Brooks said to the crowd, “For you guys who may never have been to a Garth show…if I’m lucky enough to get to this position after the show is over… people will bring their signs, and they will bring them out here for songs that maybe they didn’t get to hear during the show, sometimes like album cuts. So let’s see what we can do here.” Brooks then scoured the signs for songs and made brief comments to fans holding signs that he chose. In all, Brooks performed seven tracks from the audience’s wish list.

    An impromptu second encore started with an amazing version on Billy Joel’s “Piano Man.” Garth stated he only pulls out the guitar he his holding on special occasions to perform this one song. It was the perfect song to fit the mood of the evening. Garth once again took his cowboy hat off and bowed to the crowd for their appreciation and admiration, after the song concluded.

    Brooks again stated to the crowd “Ok, same speech as before, but now it’s 11:00 at night. For you people who have to go, thank you for a tremendous evening, for a tremendous weekend. For you people who can stay…I’m gonna play more music for you all night.” At one point, the crowds enthusiasm, prompted Garth to say “Are you motherfucking kidding me?” Brooks lowered the mouthpiece on his headset mic, so the curse word didn’t come through the PA.

    Before running off more covers, Brooks said that he was going to play songs by some of the greatest voices in country music. Brooks stated to the crowd “You guys always get a bad rap, people don’t think you know your country music. I know, you know country music.”

    He went to talk about that after so many years in the business, he considers himself one of the old guards, he self imposed on himself the responsibility, to make sure the newer generation, knows some of the greatest country vocalist that he knows. Brooks played covers by Keith Whitley, George Straight, and Randy Travis,  before ending the night with “Standing Outside the Fire.”

    Garth Brooks World Tour Setlist: Baby Let’s Lay Down and Dance, Rodeo, Two of a Kind, Workin’ on a Full House, The River, Two Pina Coladas, Papa Loved Mama, Ain’t Goin’ Down (‘Til The Sun Comes Up), Unanswered Prayers, If Tomorrow Never Comes, That Summer, The Thunder Rolls, In Another’s Eyes, XXX’s and OOO’s (An American Girl), How Do I Live Without You, Prize Fighter, Georgia Rain, She’s In Love With The Boy, Shameless, Callin’ Baton Rouge, Friends in Low Places, The Dance

    Encore 1: When You Come Back To Me Again, Wild Horses, Belleau World, The Red Strokes, Fit For a King, Much To Young (To Feel This Damn Old), More Than A Memory, Piano Man

    Encore 2: Don’t Close Your Eyes, Amarillo By Morning, I Told You So, Standing Outside the Fire

  • South Africa’s Cultural Ambassadors Amaze the Quick Center

    It was an absolute honor and pleasure to see this iconic group of musicians Ladysmith Black Mambazo play such a humble venue as the Quick Center in Fairfield, CT. They were not only baffling to listen to, they were visually astounding. Dressed in brightly colored shirts, dark pants and white shoes, they danced around in unison and improvisationally in the most entertaining way. They were well rehearsed, full of energy and had a  great sense of humor. 

    Those not familiar with the group might recognize them from the highly respected Paul Simon album, Graceland, among a plethora of other widely recognized artists. More info on the band can be found in an interview with NYS Music and one of the founding members, Albert Mazibuko. Listeners can appreciate the beauty of the music for themselves by finding their copious amount of music available for download on their website, iTunes and Spotify.

    The group consisted of mostly  replacement members and only two members that were with the original group. Taking the place of founding member Joseph Shabalala, were his two sons, Thamsanqa Shabalala and Sibongiseni Shabalala, who were a perfect fit for the group as it moved into it’s sixth decade. Other members included close and extended family, all of whom did an immaculate job.

    Unfortunately, Ladysmith already made their rounds through New York and Connecticut, but they are always touring and will undoubtedly run through the tri-state area again soon.

    Their music wasn’t really the most fascinating part of the show, though. Although it was more than impressive, their presence and personalities made it the extravagant performance that it was. At first, it was almost uncanny how close they sounded to their studio recordings. But what was more astounding was they didn’t need to listen to the key of the song they were going to sing. They just dove right into it and all nine of them were all in sync and on the same key. It goes to show how well rehearsed and passionate they are about about their music as well as what it represents. Some amount of improvisation was used in terms of their singing and dances. The rest of the group would vamp over the chorus while members would take turns stepping forward to center stage and show off some moves. They would perform both native dances as well as some modern and comical moves coming from the younger members.

    They mostly performed songs from their most recent album, Walking In the Footsteps of Our Fathers which they described as a celebration of the group’s past present and future. They said it is a way for the future group to honor the paved path made by their predecessors. They featured many of their own popular recordings like “Awu Wemadoda, “King of Kings” and “Long Walk to Freedom”  as well as some of their most popular songs like “Homeless, and the intro to “Diamonds In the Soles of Her Shoes,” both of which were written alongside Paul Simon. Preceding the songs, members would tell a quick story or explanation behind the creative process and meaning of the songs. These stories clearly gave the audience a better understanding of the songs as well as the visuals performed by all members. The show was stimulating to almost all of the sense and is definitely something everyone should experience in their lifetime.

  • Phil Lesh & The Terrapin Family Band Slip into Winterland ’77

    On the eve of a massive blizzard in the Northeast, on Monday, March 6, and after the dreaded “spring ahead” of Daylight Saving Time, Phil Lesh and The Terrapin Family Band took to the stage of Brooklyn Bowl to fall back into time, specifically, to recreate a June 7, 1977 at the Winterland Arena in San Fransisco, California.

    Honestly, I’m not positive when it was announced that the TFB would be recreating this iconic show in its entirety, but the fact that it coincided with the aforementioned weather and skip in space-time continuum was, if nothing else, extremely amusing to a few of us in attendance. Joined by Eric Krasno of Soulive, the Terrapin Family Band sounded fresh and eager, breathing new life into a set of Winterland ’77 that is nearly 40 years old.

    winterland '77Without hesitation, I will attest to having heard this show many times. I own the box set and collected the bootlegs. But for a few hours last night, I hung on every note with anticipation of what was to come next. And that is the large part of the appeal, to what is, the expansive catalog of the Grateful Dead. Even after all these years and incarnations and cover bands and the like, there just might be something new around the corner when you least expect it.

    Grateful Dead Live at Winterland Arena on June 7, ’77

    Set 1: Bertha, Jack Straw, Tennessee Jed, Looks Like Rain, Peggy-O, Funiculi Funicula, El Paso, Friend Of The Devil, The Music Never Stopped

    Set 2: Scarlet Begonias, Fire On The Mountain, Good Lovin’, Candyman, Estimated Prophet, He’s Gone, Drums, Samson And Delilah, Terrapin Station, Morning Dew, Around And Around

    Encore: Uncle John’s Band, U.S. Blues

  • Al Di Meola Celebrates New and Old Songs at Paramount Hudson Valley

    A steady crowd gathered for a musical treat as guitar virtuoso Al Di Meola brought his tour to a close on its last stop at Paramount Hudson Valley on Feb. 26. His stop at the historic Peekskill theater in support of his latest release Elysium, also marked a celebration of the 40th anniversary of one of his first releases Elegant Gypsy.

    S Malinski - Al Di Meola - Paramount Hudson Valley-3

    Before starting his first set, Di Meola took a couple of minutes to introduce his band, most of whom he has known or played with for many years – Philippe Saisse (keyboards, marimba), Gumbi Ortiz (percussion), Elias Tona (bass), Luis Alicea (drums) and Evan Garr (violin). Kicking off with the fast-paced and melodic “One Night Last June,” the first set intertwined tightly-knit improvisation traded between band members with Di Meola’s brilliant songwriting. Before wrapping up the set the theater was treated to a throwback to Di Meola’s days as a teenager playing with the prog supergroup Return to Forever with “Medieval Overture.”

    S Malinski - Al Di Meola - Paramount Hudson Valley-8

    As skilled as Di Meola is on electric guitar, he is equally talented on acoustic guitar and started the second set with a few acoustic songs by himself and later with some help from the rest of the band. He opened this portion with a work-in-progress titled “Ava’s Dream Sequence,” inspired by his daughter. Leading back into the electric portion of the second set was a teaser of Led Zeppelin’s “Black Dog.” The set was exciting with a looser, more improvised feel to it focusing more on his older compositions/collaborations.

    S Malinski - Al Di Meola - Paramount Hudson Valley-2

    Perhaps the most appreciable part of Di Meola’s performance was the career-spanning diversity of the setlist. Not only did he perform songs from early in his career including a few from Elegant Gypsy (to mark that album’s 40th anniversary), but he included recent compositions from Elysium and a few favorites from his collaborations with Chick Corea and Return to Forever. It was nothing short of a top-notch end to a tour.

    Setlist

    Set 1: One Night Last June, Flight Over Rio, Babylon, Senor Mouse, Adour, Medieval Overture

    Set 2: {acoustic set}, Black Dog, Midnight Tango, Song to the Pharaoh Kings, Dark Eyed Tango, Egyptian Danza

    Encore: Chiqualin, Race With Devil on Spanish Highway, Sorceress

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  • Mandolins Raining Bluegrass at Turning Stone with Ricky Skaggs and Bruce Hornsby

    Sometimes some of the most unusual pairings become the sweetest combinations.  That is exactly what happens when you combine Grammy award winners Bruce Hornsby and Ricky Skaggs.  Ten years ago the two came together by happenstance and after discovering how appealing this union was, their marriage of sounds continues to please all that have the opportunity to hear it.

    Collaborating on a combined album ten years ago fittingly named, Ricky Skaggs and Bruce Hornsby they debunked all nay sayers who insisted the piano and bluegrass combo didn’t gel.  With breakneck upbeat tempos on piano, Hornsby keeps the fire going as Skaggs shreds the mandolin and guitar with lightning speed.  Finishing up their spring tour at the Turning Stone Showroom on Sunday, March 5, Skaggs, Hornsby and their band Kentucky Thunder wowed the crowds from start to finish.

    Kentucky Thunder, Skaggs’ tour band, includes Paul Brewster (tenor vocals, rhythm guitar), Scott Mulvahill (bass, bass vocals), Russ Carson (banjo), Jake Workman (lead guitar), Mike Barnett (fiddle) and Dennis Parker (baritone vocals, guitar).  With front men Skaggs and Hornsby leading the surge, the sound explosion rocks the crowd each and every time they hit the stage.  The songs chosen for the setlist showcased the skills and talents of each and every one of them. This group performance had the feeling of a mountainous jam session despite the bright lights of the Showroom.  The packed crowd couldn’t contain themselves as they clapped and moved in their seats with each tune all night long.

    As the show ended and the crowds dispersed, those who stuck around had the ultimate pleasure of meeting the legendary Ricky Skaggs.  Hornsby who unfortunately  had a flight to catch couldn’t stay, but Skaggs took the time to sign and take photographs with each and every fan.  I couldn’t help but fangirl over this legend.  Growing up outside of Nashville,  the music of the Opry and the stars that shine brightly on that stage become part of your culture.  They are family, and Ricky Skaggs is a patriarch to that family.  To meet this legend was huge.  It was the grace and humility demonstrated by Ricky Skaggs that evening that proved that country music is more than just music, it’s the common thread that unifies us.  In this chaotic life we lead, to stop and enjoy music as we did this evening is what it’s all about.

    Setlist:  How Mt. Girls, Toy Heart, Bluegrass Breakdown, Darlin Corey, The Way It Is, Spoon, Ceili, I’m A People, Blue Night, Columbus Stockade, 20/20 Vision, Sally Jo/Maggie, Uncle Pen, Rawhide. Encore: Heard My Mother

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  • How Sweet It Is: Melvin Seals at The Westcott Theater

    On Wednesday, March 8, Syracuse celebrated the spirit of Jerry Garcia in spectacular fashion with help from Melvin Seals & JGB at the Westcott Theater.  The intimate evening began with the Upstate NY native band, Los New Yorkers.  The four-piece consisted of three middle aged men and one woman that hopped from one instrument to the next.  The feel-good and upbeat originals reminded me of something that might get chosen as the theme song for a 90’s sitcom on TGIF.  Members not only switched back and forth from guitars, washboard, drums, keys and bass but each member also brought their own original song to the table.  While most lyrics consisted of life-changing events, their love for New York State and generic happy moments, Los New Yorkers did not ignite that Jerry spark that many Deadheads in the crowd were seeking.  If I ever hear this band again, it will probably be while I am buying cotton candy at the New York State Fair because that is exactly how it made me feel.

    Melvin Seals Westcott TheaterWord has spread up and down I-81 about a Scranton-based bluegrass group known as The Dishonest Fiddlers, and the quartet did not disappoint.  This collection of traveling ramblers were chosen by Dave Brown, founder of the band, who swaps artists for every show, making the “About Page” on their Facebook profile dishonest.  The unique idea of taking musicians from different parts of the country allows Brown the freedom to mix it up at the drop of the hat and the pluck of a string. One downfall of never having the same band twice is that practice time is limited, therefore they are often forced to fight for space backstage.

    At The Westcott Theater, the foursome found themselves practicing in front of the men’s bathroom line, which welcomed them with clinched legs and open arms.  The first song of their actual set was dedicated to the “new friends in the bathroom line” as they channeled the folkie side of Garcia with a beautiful, “Rosa Lee McFall.”  The remainder of the seven-song set consisted of all originals and the crowd seem to genuinely enjoy every minute of it.  As the room began to fill up for Seals and JGB, Brown was hoping to elicit some crowd participation during “There Ain’t Enough Water in the Water” which was minimally responded to, at best!  As couples locked arms and rowdily stomped their feet, The Dishonest Fiddlers’ time was up and Brown thanked the Central NY crowd for their support during the band’s first ever visit to Syracuse.  For the sake of bluegrass music, I hope they return to the Empire State very soon.

    Melvin Seals Westcott TheaterNow past 11:00pm, fans were finally ready to embrace Melvin Seals & JGB and it was well worth the wait!  Aware of the time, the crowd let it all hang out as the group opened with a funky jam sequence leading into “After Midnight.”  While the famous Eric Clapton version of the classic fast-paced hit clocks in under three minutes, Seals kept this monster jamming for over 15 minutes!  While on the topic of iconic rock-n-roll, The Beatles were gently sandwiched in the middle of the Jerry-influenced “Midnight” jam as “Eleanor Rigby” made its appearance as it regularly did in the late-70’s and early-80’s.  The “Fab Four” from England were also covered during the next song of the evening, “I Want to Tell You,” which once again featured Zach Nugent filling in for Jerry on vocals.

    After the smoking hot start to the show, “When I Paint My Masterpeice” peacefully calmed the audience down and was highlighted by Nugent paying tribute to Garcia with his delicate and passionate playing.  “Neighbor, Neighbor” featured strong backing vocals from Cheryl Rucker and Shirley Starks, and on the night of International Woman’s Day 2017, the crowd was thoroughly glad to have these lovely ladies in their lives.  In the heart of the set list, the Garcia/ Hunter gem, “Mission In The Rain,” somberly described a lost soul searching for redemption and where Nugent’s vocal abilities fell below Garcia standards, his guitar solo was sorrowful and spot on.  The playful and gospel-influenced “Evangeline” lifted everyone’s spirits after the emotional “Mission” before the bluesy “Think” featured yet another powerful vocal collaboration.

    Melvin Seals Westcott TheaterBassist, John-Paul McLean, exchanged smiles and notes with Seals during the classic R&B cover of “Everybody Needs Somebody to Love” and to the delight of Deadheads in the room, Starks and Rucker pointed to the audience while they sang the chorus.  Love had captivated the audience throughout the entire show, but especially at the end of the evening when they transitioned from “Somebody to Love” to “How Sweet It Is To Be Loved By You.”  Seals introduced the band and gave one more stellar B-3 organ solo during the extra sweet version.  Although the show ended past 1:00AM on Thursday morning, the band was not ready to say goodbye to their loyal fan base as Seals & JGB hung out by the merchandise table to chit chat with ticket holders.

    Seals has spent over 30 years in the spotlight mesmerizing audiences with his swirling keyboard-synth magic, but he is still the humble, welcoming, and sincere man he was when he first met Garcia.  As a child of the 90’s I have never gotten to see Garcia play live. Although I have listened to thousands of hours of recorded material, read numerous books and stared at videos on Youtube until my eyes were blood shot, I never had the opportunity to be a part of the touring community that was cherished by millions.  Thanks to bands like Melvin Seals and JGB, fans like myself and long-time fans alike can come together and share love, smiles and gratitude with their sisters and their brothers.

    Melvin Seals Westcott TheaterThe Dishonest Fiddlers Setlist: Rosa Lee McFall, My Brand New Jalopy, There Ain’t Enough Water in the Water, Steve, Sam’s Cigar, The TV Store, Steamtown Blues

    Melvin Seals and JGB Setlist: Jam, After Midnight*, I Want to Tell You, When I Paint My Masterpiece, Neighbor, Neighbor, Mission In the Rain, Evangeline, Think, Everybody Needs Somebody To Love, How Sweet It Is To Be Loved By You

    *w/ Eleanor Rigby jam