NYS Music 20​17

Category: Show Reviews

  • Spafford at Buffalo Iron Works

    It’s the beginning of February in beautiful, not so sunny Buffalo. The cold weather was no match for the barn burner that took place at Buffalo Iron Works on the first of the month with Aqueous and Spafford. As the crowd trickled in, The Emporium (Dave and Mike from Aqueous) took the stage to the hometown crowd’s delight. The set of mainly covers set the tone for the evening. Aqueous drummer Rob Houk joined in towards the end of the set and took the vocal lead on the Stone Temple Pilots cover “Plush.”

    If you don’t know about Spafford , it’s about time to change that. These guys are good and poised to take the scene by storm. Hailing from Prescott, Arizona, the band formed in 2012. Brian Moss is the lumberjack behind the axe.  Jordan Fairless is the man with the plan holding down the bass line and Red Johnson on keys. Last, and certainly not least, is Nick Tkachyk on drums.  Their sound is extremely tight. The segues were seamless. It was a beautiful night of music.

    Spafford continues on with their East Coast portion of their Winter Tour with upcoming dates supporting Umphrey’s McGee. Be sure to check these guys out.

    Setlist: Dream Jam , Windmill , BDF, Reds Jam, Weasel, Pallisaids, Weasel, Slip N Squander , LLO

    Encore: Tods Tots

  • Greensky Bluegrass Crack Egg Jokes Amid Stellar Performance

    Anders Beck had a moment before Greensky Bluegrass’ performance at The Egg on January 31. He shared with the audience that, for dinner, he was served chicken inside an egg. And that was just one of the many egg yolks cracked by the dobro player this evening, who had high praise for the venue in saying, “It’s unique, it’s different, it’s The Egg.” An apt description.

    Fruition opened the night with a crisp and refreshing Northwest bluegrass sound that is at times mellow and folky then at times rockabilly. They emanate an energy that kicked up in unexpected spots, never spending too long in one genre for more than a song.

    greensky bluegrass eggA symphony of sound greeted a sold out audience inside The Hart Theater for Greensky Bluegrass this evening, and they opened with “A Letter to Seymour” and a dark “In Control.” The Band’s “Shape I’m In” got deep and stretched out nicely in a patient jam before a trio of new songs off Shouted, Written Down & Quoted followed — “More of Me” (with extra egg humor), “Fixin to Ruin,” and the very upbeat and extended “Living Over.”

    The second set began with crowd pleaser “Take Cover” and a hypnotic beat developed two songs later during “Lose my Way,” fitting to its name. The psychedelic light show paired perfectly with the progressive jamgrass and fell neatly into Paul Simon’s “You Can Call Me Al.” An animated Paul Hoffman took off on mandolin during “Pig in a Pen,” then swapped to guitar to jam out the final two songs, “While Waiting” and “Don’t Lie.” The latter of which was built layer upon layer and led to a deep culminating jam to close the set.

    For the encore, Greensky brought out opener Fruition and stepped in front of the mics to the front of the stage as the audience gathered near for purely acoustic versions of “Demons” and “Meet me on the Mountain.” The camaraderie the two bands exhibited as they collaborated in the finale was representative of the communal nature of their mutual bluegrass roots. That communal sense stretched to the crowd, who found themselves inspired to leap to their feet at numerous junctures throughout the show and dance with a passion aroused. As a friend said in passing prior to show time, “This is bluegrass for the rock n’ roll fan and rock n’ roll for bluegrass fans.”

    Set 1: A Letter to Seymour, In Control, Last Winter in the Copper Country, Ghost of Richard Manual > Shape I’m In, More of Me, Fixin’ To Ruin, Living Over

    Set 2: Take Cover, Burn Them, Lose My Way, You Can Call Me Al, Room Without a Roof, Pig in a Pen, While Waiting, Don’t Lie

    Encore: Demons*, Meet Me On The Mountain*

    * Acoustic, with Fruition

  • Alter Bridge Rocks Rapids Theatre In Niagara Falls

    Even though they were part of rock’s biggest tours last year with Disturbed and Breaking Benjamin, that is no way to enjoy an Alter Bridge show.  During that run, which did travel through various cities across New York State, Alter Bridge only played a small handful of songs during their opening slot.  If you really want a display of heaviness and fun and REALLY get your money’s worth of Alter Bridge, then seeing them headline is the best route to go. Those who were lucky enough to catch them on The Last Hero Tour with Nonpoint and Weapons Of Anew at Niagara Falls’ Rapids Theatre were blessed with a kick ass night of music.

    Unfortunately for me, I was unable to catch Weapons Of Anew due to the travel conditions, but I came in just as Nonpoint was performing “What A Day,”one of their trademark songs.  Nonpoint must have been a part of the tour because Mark Tremonti is a fan, and I believe they were an appropriate choice.  The urban flavor they bring to metal and hard rock makes them a standout, not to mention that this is their 20th anniversary tour (which is hard to believe at this point).  They had a very loud and energetic set; the crowd was really into it.  Some of the stand outs were their new songs such as “Divide and Conquer” as well as their cover of Phil Collins’ “In The Air Tonight.” They ended their set with their anthem, “Bullet With a Name.”  It’s great to see that the band is twenty years strong and still bring a lot of energy into a show.

    Alter Bridge graced the stage by opening with “Writing On The Wall” which is off their newest album The Last Hero.  Alter Bridge is a very rare and unique talent.  Not since Judas Priest has a band had two lead guitarists/soloists that share the stage, alternate solos and really feed off each other.  Vocalist/guitarist Myles Kennedy and guitarist/vocalist Mark Tremonti are the perfect complement to each other and are a powerhouse force on stage with the most wicked one-two punch that most metal and hard rock bands are lacking.  Alter Bridge made a wise decision by playing not only a hefty amount of songs off of The Last Hero, but also from their previous album Fortress which came out in 2013.  But they didn’t really tour behind it much because Myles was busy with Slash’s band and Mark had his hands full with his band Tremonti.  So it was awesome to hear songs like “Cry Of Achilles” and “Addicted To Pain,” but the real stand out was “Water Rising,” which gave Mark Tremonti to display his lead vocal.

    If there is any complaint about the show, you could say the bass was too loud.  Now that isn’t a fault of bassist Brian Marshall, it’s on the venue’s sound crew.  It just sounded muffled.  But luckily, Myles Kennedy and Mark Tremonti’s guitar playing is so clean and they shred so much that the muffled bass sound coming off the venue’s sound didn’t interfere with the guitars or drums for that matter.

    The best part of the show was hearing the bands best song, “Blackbird.”  It’s their masterpiece.  It’s their “Free Bird” (no pun intended) and afterwards they closed their set by finally playing material off their debut album One Day Remains with “Metalingus” and “Open Your Eyes.”  I was surprised they didn’t play much from that album, however, material from the last two albums had to be heard, not to mention that with five albums in, you only can play so many songs.  Those who stayed for the encore were in for a treat as they came out and played “Show Me A Leader” which was the lead single off The Last Hero.  Afterwards, the crowd was treated to a guitar battle between Kennedy and Tremonti, which was a great way to really see their talents on display and was fun to see.  This is something I wish bands did more.  Finally, the band left the crowd wanting more in closing with Blackbird’s “Rise Today” which is band’s trademark closing song.  Overall, it was a great set from Alter Bridge who definitely deserve more recognition in the music industry and need to headline more shows. I would recommend this band to almost anyone.  And I will definitely catch more shows at Rapids Theatre.

     

  • The Egg Hosts Legendary Chicano Rockers Los Lobos

    A uniting sound in a time of discord was found with Los Lobos at The Egg Performing Arts Center in Albany, on Sunday, January 29. The legendary cross-cultural rock n roll group brought out a rising tempo over the course of two sets in the Hart Theater this evening.

    The first set was highlighted by “Burn It Down,” while the second set took off with the rockabilly “Train Don’t Stop Here,” highlighted by Conrad Lozano on bass with Cesar Rojas’ vocals. The iconic “Kiko and the Lavender Moon” was soulful and smooth as always, with that haunting accordion from David Hidalgo. “Mas Y Mas,” found the band joined by a guest trombonist and Steve Berlin on trumpet.

     

    Kiko and the Lavender Moon @LosLobosBand @theeggpac #tejano #nysmusic

    A video posted by NYS Music (@nystatemusic) on


    “Last Night” brought the crowd to their feet, and featured lyrics from “Turn on Your Lovelight” and a brief horn duel, then segued seamlessly into the Buddy Holly classic “Not Fade Away.” The set ended with a rousing rendition of the Grateful Dead’s “Bertha,” and an encore of Traffic’s “Light Up or Leave Me Alone.” Once again, the timeless Los Lobos sound rocked The Egg, bringing rock n roll and Tejano together to the delight of the audience.

    Los Lobos Albany

  • Umph Gets Extra Oomph with Joshua Redman in Rochester

    On a quiet and cold late January Sunday night, one beacon of activity in Rochester was drawing in warm bodies from all over Western New York. The line wrapped from Anthology’s doors, down the tour bus-filled alley and around the corner as showtime quickly approached. Bundled-up ticket seekers marched with their fingers out in hopes of scoring an opportunity into the sold out show. Progressive rockers Umphrey’s McGee were set to take the stage in moments, in what would prove to be one of the biggest shows the young East Ave. music hall would host to date.

    Anthology is a smaller venue than the band is used to playing at their current popularity. For the intimacy, the crowd was trading in the opportunity to catch the buzz-worthy jam act Spafford. The stage couldn’t accommodate them for their scheduled opening slot. Likewise, the low ceilings couldn’t accommodate Umphrey McGee’s massive lighting rig. Additionally, guitarist Jake Cinninger was sitting the show out with a sickness, doctor’s orders.

    No opener. No lights. No Jake. No problem. The quintet née sextet was up to the task.

    The dual guitar assault combined with the vibrant and chaotic lighting assault can make an Umphrey’s McGee show an overwhelming overload of the senses. This was a chance to take a step back and enjoy the more subtle nuance of their music and appreciate the musicians’ efforts on a more individual level. From the opening “Domino Theory” and on through the whole night, the rhythms laid down by drummer Kris Myers and percussionist Andy Farag really shone through and became front and center moreso than usual.

    Wisely and fortunately, guitarist Brendan Bayliss didn’t attempt to make up for his partner’s absence by redoubling his efforts. He took a more laid back stance, allowing the music to breathe. It certainly helped that their special guest for the evening was none other than saxophonist Joshua Redman.

    Redman, no stranger to playing with the band and finishing up a four-night run with them, was no ordinary guest. “Thanks for saving our ass,” Bayliss quipped. During his stint, which spanned the final three songs of the first set and the first five songs of the second set, he all but controlled the action. Entering first on “The Linear,” he immediately locked horns with Bayliss as they jammed in unison. Later on “Example 1,” he intertwined with some intense drum leads from Myers.

    The highlight of the night came as Redman took over in the mellower run through “Upward” and the rare “1000 Places to See Before You Die,” which slowly built to an intense and fiery jam highlighting Myers once again. Myers and Redman continued to punctuate the action in “Similar Skin” and when the dust settled it became apparent that Umphrey’s McGee had played almost an hour without any notable guitar solos.

    One young fan spent the entire night on their father’s shoulders just a few rows back from the stage. Bayliss noted him early on, sending him a rock salute. But the real treat came later in the evening when he dedicated Bob Marley’s “Lively Up Yourself” to the lucky kid. He sure had a good story for show and tell the next morning. Fans both young and old got a rise out of the set-closing fist-pumping singalong “Front Porch” which contained a rare romp through “Muff II” for good measure. As the last notes hung in the air, the sated crowd filed out and the quiet and cold returned to Sunday as the page flipped to Monday.

    Setlist (via umphreesmcgee.com)

    Set 1: Domino Theory, Loose Ends > Turn & Dub > Yoga Pants > The Linear[1], Example 1[1], Make It Right[1]

    Set 2: The Triple Wide[2] > Upward[1] > 1000 Places to See Before You Die[1] > Similar Skin[1], Lively Up Yourself[1], Robot World > Front Porch > Muff II: The Revenge > Front Porch

    Encore: Orfeo[3], Waiting Room

    [1] with Joshua Redman on saxophone
    [2] with Joshua Redman on saxophone; with Cocaine Blues (Escort) teases
    [3] just Joel on piano
    Notes:
    entire show without Jake
    last Muff II: The Revenge 12.30.2013 (311 shows)
    [FinalTilesGallery id=’965′]

  • Everyone Leaves, Fossil Youth, and Pine Bring Indie Road Show to Rochester

    An eleventh hour scheduling change brought alt rock bands Everyone Leaves, Fossil Youth and Pine to Rochester, on the final weekend of their tour, to the delight of local fans. Everyone Leaves and Fossil Youth are standouts among the indie acts emerging from America’s heartland. Canadian band Pine joined them for the northeastern leg of their journey. Despite the last-minute notice and the bitter cold weather, the show drew in a crowd at Vineyard Community Space.

    Pine

    Local singer-songwriter Rosehip warmed up the crowd with her soft, sweet voice and finger-picked melodies. Female-fronted Pine took to the stage area next. Dreamy melodies created a backdrop for sad songs about writing letters to ghosts and a long lost father. Between a couple of songs, lead singer Darlene Deschamps commented on the Rochester weather – and this is a band from Ottawa who knows what cold is!

    Fossil Youth

    Fossil Youth picked up the pace a bit.  Strong beats and heavy riffs were interspersed with soft melodic interludes. Singer/guitarist Scottie Noonan delivered emotionally charged lyrics with passion and conviction.  The set included songs from their recently released full-length album, A Glimpse of Self Joy, such as “Forest Eyes” and “Late Night Swim.” They also deviated from the set list to accommodate audience requests for songs from their earlier EP, Intertwined with You, including the title track. 

    Everyone Leaves

    After a quick set change, Everyone Leaves was up. The five-piece band from Columbus, Ohio serves up pop punk featuring multi-part vocals. They performed “Better Love” and other songs from The Lonely End, their latest EP. Given the weather, it was fitting that they also played last winter’s single “Seasonal Affective” which ends with the lines “I won’t let the weather take me/I won’t freeze over again/I won’t let the winter take me/I’ll never hide myself again.”

    Local punk trio Tandygrey closed out the night with original garage-band grunge from their someday-to-be-released demo. They’ve played the Vineyard Community Space before and I’m hoping to catch them there again soon.

    Nestled in the city’s South Wedge, Monroe Park Vineyard Church graciously offers the bottom half of a converted house for indie artists and performers in order to promote community building and friendship. The communal space is filled with comfortable couches, throw rugs and eclectic decorations, creating a comfy home-like atmosphere.

    Throughout the event, band members were readily available to chat, sign autographs and sell merchandise. Music and merchandise are also available online: visit Take This To Heart Records webstore for Fossil Youth and Pine, and Little Heart Records webstore for Everyone Leaves.

    For more on Fossil Youth, read the interview by NYS Music.

    Photos by Carolyn Ambriano 

  • Ginuwine is the real MVP; Most Valuable ‘Pony’

    Since Ginuwine came out with his would-be classic “Pony” in 1996, you’d be hard pressed to find someone who couldn’t at least sing the chorus back to you. His career continued strong through the early 2000’s with songs like “Differences,” “In Those Jeans,” and collaborations with people like P.Diddy, Missy Elliot, Nas, and more.

    Flash forward to 2017 and he is still beloved by his fans and actively proving to his critics that he has had the staying power over his more than 20 year career, to sell out shows and set the crowds ablaze. He is the real MVP; Most Valuable ‘Pony’, and a King of R&B.

    ginuwineWhile covering his sold out January 26 show at Vapor Nightclub in Saratoga Springs, one major thing struck me; the energy. Ginuwine’s live show was not the watered down nostalgia that you tend to expect from an artist in the 3rd decade of their career. It was electric, upbeat, relevant and above all, entertaining.

    Playing about 90 minutes with a 7 piece live band, who were fantastic in their own right, Ginuwine was warm and giving to his fans. He frequently hopped into the crowd, grabbing hands, giving hugs, and dancing. Vocally, Ginuwine is still rich with strength and tone, a true feat after so many years in the business. The buzz in the crowd was that he thoroughly impressed everyone in attendance including those who showed up not expecting much.

    After watching him own the sold out crowd from the beginning to the end of his performance,  I don’t doubt that he will continue to sell out shows as his come back progresses.  It was a surefire reminder that the real OG’s are never to be counted out. Upstate NY made it clear, they still love Ginuwine.

  • Umphrey’s McGee Exceeds Expectations in Albany

    Sometimes a band finds the perfect song to capture the feeling of their audience. With lyrics that sting out of raw truth and careful and passionate instrumentals, you can feel the connection between the band and its faithful fans. As Umphrey’s McGee opened their January 28 show at the Palace Theater in Albany with “Divisions,” a collective energy was felt by all in the room. “All my thoughts divided, oh. All my friends divided so. And our whole world’s divided, oh.” The timing of these words never more appropriate. “Soul embrace. We’re all the same.” The meaning never more important.

    Just days before the scheduled show in New York’s capital, the band announced their lead guitarist, Jake Cinninger, would not be performing for this and several other shows due to the flu. Renowned saxophonist Joshua Redman, was already scheduled to perform. The brass added an unfamiliar yet celebrated  element to the typical Umphrey’s sound. Yet, without Jake, this was not typical Umphrey’s to begin with. A sound noticeably different, but surprisingly not at all disappointing.

    “Weight Around” was a masterpiece we’ve come to expect from this band, who are celebrating their 19th year together. Redman took the stage for “Gone for Good,” although he was overpowered by Brendan Bayliss’ guitar and Ryan Statsik’s thundering bass. It was unclear if this was a technical issue or due to the fact he wasn’t standing anywhere near his mic. The problem was corrected for the next song, “Higgins,” and right into “Ocean Billy” to close the first set. Although not a substitute for the lead guitar, Redman serves as a unique alternative to be showcased.

    Second set was a helluva grinder to say the least. Nestled between an 18-minute “1348” and then a 3-minute finish to the song, “Intentions Clear” was the perfect song for Redman, fitting seamlessly into the groove. “Walletsworth” offered the fire and grit to bring the crowd to a roar, signaling their clear approval. Joel Cummins shone on the keys and Andy Farag delighted on percussion.

    Most surprising was the “40’s Theme” accomplished without Cinninger. Bayliss eagerly took on the lyrics. Once again, although different, the song was fun and satisfying. After a brief “Kitchen,” Bayliss addresses the crowd and acknowledged the elephant in the room – Cinninger’s absence – while expressing his gratitude for his colleague’s role in the band. After an impressive drum solo by Kris Myers, a mood lifting rendition of Simple Mind’s “Don’t You Forget About Me” clearly demonstrated the band had Cinninger in their thoughts as they closed the second set.

    Returning to the stage for “Resolution,” the lyrics again provided hope – “I see the road leading towards the solution we need.” Bayliss took charge on this with raw power and grace before they circled back to “In the Kitchen” to conclude the evening.

    As Bayliss addressed the crowd, thanking them for helping them out, it was the fans who got all the help they needed, even if just for a few hours.

    Set 1 Divisions, Prowler > 2nd Self, Weight Around, Gone for Good*, Higgins*, Ocean Billy*

    Set 2 1348* > Jimmy Stewart > Intentions Clear* > 1348*, Walletsworth* > 40s Theme, In the Kitchen > Don’t You Forget About Me^

    Encore Resolution> In the Kitchen

    * with Josh Redman on saxophone
    ^ Simple Minds cover

  • Greensky Bluegrass and Fruition Break it Down in Syracuse

    Syracuse was treated to a double dose of bluegrass Wednesday night as Greensky Bluegrass and Fruition rolled into The Westcott Theater. The Kalamazoo crew returned to the Westcott stage nearly a year to the day from their last visit, this time in support of the new album, Shouted, Written Down & Quoted, released in September.

    Earlier in the day, news of founding member of the Allman Brothers Band, Butch Trucks’ death cast a sadness upon the music world and the jam scene specifically. A tribute to Trucks would surely be on the agenda for Greensky, one of the premier progressive bluegrass bands on the scene today.

    Greensky eased the capacity crowd into things, kicking off the set with a midtempo “The Four” that segued into a rollicking “Eat My Dust” featuring some stellar dobro work from Anders Beck. The first set remained heavy on the bluegrass the band was founded upon before slowing things down for a heartfelt rendition of “Nine Days” with Michael Arlen Bont’s banjo and Beck’s dobro again featured prominently. A lengthy run through of the Greensky staple and jam vehicle, “Broke Mountain Breakdown,” brought the highlight moment of the night, if not one of the most anticipated. Fruition’s Jay Cobb Anderson was welcomed on stage, harmonica in tow, for a ripping tribute to Trucks in the form of the Allman Brothers Band’s “One Way Out.”

    “Hold On,” from the band’s latest release, kicked off the second set, segueing into a cover of the Traveling Wilburys’ “Handle With Care” and into “Blood Sucking F(r)iends.” The segue-filled second set finished up with a “Casual Wednesday” for this casual Wednesday, segueing into the new “Run or Die,” an explosive way to finish the night.

    Frution, from Portland, OR, gained the respect of the early arriving attendees, ripping through twelve songs in their opening set. While also heavily based in bluegrass, Fruition blends soulful vocals and a funk downbeat to deliver a unique sound that complemented the headliners perfectly. This is a band that will be headlining stages at theaters in short order.

    If you missed Greensky and Fruition at The Westcott Theater you can still catch them at The Egg in Albany on Jan. 31, the Union Transfer in Philadelphia PA on Feb. 1, and a three night run at the 9:30 Club in Washington D.C.

    You can also check out Greensky Bluegrass and Fruition’s upcoming tour dates here.

    Greensky Bluegrass Setlist (via Jambands.com):

    Set 1: The Four> E.M.D. (Eat My Dust), Into the Rafters, Room Without a Roof, White Freight Liner Blues, Demons, Nine Days, Broke Mountain Breakdown> One Way Out*

    Set 2: Hold On> Handle With Care> Blood Sucking F(r)iends, Tied Down, Last Winter in the Copper Country> A Letter to Seymour> New Rize Hill, Casual Wednesday> Run or Die

    Enc: Windshield

    * with Jay Cobb Anderson (Fruition) on harmonica

  • Rubblebucket Brings a Bit of Brooklyn Bounce to The Hollow

    Funky art-pop ensemble Rubblebucket brought a bit of Brooklyn to a jam-packed Albany crowd Friday, January 26 at The Hollow Bar & Kitchen. From the get-go, each song was performed with high energy and power jumps with one goal in mind: to let loose and be present in the now.

    The five-piece, consisting of Kalmia Traver, Alex Toth, Dandy McDowell, Maddie Rice and Adam Dotson, hit the road for a string of Northeast dates across CT, RI, MA, NY and PA in support of their latest EP, If U C My Enemies, which dropped just a few days ago on January 23. Rubblebucket didn’t fail to deliver their newest tunes with enormous pep. Before they took the stage, Hollow dwellers were hovering over one another, squeezing through layered bodies and backpacks, risking getting long strands of hair and strangers’ sweat in their double IPAs and mixed vodka crans just to make way to the front of the room–or try to, at least.

    Equipped with a talented horns section, Traver initially addressed the crowd with praises of a wonderful turnout and immediately dove into displaying her raw vocal talents and magic on the baritone saxophone. Describing the Albany crowd as vibrant– attendees were just that, swaying side-to-side, dropping low to the floor and swirling along with the pulsing afro-beat stomps, pop-centric choruses and colorful toots of the trumpet and trombone.

    Traver and company offered fans tracks from their latest EP as well as their most recent full-length release, Survival Sounds, performing fan favorite hits both new and old from “Donna” and “If U C My Enemies,” the opening and closing tracks of the EP, as well as “Sound of Erasing” and “On the Ground.”

    A television propped up on the wall across from the bar was muted, yet still running, leading Traver to request to kill the power. Making valid points, she explained concertgoers were there for the show, not to receive a dose of endless commercials or politics banter and that the screen was simply distracting her from performing in the moment. The TV was nixed within seconds and from then on, intensity grew and the grooves never stopped.

    Once the energy reached its highest momentum, Rubblebucket ran with it. Traver became one with the fans, crowd surfing to the back of the venue where she decided to pull a move from King Kong’s book by scaling the side of the balcony just above the bar. With bartenders shouting to her in hopes of it not crumbling down to its foundation, she conquered the excursion and made it atop the venue while Toth manned the mic for the song’s vocals. Later, Dotson, trombone and all, paved way through the crowd inciting a full on dance party and optimal engagement, leading many to make hard ducks in each direction with hopes of avoiding decapitation. Something tells me, however, if it happened, that wouldn’t be the worst way for a fan to go out.

    While the masses were in command, Traver used it to her advantage for ultimate interaction, getting everyone in the room to drop low to the floor, jump up and down and bounce side-to-side before gearing up for a triple header encore of “Shake reprise,” “Triangular Daisies” and “Save Charlie.”

    A cozy Albany venue where locals stop in for quick bites to eat, drinks and live music on the weekends was completely morphed into a tight-quartered, hip, Brooklynite bounce house- if only for one night.

    Set List:

    On The Ground, Donna, Forlornification , Sound of Erasing, My Life, If U C My Enemies , Not Cut Out For This, Silly Fathers, Pain From Love , Lemonade (unreleased new song), Carousel Ride, Came Out of Lady, Shake Me Around
    Encore: Shake reprise, Triangular Daisies, Save Charlie

    https://www.instagram.com/p/BPxeqTwj-B6/

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