NYS Music 20​17

Category: Show Reviews

  • The Magic Beans Get Down in Colorado with Special Guest Thom LaFond

    Sunday night, The Barkley Ballroom in Frisco, CO was home to a reunion of two former New Yorker bandmates turned Colorado transplants. Thom LaFond, former guitarist for Albany-based and Camp Bisco alum, Dirty Paris, joined his former bassist, Chris Duffy, with Duffy’s current band The Magic Beans for an ambient take on The Magic Bean’s space funk rager “Jabu Jabu’s Belly.”

    LaFond lent his hand in setting the tone with an opening improv jam, heavy with ambient delay which built the suspense and anticipation for the first drop into the meat of the song where Casey Russell took over with a soulful organ lick to get the bodies moving. Chris Duffy held things down for the bulk of the song with his thick bass grooves while the rest of the band moved through keeping things danceable yet continuing to utilize the spacey vibe that has become more familiar to a Beans dance party as they develop as a band.

    Around the 8:20 mark, drummer Cody Wales started laying out the heavy snare hits, signaling the jam to open up, transforming into a high flying shred fest. Lafond adeptly built the speed and intensity of his lead work while Beans guitarist Scott Hachey complimented, both matching LaFond’s picking runs and building things up behind LaFond to take the final few minutes of this jam into something that had the whole room soaring before being dropped straight back into the dance party for a few more measures.

    If you haven’t had a chance to experience The Magic Beans in person, be sure to catch them on tour in April.

    magic beans thom lafondThe Magic Bean’s 5th annual music festival Beanstalk, will be held June 22nd-25th at the legendary festival venue Rancho del Rio along the Colorado River in Bond, CO. The lineup includes tons of faces familiar to the Northeast jam scene including Holly Bowling, lespecial, Corey Henry, Tom Hamilton as well as a smattering of established and up-and-coming awesome Colorado based bands. Don’t miss out on a chance to learn why Colorado is so in love with The Beans.

    You can catch LaFond’s band, Banshee Tree, at License No. 1 in Boulder, CO every Saturday night for a swing dance-dance party.

    magic beans thom lafond

  • Joe Mansman and the Midnight Revival Band Bring High Energy Rock and Roll to Plattsburgh, NY

    This past Saturday, February 25, Joe Mansman and the Midnight Revival Band brought their original sound to Retro Live, a new concert venue in Plattsburgh, NY. Between original guitar solos from Alex Mansman and the leadership of front man Joe Mansman, each member perfectly complemented each other.

    joe mansmanThe band brought a fully stacked set list with them and most being originals. I found myself head banging to new riffs that felt right. To sum up Joe Mansman and the Midnight Revival Band, the only words that I can use to describe them is rock and roll. Joe Mansman brought a stage act that to me has been missing with a lot of newer bands. With songs like “Below or Above” and “Dead as it Gets,” I really felt that I was at a rock show in the late 1970’s but with fresh with new rock music. About half way through the set, the front man and keyboardist Chris Becker played a couple duets to give the show a smooth transition to a heavy ending.

    joe mansmanJoe Mansman and the Midnight Revival Band is a group that  gives people an option to let loose and bang your head. They ended the show with “Live Free or Die,” and were not afraid to bring the show off the stage. With front man Joe Mansman jumping onto a pool table and guitarist Alex Mansman hopping down to the venue floor to play heavy riffs, the group brought a show that had something for everyone.

    Setlist: Dead as it Gets, Below or Above, Born to be Wild (Steppenwolf cover), Reap and Sow, Cold Virginia Nights, Blaze of Glory (Bon Jovi cover), Hell or High Water, All Along, Den of Thieves, Mother (Danzig cover), She’s Mine, Long Rope, You’ll Never Leave Harlan Alive (Darrell Scott cover), Rock and Roll ain’t Noise Pollution(AC/DC cover), Nobody’s Sun, Boundless Grace, Too far gone, Cut out my tongue, Crowbar hotel, House of Wolves, Live Free or Die

    joe mansman

  • GZA Runs through Wu-Tang Classics at the Waiting Room

    On Saturday, February 25, the bizarre weeklong heatwave in Buffalo finally came to an end as snow blustered across the city. And at the Waiting Room, numerous patrons were wearing Wu-Tang Clan shirts, GZA hats, and one wearing a New York Rangers style jersey, but with Wu-Tang images instead. The smell of weed permeated the air, and the audience on the bottom floor stage was packed from the front stage to where the merchandise stand would normally be. Wu-Tang was certainly representing this evening. And the crowd was here for one of it’s prime members: GZA the Genius.

    GZA Waiting RoomBorn Gary Grice from Brooklyn, New York, the GZA is the cousin of Wu-Tang mastermind RZA. He’s the oldest member of the 9-piece rap group and the only MC who released an album before the Wu-Tang Clan formed. He’s often regarded as having one of the most extensive vocabularies of any MC, which I suppose comes naturally with being in a group with as far ranging rhyme styles as the Wu-Tang Clan. It must come from trying to keep up with everyone else.

    GZA wasn’t touring behind a new release. His last solo work was 2008’s Pro Tools, and the last Wu-Tang project was the infamous Once Upon a Time in Shaolin. The Genius decided to take the mostly Wu-Tang clad audience on a trip down memory lane, spitting out some of his best-known rhymes from his 90’s glory period.

    The majority of the first set of song/excerpts were from the acclaimed Liquid Swords, the album that established where, even if he was solo, GZA was one of the most lyrically adept members of the clan. From the standard hip-hop braggado of “Duel of the Iron Mic,” and “Shadowboxin’,” to the more street-conscious “Gold,” “I Got Ya Back,” and “Living in the World Today,” it’s impressive how GZA can still manage such precise, dense lyrics from albums made 2 decades ago, even as the backing tracks cut out to let the audience chant along some of the iconic lines.

    Something else that was prominent throughout the performance was how GZA, in his effort to appeal to the massive Wu-Tang fans there, would rap some of the other MC’s lines, occasionally some songs he had no part in. The DJ said a few times during the set this show was dedicated to the deceased Ol’ Dirty Bastard. And as a proper tribute goes, the audience was hectic as the piano line of “Shimmy Shimmy Ya,” started playing, with them shouting how they “like it raaaaaw.” The same was for when songs from the Wu-Tang’s debut Enter the Wu-Tang (36 Chambers) was playing. Aside from “Clan in Da Front,” essentially a GZA solo track, he went through other MC’s verses on “Protect Ya Neck,” “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” and “C.R.E.A.M.” (dolla dolla bils y’all!)

    During a break in-between songs, GZA asked the crowd where we got the name Buffalo from anyway, out of curiosity. Mainly because he goes through towns with Native American names, of which Buffalo is one such place. GZA then went on a bit where he asked if there were any Trump supporters here (there were none), followed by if there were anti-Trump people there, where the whole crowd responded. He then gave off a “we’re not with you,” before saying how “we’re gonna make America great again our way.”

    GZA waiting roomGZA even jumped into the crowd to do a rendition of “Crash Your Crew,” surrounded by eager fans taking cell phone pics and videos.  Some bodyguards came out from backstage in case any fans got a bit too crazy. He also casually signed autographs in the middle of his set, sometimes while still in the middle of rapping. That showed the level of cool and experience GZA gave off.

    The show ended with a seemingly freestyle bit incorporating “Triumph,” “Shame on a Nigga,” and “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” ending an hour-long set keeping the Wu faithful plenty satisfied. And no doubt if any other of the Wu’s killer bees ever come into town again, the same situation will play itself out again.

  • Frank Palangi Shines at Lucky Strike Social

    On Friday, Feb 17, local rock artist from Upstate NY, Frank Palangi, and his band, had the sold out crowd at Jupiter Hall inside the Lucky Strike Social located at the Crossgates Mall in Albany, on their feet. Opening for Red Sun Rising and Badflower, Palangi performed all his fan favorite tracks, and threw a cover in by Full Devil Jacket. The boys more than did their job, and after their set, they had the sold out venue more than ready for a rock show.

    New York state is filled with a tremendous amount of musical talent on the rise. Whether you’re a local writer, photographer, or both, NYS Music is one of the leaders when it comes to promoting local talent chasing down their dreams in the music industry, while we hone our crafts by covering these artists.

    Palangi got right down to business, and rocked out track after track, which is expected, since he was slated in the crucial spot of opening the show to warm the crowd up. In the end, he and his band rocked the faces off everyone inside Jupiter Hall. It was obvious by the crowds reaction, and those who have not ever seen Palangi perform, and wrote him off as just a local talent not worthy, had their minds changed in a heartbeat making a perfect example why fans should show up early to events, and take in all the artist on the bill.

    This group of musicians have a good chemistry on stage. They come off as well polished veterans in the business with their stage presence, playing style, and personality which are traits you look for in a band. All three seemed to be genuinely having a blast on stage.

    Palangi is really coming together as an artist, and owned the crowd with his deep husky vocals and catchy rock tunes. His confidence and professionalism on stage grows with each performance. The Queensbury native opened the show with the track “Break These Chains,” which he recorded with Daughtry guitarist Brian Craddock, at Craddock’s recording studio in Virginia. Before the band played the single “I’m Waiting,” drummer Josh Opitz held down the beat, as Palangi tossed out free merchandise to the crowd. New guitarist Dillon Swertner, is very charismatic in showing off his guitar skills throughout the bands set.

    Palangi is no stranger when it comes to opening up shows for national artist. He has opened up shows and festivals that have included several major rock artists including Shinedown, Megadeth, Alice in Chains, Ghost, Janes Addiction, Buckcherry, 3 Doors Down, Trapt, Lacey Sturm, Powerman 5000 and Aaron Lewis to name a few.

    Electric is not his only forte, Palangi holds many acoustic shows across the region. He has upcoming shows on March 25, at Mean Max Brew Works in Glens Falls, and April 21 at Dinosaur BBQ in Troy. Frank Palangi consists of himself on vocals and guitar, Josh Opitz (drums), and Dillon Swertner (guitar).

    Setlist: Break These Chains – I Am Ready – Now You Know (Full Devil Jacket Cover) – Thank You – Jam – I’m Waiting – Turn It All Around

  • Sinkane Brings A Well-Traveled Musical Experience to Great Scott

    This past Thursday night, February 16, Great Scott welcomed the hip shaking, heart grooving, culturally wide-brimmed (wider than the brim of frontman Ahmed Gallab’s awesome cowboy cap) group known as Sinkane to an excited crowd.

    The Brooklyn based band was only on their second stop in their Life & Livin’ It tour. And after spending the past month in a rehearsal space in New York City, it was clear Sinkane was eager to show exactly what they had spent their time honing in on, which was nothing short of a very tight, impactful and all around free flowing and positive performance, often extending their songs into engaging jams.

    Sinkane1

    Immediately of interest was the shear size of the crowd. Last time Sinkane trekked their way up to the Bean Town (without the accompaniment of keyboardist and co-singer) they played to a mere ten people, one of which Ahmed Gallab impressively remembered and called out to from the stage in thanks of the support. This time however, the audience packed the venue and it’s a clear case in point of Sinkane’s success with the time acquired in-between. The band has really honed in on their sound, and with Life and Livin’ It, Sinkane is able to exhibit where they truly glow. It isn’t in one particular style in fact. Reggae, psychedelic, jam, funk, world—all of these peak their way into the uniqueness of what is Sinkane. Take their tracks “U’Huh” and “Favorite Song” for example, both off Life and Livin’ It. These take on so much influence from great songs and genres that the outcome is more along the lines of highly cultivated originality.

    Sinkane3

    With the help of one of the opener bands, No BS! Brass Band, for horns, Sinkane even furthered the immensity of their sound. The two groups had actually never performed together, as Gallab was excited to admit, and yet the result was an even fuller and more dynamic, refined sound. This might be something Sinkane wants to consider adapting to their live set next time around on tour, which if history repeats itself will likely be performed to an even bigger crowd.

    Sinkane closed with the audience favorite “How We Be,” and afterwards came back on stage for an encore that jammed into the wee early hours of 1:30am. This is a band that simply loves to play. And only the most respect goes to this group who’s shining attributes are giving every musical bone a rattle and shake and spreading some obvious cheer and positivity while doing it.

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  • Christopher Lloyd Takes the Audience Back in Time at Proctors

    Confession: I used to mow the lawn while listening to a cassette of the Back to the Future soundtrack. There’s all the great Huey Lewis and the News a pre-teen could ask for, plus that score that brought you right back to Hill Valley. I could step back (or ahead) in time with one of my favorite movies, and thanks to Marty (who had a Sports poster in his room), became a Huey Lewis fan overnight. So when Christopher Lloyd was announced to hold a viewing and conversation with an audience at Proctor’s Theater, naturally this was a can’t miss event for myself and nearly 2000 other Doc Brown fans.

    Christopher LloydBefore the Doc came out, we were treated to some film trivia and the full movie beforehand. Having seen the other two movies in the series nearly as many times as the original, revisiting the original, devoid of time-twisting and altering events from the sequels was like seeing the film for the first time. When the film ended and the curtain lifted, two chairs and a small table were on the stage, to which Christopher Lloyd was welcomed by the audience with a standing ovation. 

    He shared with the audience general thoughts on the film, as well as responded to audience submitted questions. He recounted that people who have met him over the years have told him that the movie was a life-changing event, shifting their careers towards science, engineering, physics and the like. But the movie may never have had the iconic Doc Brown without giving the script a second look while on film location in Mexico City. When he met with director Robert Zemeckis shortly thereafter, they discussed the role, who Doc was and what he would look like. Lloyd revealed that Doc’s look, particularly his hair, was derived from seeing an animated, white haired conductor at a performance of Gustav Holst’s “The Planets.”‘

    With regard to the casting of Michael J. Fox, after 6 weeks of filming with Eric Stoltz as Marty, Lloyd recalled the recasting led to “chemistry that was automatic between us. He was perfect, and it worked out.” Among the three films, his favorite was the finale of the trilogy, partially due to his love of westerns and gaining a love interest in the film. He wishes that not only were true hover boards around today but also that big apparatus Doc is wearing on his head when he first meets Marty in 1955, as well as Mr. Fusion for the conservation aspect.

    Confession: I used to mow the lawn while listening to a cassette of the Back to the Future soundtrack. There's all the great Huey Lewis and the News a pre-teen could ask for, plus that score that brought you right back to Hill Valley. I could step back (or ahead) in time with one of my favorite movies, and thanks to Marty (who had a Sports poster in his room), became a Huey Lewis fan overnight. So when Christopher Lloyd was announced to hold a viewing and conversation with an audience at Proctor's Theater, naturally this was a can't miss event for myself and nearly 2000 other Doc Brown fans. Before the Doc came out, we were treated to some film trivia and the full movie beforehand. Having seen the other two movies in the series nearly as many times as the original, revisiting the original, devoid of time-twisting and altering events from the sequels was like seeing the film for the first time. When the film ended and the curtain lifted, two chairs and a small table were on the stage, to which Christopher Lloyd was welcomed by the audience with a standing ovation.  He shared with the audience general thoughts on the film, as well as responded to audience submitted questions. He recounted that people who have met him over the years have told him that the movie was a life-changing event, shifting their careers towards science, engineering, physics and the like. But the movie may never have had the iconic Doc Brown without giving the script a second look while on film location in Mexico City. When he met with director Robert Zemeckis shortly thereafter, they discussed the role, who Doc was and what he would look like. Lloyd revealed that Doc's look, particularly his hair, was derived from seeing an animated, white haired conductor at a performance of Gustav Holst's "The Planets."' With regard to the casting of Michael J. Fox, after 6 weeks of filming with Eric Stoltz as Marty, Lloyd recalled the recasting led to "chemistry that was automatic between us. He was perfect, and it worked out." Among the three films, his favorite was the finale of the trilogy, partially due to his love of westerns and gaining a love interest in the film. He wishes that not only were true hover boards around today but also that big apparatus Doc is wearing on his head when he first meets Marty in 1955, as well as Mr. Fusion for the conservation aspect. Stepping away from Back to the Future, Lloyd began to discuss other iconic roles, including one that he said he would love to play for the rest of his life, Uncle Fester, from The Addams Family, the comic of which he was a fan of at at early age, and spoke highly of co-star Raul Julia, remarking he was both 'intelligent and gracious.' On Taxi, he played Reverend Jim Ignatowski, initially a one-off appearance where he would marry Latka Gravas (Andy Kaufman) to a prostitute so that he would have a Green Card to remain in the country, but he ended up being a recurring character, and cited the 'Yellow Light' scene as one of his personal favorites. Kaufman, he said, "went to the beat of a different drummer" and could be irritating and odd on the set because that's who he was. He loved the 1998 biopic Man on the Moon. https://www.youtube.com/watch?v=1HvmtbZzA40 A theater actor originally, Lloyd said it felt like home to him. He ended up in two or three musicals as well, including singing at 1976 Tony Awards. Theater led to One Flew Over the Cuckoo's Nest, and eventually to Back to the Future, and the rest is movie history. Christopher Lloyd still sees Michael J. Fox and will meet up with him for a benefit soon for his foundation to promote Parkinson's Research. Speaking of his friend, "He is so brave, he has so much courage and he does not stop. He just keeps going." He used an example of the episode of Curb Your Enthusiasm where Fox appeared as himself, and used his Parkinson's as an excuse to the ire of Larry David. "I admired him being able to do that scene." https://www.youtube.com/watch?v=zI4lFjWoFqc Finally, when asked if he could go back in time, what advice would you give yourself. Given that he was recently married just before Christmas to a woman he had lived with for 12 years, and being married four times prior, he said "I wish I had more wisdom about who I hung out with prior." If only there was time to change the past...Stepping away from Back to the Future, Lloyd began to discuss other iconic roles, including one that he said he would love to play for the rest of his life, Uncle Fester, from The Addams Family, the comic of which he was a fan of at at early age, and spoke highly of co-star Raul Julia, remarking he was both ‘intelligent and gracious.’ On Taxi, he played Reverend Jim Ignatowski, initially a one-off appearance where he would marry Latka Gravas (Andy Kaufman) to a prostitute so that he would have a Green Card to remain in the country, but he ended up being a recurring character, and cited the ‘Yellow Light’ scene as one of his personal favorites. Kaufman, he said, “went to the beat of a different drummer” and could be irritating and odd on the set because that’s who he was. He loved the 1998 biopic Man on the Moon.

    A theater actor originally, Lloyd said it felt like home to him. He ended up in two or three musicals as well, including singing at 1976 Tony Awards. Theater led to One Flew Over the Cuckoo’s Nest, and eventually to Back to the Future, and the rest is movie history.

    Christopher Lloyd still sees Michael J. Fox and will meet up with him for a benefit soon for his foundation to promote Parkinson’s Research. Speaking of his friend, “He is so brave, he has so much courage and he does not stop. He just keeps going.” He used an example of the episode of Curb Your Enthusiasm where Fox appeared as himself, and used his Parkinson’s as an excuse to the ire of Larry David. “I admired him being able to do that scene.”

    Finally, when asked if he could go back in time, what advice would you give yourself. Given that he was recently married just before Christmas to a woman he had lived with for 12 years, and being married four times prior, he said “I wish I had more wisdom about who I hung out with prior.” If only there was time to change the past…

  • The Bad Plus Deliver the Goods at the Egg

    The Swyer Theater at The Egg Center for the Performing Arts is a quaint and ideal setting for laid back musical performances. When The Bad Plus, a three-piece jazz band originally from Minneapolis but now out of New York City, visited the Swyer on Sunday, it was apparent from the start that the band really enjoys playing the room.

    It was a show of minimalism, as the only lights on in the theater were three dimly lit bulbs that focused on the band. The seating area was dark, and nary a sound was made from the crowd except gentle applause at the conclusion of each number. The Bad Plus are billed as an avant-garde jazz trio, but what they delivered on Sunday was far from the righteous, self-centered nature the genre often produces.

    Ethan Iverson handles piano duties, Reid Anderson plays the stand-up bass and Dave King provides the backbeat. Out of the gate King stepped forward and led the band on a funky acoustic exploration that saw a good deal of improvisation, especially from Iverson, who displayed a master ability to use a mix of space and fills to create a very unique mix.

    Throughout the night, Anderson would address the audience and give little anecdotes about what they’re playing. He spoke about how the group got their start by taking popular music, such as Nirvana’s “Smells Like Teen Spirit.” and tearing the songs down and arranging them in their jazzy style. I didn’t notice any such songs on Sunday, which added another layer of special to the very unique show. The Bad Plus have released 14 albums, almost entirely consisting of original compositions.

    Just before the encore, Iverson and Anderson linked up for a sort of rockabilly-swing groove that caught me off guard. If the audience hadn’t set the tone early on of high focus and quiet, I would have stood up and danced a little bit. The crowd showed its appreciation by giving a standing ovation that spanned the length between set close and encore start.

    I entered the show without any expectations for the band, but I walked out a new fan of The Bad Plus.

    Setlist: Hear You (Anderson), Self Serve (Iverson), Time After Time (Lauper), Thrift Store Jewelry (King), Inevitable Western (Iverson), Gold Prisms Inc. (King), Law Years (Coleman), The Robots (Kraftwerk), County Seat (Iverson), Seven Minute Mind (Anderson)
    Encore: I Walk the Line – (Cash)

  • Scott Hannay Joins Gubbulidis to Energize Crowd in Cohoes

    It had been quite a weekend for music in Albany thanks to the work of beloved promoter Greg Bell. Jamtronica founders, Particle, brought the heat to The Hollow Bar and Kitchen Friday, February 17 , followed there by Reed Mathis and Electric Beethoven Saturday, February 18. By Sunday evening, the fatigue of the long weekend had set in. But as committed fans, we got up, got dressed and headed up 787 to The Cohoes Music Hall to see Gubbilidis.

    Gubbulidis cohoesThe Twiddle side project, consisting of Mihali Savoulidis and Zdenek Gubb, was both upbeat and positive – the cup of Joe needed to energize this Sunday evening crowd. The added espresso shot was the venue itself. Having only recently come under management by The Palace Theater in Albany, many in attendance were visiting The Cohoes Music Hall for the first time. Built in 1874, the historical theater is the perfect size venue for shows too big for venues like The Hollow, but ones that would be dwarfed by the The Palace Theater. It boasts decorative details and grandeur but the wooden benches, floors and walls give the feeling of an old-timey, western saloon. The environment is thoroughly refreshing for Capital Region music fans growing bored of the same venues night after night.

    Using a loop pedal to layer the elements, Gubbilidis created the sound of a full band. Kicking off the evening with “Apples,” a Twiddle mainstay, Mihali beat boxed to create the percussion while Zdenek played his bass in such a way you’d think it was a lead guitar. “Every Soul” allowed the duo to get serious for a few minutes before letting the silly return with a funky “Brown Chicken Brown Cow.”

    Mihali and Zdenek welcomed Scott Hannay of Mister F to the stage. The 8-bit keys and synthesizer were loud and high pitched but added a fun, video game vibe to Blues Traveler’s “Run Around.” Hannay continued his sit-in for “Mamunes the Faun” before the trio paused for a set break.

    The second set featured an exciting mashup of “No Woman, No Cry,” “Glycerine,” “Farmhouse,” “Wagon Wheel” and “One Day.” Hannay returned to the stage for a cover of ALO’s “Barbeque” and Twiddle’s iconic “Jamflowman.” Zdenek nailed the bass solo and Mihali cranked out the guitar riffs, making this the highlight song of the evening.  The second set wrapped up with “Hattibagen McRat,” a touching tribute to Mihali’s late friend.

    All three men returned to the stage to encore with The Beatles’ “Rocky Raccoon,” which featured a thrilling solo by Hannay and intricate and powerful guitar riffs from Mihali.

    Set 1: Apples, White Light, Every Soul, Brown Chicken, Brown Cow, Run Around*, Mamunes the Faun*

    Set 2: Rivers Drift, No Woman No Cry/Glycerine/Farmhouse/Wagon Wheel/One Day, Zazu’s Flight, Barbeque*, Jamflowman*, Hattibagen McRat*

    Encore: Rocky Raccoon

    * w/ Scott Hannay

  • Albert Cummings Brings Best the of the Blues to Stage One

    The best performances of the blues will always be in an intimate venue. Singing the blues, contrary to it’s name, is about having fun and make the best of sticky situations. Lyrically, artists talk about woes, troubles and sorrows, but the instrumentals are mostly uplifting and emotional.  And when musicians can belt out these feelings to a smaller audience, it feels like a conversation with good friends. Granted, seeing B.B. King play a 10,000 person venue would be a once in a lifetime experience, but it doesn’t compare to paying 20 bucks to sit 20 feet away from a few talented musicians playing some of the most important and influential musical styles ever created. Stage One at the Fairfield Theater Company in Connecticut is just the place to hold concerts like this and fit the bill perfectly for the Albert Cummings band.

    The best way to describe Cummings is a mix between Vaughan and Hendrix. They had the power and modern blues sound of Stevie but with the musical and visual flair of Hendrix. Their recordings are immaculate and unique but seeing them perform live gave their music a bit more magic. They were well rehearsed, energetic, relentless and without these characteristics the show would not have been the same. Causal listeners of the blues may have a notion that blues music is slow or depressing, but it’s not all like that. The patterns were the same, they mostly stuck with a 12 bar blues sound, but managed to make each one interesting and unpredictable.

    There weren’t too many theatrics to the show, but just enough to keep things visually interesting. Stage One just isn’t that type of venue. The light work was mild, no spotlights or grand entrances. Most of the pizzazz came from a very animated drummer and from Cummings himself, who did everything Jimi would have done on stage just short of playing the guitar with his teeth. He would dance around the stage during his solos, swing his arms around and even bowed the neck of his guitar against his mic stand.

    They warmed up with a few of their own compositions like “The Blues Makes Me Feel So Good” which all had a very aggressive attitude and high energy. Drummer Warren Grant gave the performance the energy it needed to keep people energized and interested. Without Grant, the show would have had a completely different attitude. He was a fun character to watch when he got his turn to flaunt during drum fills and the crowd loved it. His aggression is what gave the Stevie Ray vibe to it with his brash but precise style. Bassist Scott Spray gave the low end of the sound a great character as well. He was able to hold the beat and groove effortlessly while still having his own fun.

    The crowd of 60-70 people immediately felt a connection with the band and began shouting out requests and telling Cummings where they came from and how much they love him. The worked their way through the set to a classic B.B. King tune “Three o’clock Blues” to which the crowd reacted very positively too. One woman almost stopped the performance as she screamed out, “getting wetter over here!” The look on Cummings’ face was absolutely priceless.

    One 12 bar blues song after another can get a little monotonous so they were sure to throw in some good old American rock. A steady drum chop from Grant gave the songs a powerful feel, Spray laid low and let Cummings have his fun with his wide array of floor pedal that gave his guitar a nice variety of voices to choose from. He stuck to a few covers including “Hoochie Coochie Man” among others which got a rise out of the crowd. Unfortunately, it was hard to differentiate what was a cover and what was an original recording because there was no set list. When asked what Cummings played that night, he replied, “I have no idea what I played. I don’t use a set list.” That’s not what’s important, though. The groups  attitude and good spirits made for a fantastic show that left the crowd on their feet cheering for an encore.

    Sadly, Cummings won’t spend anymore time in New England and is headed south to finish his tour, but he has a plethora of music to enjoy on multiple platforms including iTunes, Spotify, Soundcloud and physical CD’s available for purchase on his website.

  • Photo Gallery: LOCASH at Vapor Nightclub

    The Nashville-based Country/Pop duo LOCASH performed along with a full band on February 16 at Vapor Nightclub in Saratoga Springs, to a packed house.  The show was hosted by 100.9 The Cat.

    locashChris Lucas and Preston Brust, whose powers’ combined make up LOCASH, were in especially good spirits after receiving their first major Country Music Industry award nomination earlier in the day for New Vocal Duo or Group of the Year. Lucas and Brust, along with their band, were riding high throughout the show, taking the opportunity to celebrate this milestone in their careers with their fans who showed up for them in droves and packed the club out.

    The ACM Awards will air live from the T-Mobile Arena in Las Vegas, Nevada on April 2nd.