NYS Music 20​17

Category: Alternative/Indie

  • Lespectacle VII: Happy Hallo-CHEEN…

    For the past six years during the Autumnal Equinox in late September, what has been described by hosing band Lespecial as a “Pagan inspired multi-media mini-fest” has taken place.  After making its rounds at various venues in both Boston and New York, Lespectacle VII landed at one of the top music clubs in the country, Brooklyn Bowl, which Rolling Stone ranked the venue 20th in the nation in 2013.

    lespectacle VIIThis year the “psychedelic, haunted circus” not only featured stage design provided by The Reliquarium, a multi-media light and visual show from Vin Pugliese, and was boasting the best lineup of musical acts the mini-fest has seen yet, it was also moved to be held on October, 31… Halloween night. Oh, and did I mention Lespecial would be taking the opportunity to release their second studio album, Cheen? Trick or Treat Lespecialists… Happy Hallo-CHEEN!

    Supporting acts included Dallas’s “The Funky Knuckles,” New York’s own Horizon Wireless, as well as a set from Oakland California’s legendary hip-hop act Zion I with non other than your hosts Lespecial as the backing band. That collaboration first came about with a set at The Great North Music Festival. After working with Zion I, Lespecial decided to feature the MC on the 4th track of the new album titled “Sound That We Do.”  The set at Lespectacle 7 was the second time the cross-genre on-stage collaboration took place. Luke Bemand’s heavy bass and Jonathan Grusauskas’ sampled sounds and synth-scapes lend themselves well to the prolific word flow Zion I has been bringing to the stage since the early 2000’s.

    As for the new sophomore studio album, Cheen, we find a band unafraid to challenge the concepts of traditional genres. They have taken a step further in refining their style by not adhering to the preconceived notions of what that style should be. In fact there is hardly a genre this album doesn’t touch. They have become known for their metal/funk mash up sound on tracks like “Skull Kid” featuring samples of Jack Nicholson as the  Joker in the Tim Burton’s 1989 film Batman, and the Primus-esque “American Apocalypse”  However the track “Stolen Land” brings in a roots-rock/dub sound, and tracks like “Sounds That We Do” and “Donut Ghost House I” and “Donut Ghost House II” bring a hip-hop sound to the album. It’s as if someone said “It’s all been done before” and Lepecial said “Then let’s just do it all.” Spotify player below.

  • Interview: A Backstage Chat with The Weekend Classic

    The members of The Weekend Classic are no strangers to life on the road, having spent the past couple years criss-crossing the country to build a fan base one show at a time.

    They make their return to New York State on November 13 with a show at Stamps in Buffalo. The quartet from Madison, Indiana is Chris Webster (vocals/guitar), Christian Richards (drums), Matt White (guitar/vocals), and Ryan Wells (bass/vocals). NYS Music caught up with them backstage at a recent show to talk about what it was like to win last year’s Ernie Ball Play Warped Tour challenge, what keeps drawing them back to New York, and what’s on the horizon.

    Photo by Camrun Courtney

    Paula Cummings: I saw you guys last year in June, and you said that your band goal was to play Warped Tour. Then you won the Ernie Ball Warped Tour Challenge. What was that like?

    Chris Webster: It was pretty crazy. We didn’t think ever in a million years that we’d win a competition like that. Two years prior, we got on the competition and we played  the Cincinnati Warped Tour date. Then we decided to go for it again. We posted about it and we had a lot of support from people. It was really cool.

    PC: As a result, you got to go into the studio with some famous people.

    CW: Chad Gilbert (New Found Glory) and Ryan Key (Yellowcard). That was honestly really cool, too. Just getting to meet them and working with them. It was a little stressful, but it was really good for us. It pushed us to step out of our comfort zone.

    Christian Richards: I feel like he (Chad) re-taught us how to write a song.

    CW: He showed us things that someone who is a professional would know, and us, being us, are not going to know off the bat.

    PC: You guys have toured pretty extensively over the past couple years. You’ve come through New York a few times.

    CR: We’ve been to Long Island once before, twice now, and Buffalo, Rochester, and Poughkeepsie.

    PC: What keeps you coming back to New York?

    Matt White: Its a huge market. You can play a lot of places in New York.

    CR: And a lot of great bands, too, all spread out through New York.

    PC: What’s up next?

    CW: We have some more touring that we know we’re going to be doing.

    CR: Write a record. And release some songs we haven’t put out yet. They’re a lot better than anything else we’ve done. But they’re not there just yet, not fully ready.

    PC: What can we look forward to with the new music?

    CW: There’s a more mature sound to it, more in the direction we want to go.

    CR: I feel like we wrote it for ourselves.

    MW: We think its sick.

    Catch The Weekend Classic on tour this month. They are joined on select dates by In Good Nature, Young Culture, and Chris Swartz. Tickets are on sale now. Their music is available on iTunes, Spotify, and Bandcamp. Follow on Facebook for updates on shows and new music.

  • Hearing Aide: Ghost Atlas ‘All is in sync and there is nothing left to sing about’

    If you follow any releases or bands under Sumarian Records belt, then you probably heard of the metal band ERRA and Jesse Cash!  Stepping away from the more heavier sound, Cash has created his own solo project, a more melodic alt-rock approach with an immense amount of emotion driven lyricism. His solo project is called Ghost Atlas. Cash had previously created under the Ghost Atlas name in 2014 with Gold Soul Coma and then in 2015 with the Immortal Youth EP. Now with the full-length All is in sync and there is nothing left to sing about is set for release independently on November 17th. This review will help not only spark your interest, but enhance your need to feel all across the emotion spectrum.

    ghost insideThe first single off the album, “Legs,” sets the alluring tone and foundation for the piece.  It compounds a very dark and melancholy setting which is created by Cash’s mental state and musical influences. The melody really resonates inside the listener. You feel like you are being seduced by something wicked, but the temptation is very much there with the need to explore deeper into that realm. The sound of the drums sounds like your very heart is about to give out with each passing second. The bass plays with that idea well as it creates a very soothing, yet uncomfortable tone. I feel what really gives this track the passion and drive the most is the guitar combined with Cash’s vocals.  The high screams are vicious and the more calming vocals really do play on that high emotional factor. It does feel as if you are fighting to be both good and evil at the same time with some inner demon. It is both a demon and an angel that you will find yourself becoming with “Legs” as the puppet master.

    Some tracks from groups can really make you feel like you are about to lose it all, yet slowly but surely, grounds you where you need to be. The song “NightDrive” is that very song where you can set your inner most secrets free. It starts off  on a very sorrowful note. The slower pace of “NightDrive” really creates that atmosphere and it could be described as almost suffocating. Cash implementing so much of the human psyche in this track, if you listen closely enough and feel enough, the lyrics starts to paint a picture. The need to find where you belong in this world in my opinion shines in this amazing piece of audio. If you ever had any skeletons in the closest, this song really makes you try to confront them. The over the top slow, but heavy melody-induced guitar playing in the beginning slowly crates your trouble mind into submission. Halfway through, the chaos starts to awaken in the tune. You really do feel as if you are struggling to find a way out of a bad situation. The bass and drums propels the listener to different dimensions of the inner workings of what makes us human. Cash continues to serenade and becomes the medium for the listener to discover the most surreal self-awareness inside ourselves.

    With his time with ERRA, Cash still knows how to create some great explosive creative pieces as well. “Badlands” is the track that has a real punch to it. The overall theme of the album is still found in here, but it does have more attitude than the other tracks on the album in my opinion. You have the whole idea that things are changing around us, which  it is something we all know very well, and is something we have to deal with in this world. The bass comes alive in this, letting down a solid catchy bass line. The drumming is very addicting to follow along to while getting lose in the world Cash has created. I would say “Badlands” is the song off the album that will make you move around a bit with a sense of questioning what you are willing to change in your life, while getting lost in the event of experiencing new things. I have a gut feeling this song might be one of the most adored tracks. among be masses!

    All is in sync and there’s nothing left to sing about is the very manifestation of Cash’s emotions and ideology. Investing thousands of his own money into the creation of this  project comes to show how much heart and blood he has placed into this. This album will destroy the charts in the alt-rock genre without a doubt in November. If you like Deftones with a hint of mid-2000’s alternative influences, you will find a new album to be obsessed with.  This album gets 4 out of 5 from me. Do not forget to pick up your copy on November 17 on the official bandcamp.

    Key Tracks: Legs, NightDrive, Badlands

     

  • Dark Honey Revamp Their Sound, Drop Single ‘Stinging Nettle’

    After taking some time to redevelop themselves and fine-tune their music, it seems like Dark Honey’s got it figured out. Formerly known as One Red Martian, the band of (mostly) brothers picked up shop from the south and reverted to their roots in Upstate NY to record and release their newly calibrated music. The Albany outfit dropped the catchy single “Stinging Nettle” as their new sound takes finally takes shape trailing a five year hiatus.

    “Stinging Nettle” is delivered to us by a trio of brothers, Ben, Jimi and Joe Woodul as well as life-long friend Dan DeKalb, with a fun pop-melody that dives into deeper meanings with its playfully vivid syntax, amusing synth and carefully articulated lyrics. In a wave of pure indie-pop-rock, the quartet delivers a blunt track filled with clear cut emotion through personal storytelling and youthful mishaps. With an artistic vision entirely their own, the foursome even direct and produce their own videos, including their other track “Driving Song,” displaying raw emotion and full-on guitar psychedlia.

    A band a decade in operation, Dark Honey has molded its unique sound and racked up a larger bank of relatable experiences to creatively share with listeners as Woodul’s vocals have the ability to master a light, airy sound in one breath and raw and gritty in another. They’ve made their way to favorite local downtown Albany venue, The Hollow, for a show back in September and the Alt ranked them third best band in Albany. Since its debut, “Stinging Nettle” was featured on Spotify’s New Music Friday as well as Weekly Buzz and the USA Viral 50 Charts.

    Catch Dark Honey at their next gig at Rockwood Music Hall in NYC on Nov. 7.

    Listen to their newest single here:

  • Interview: Catching Up with 311’s Tim Mahoney

    Next week, reggae rock giants 311 will be making their way through the northeast, in continuation of their currently underway 2017 fall tour. Tomorrow night, the band comes north to Pennsylvania to start at Sands Bethlehem Event Center, and then will hit Lupo’s in Providence on Friday and The Wellmont in New Jersey on Saturday. Sunday, October 30 will take them to none other than Port Chester’s The Capitol Theatre, before Halloween night sees the band play at Huntington’s The Paramount. Earlier this year, the band released their 12th studio album, Mosaic, which has been receiving high praise from longtime fans as one of their most creative albums yet. After a big summer tour (which makes eighteen summers in a row for the band), 311 is feeling more energized than ever. In anticipation of what should be a terrific run of shows next week, lead guitarist Tim Mahoney talked with NYS Music about the new album, practice time, Halloween costumes, and more.

    Miles Hurley: So 311 fall tour is underway with several shows so far. How are things feeling?

    Tim Mahoney: Good! We took a long enough break from summer until now, that you kind of get comfortable being at home. But once you get back out here, though, you realize it hasn’t been that long, so you just get back into it. No real dust or cobwebs, we’ve mostly been trying to get through some of these back catalogue album tracks that we did not play in the summer. You know, to just mix it up from there. This record, Mosaic, I think it was June it came out, we’re getting through a lot of that, too. Right before I called you I was just doing a little bit of homework, going over a handful of songs for soundcheck that we haven’t played for a minute. But it’s going good. Same crew and everything, so it’s like…knock on wood. Probably break both my knees or something tonight now (laughs).

    MH: Which tracks from Mosaic have been your favorite to play, or which ones have been sounding the best live to you so far?

    TM: Well, we’ve been working through most of them, I do like “Face in the Wind,” because there are a couple of guitar solos in there. You know, being the guitar guy (laughs). But they’ve all been fun to play, but it’s a challenge, because there’s a lot of material there. But it seems like most of the kinks are out of them. There’s one we have not played yet, but that might be farther down the pipeline.

    A song like “Too Late” we’ve been doing pretty much every night, and it seems to get people going. I kind of forget that there are some super metal parts, that come up in the songs all of a sudden, and if you’re not ready for them, well….(laughs) We’ve been trying to get a balance of them out there, some of the more mellow ones with the heavier ones. And when we come to the east coast, we’ll try to mix it up.

    MH: I think that’s what I like especially about the new record—it has a nice flow back and forth between the more laid back, groovier songs, and some really heavy stuff. When it comes to the heavier and the more laid back, where would say your taste, or your playing preference, lies these days?

    TM: Ooh, it’s hard for me…well both, definitely. Being a guitar player and listening to, when I was starting, punk rock and more aggressive stuff, I’ve always enjoyed that, the heaviness you can get with the electric guitar. But I also like the grooves, and funk and jam bands, I’m a Jerry Garcia fan. I’ve always enjoyed…you know like all the way back to the Bad Brains, who does reggae and punk rock together. It’s hard for me to choose one or the other, I’ve always enjoyed just playing reggae, and being a part of an ensemble playing reggae.

    But I like to kick it to the high side of the amp, too. It’s nice that on Mosaic, as you mentioned, a lot of the songs, even within the songs, are pretty bipolar, going from super clean to super heavy, I like the contrast of them. It’s fun to get to be able to play both sides with this band.

    MH: I’ve heard many fans feel this is some of the most mature stuff from 311 yet, in how many styles it weaves together.

    TM: That’s good to hear. That’s how we feel, everybody’s on the same page right now, in being inspired to play together, and to go at it like that. That makes me happy to hear that people would say that.

    MH: I also read that 311 has always been diligent when it comes to practice, and I’m sure that’s something the fans truly appreciate—the band nailing the parts in songs when the time calls for it. In terms of, on the one side, practice makes perfect, and on the other side, just going with the flow when things happen on stage, where would you say you are right now?

    TM: Aw man, yeah, that’s a hard thing because…you know, as much as you practice, you’ll never be perfect. You have to put in the time and the work, so that when you get into a situation on stage, you can let it flow, and be in the moment, and have the tools that you’ve worked on sitting there to keep you flowing. So I think it’s both, and you can only really do the work on stage on stage, basically, in front of people.

    We talk about this a lot, about the adjustments. You know, if we rehearse in the studio, it still can’t really prepare you for when you get on stage, in front of people. And there are all these other entities there, the energies and stuff, that come into play. So managing that energy and that excitement and being able to keep focused and have it flow with the music is a big part of it, too. And that just comes from time spent doing it. But to be able to survive and to be comfortable in the on stage situations, you have to spend time working. Even the greatest players that maybe don’t rehearse any more, there was a time when they did, and I still have to work at it, everyday.

    It’s so funny, because the most random things can happen up there, in different parts of the songs. So, you always try and do your best out there, but it’s different every night, and that’s what’s fun, that’s what’s exciting about it. Even the songs we play, they’ll be different from night to night.

    MH: So would you say you are still experiencing unexpected moments on stage from your band members?

    TM: Oh yeah! (Laughs) Just weird funny little things that might make you laugh. Whether it’s a new dance move from SA, or last night Chad had some light up drumsticks that were pretty cool. And as time goes on, I enjoy playing music more and more, and I think everybody in the band is on the same page there. We’re just very appreciative of the fact that we can go out there and play music.  

    MH: Have you ever considered either playing some kind of solo shows, or solo recording?

    TM: Well I’ve played with some friends bands and stuff, and recorded here and there with them, just little projects. I think eventually I will do something, because I have songs from over the years that aren’t quite right for 311. Like, although I enjoy singing, I’ve never really sang (laughs). So it’d probably be a collaborative thing, but eventually, yeah. When I get a little time to work on something like that, it’d be fun.

    MH: Something to bring the trombone in on, too.

    TM: Yes! That’s funny you bring that up, because I have been working on a little something there. I’ve been trying to figure out what song I might be able to whip it out on. My first instrument, you know, I do love it. The hardest thing, having to buzz your lips, and the wind control. That kind of stuff has been the hardest for me. But you know, I’ve got a pretty solid one octave there, so I figure I could chip away at one of these melodies, I just have to figure out what the proper one would be.

    But yea, trombone! I’m excited, I don’t know if you listen to much Phish or to Trey, but his solo band there has a really great trombone player…I’m a huge Trey fan, so it’s nice for me also being a trombone fan, that he’s got a trombonist in his band.

    MH: Yeah, Natalie. I’ve seen her in TAB and in some side stuff with other people, yeah she’s incredible.

    TM: Yeah, chainsaw! Wow, you’re lucky, see every time Trey Band comes to Los Angeles, I’m out of town, it’s been going on for years and years now. This year they’re doing Halloween out there, and we’ll be in New York. I’m such a huge Phish fan, and every couple of years their schedule and ours line up…but yeah, TAB, what a great band he’s got there.

    MH: And I also read that you’ve always been a big deadhead, too. Has 311 played the Capitol Theatre before, or will this be a debut there?

    TM: Aw yeah. I’m pretty sure this is our debut there. It’s exciting for me, just knowing so many people have played there, you know what I mean? I’m pretty sure I have some Jerry Garcia Band shows from The Capitol Theatre. It must be a stop for a lot of bands on the jamband circuit, too. I’m getting all the emails, it seems like a lot of people are going through there.

    MH: It’s a special place to see a show, for sure. Crowds tend to get really amped there.

    TM: Aw, good! Well I’m just excited to get to step foot in it. It sounds to me like a classic room, too…

    MH: You mentioned Halloween. The 31st you’ll go to The Paramount. Does 311 do any Halloween-type bashes?

    TM: Actually, it’s been so long since we’ve played on Halloween, so we’re trying to get it together. We have some ideas, but you know you’ve got five people, so things get vetoed and cut. What I thought were good ideas, I don’t want to say them, I don’t know if they have any traction anymore (laughs). But it’ll be fun, it has been a long time since we’ve played on Halloween. You know, we’re kind of procrastinators a bit, but we’ll get something good going that night. I still have to get my costume together, that’s my biggest thing right now (laughs).

    MH: You’ve got something good?

    TM: You know, I like going as guitar players, like back in the day when we were playing on Halloween all the time. I got through a lot of the obvious ones, like Slash, Garcia, Angus Young. So I’ve been toying with that, but I don’t know yet for sure…you know the thing is, everybody in the band dresses up and I go out there without a costume, I end up looking like a dilweed.

    MH: You’ve got a date coming in November with Karl Denson. Has there been any collaboration there before?

    TM: No, you know I’ve met him…because he’s played with Slightly Stoopid, right? That’s where I’ve gotten to meet up, and hear him play. And I’ve heard…Tiny Universe songs, just a couple of them. And he’s a great player, and in Slightly Stoopid, in that context, it’s great to hear him, his solos and stuff. So I’m looking forward to playing with him. But we’ve never collaborated before, that would be a fun collaboration, to have him sit in with us, if he would ever be into that. Looking forward to that. And I didn’t know he played with the Rolling Stones, too, shit. But that show should be fun, that’s a benefit show we’re doing down there. I haven’t heard much yet other than that we’re playing with him, and…I can only imagine that the band he gets together must be pretty fun to listen to.

  • Watch Jon Lewis Band’s Spooky Music Video for “Let Me Go”

    Just in time for the witching season, Jon Lewis Band created a music video inspired by classic black and white horror movies. Filmed on location in their hometown of Rochester, the monster chase includes scenes from local landmarks such as the Cinema Theater and Mount Hope Cemetery. The band used delightfully cheesy low tech filming techniques reminiscent of classic B movies from Hollywood’s golden age.

    The song “Let Me Go” comes from Jon Lewis Band‘s latest EP, Baby Brother. It’s their second release of the year. The first, Exquisite Corpse, is a contender for best local album in City Newspaper’s annual “Best Of” reader’s poll.

  • ‘Weird Al’ Tones It Down for 2018 Tour, Several NY Dates Included

    Everyone’s favorite parody musician will once again hit the road, as “Weird Al” Yankovic, has announced dates for an extensive tour of North America in 2018. Yankovic has recently wrapped up one of his biggest tours ever and will return in 2018 with his 70+ city “The Ridiculously Self-Indulgent, Ill-Advised Vanity Tour.” Longtime friend and comedian Emo Phillips, will perform before “Weird Al” takes stage.

    Weird Al 2018Shows will take place in venues with a more intimate feel, and create a little different atmosphere than normal “Weird Al” shows. Yankovic has stated that he and his band will perform original material, rarities, and deep cuts. “Weird Al” will perform songs he and his band haven’t played in years, and songs they have never before played live. He also stated that he and his band have been rehearsing around 60 songs for the trek, and each show on the tour will have a different set list.  Unfortunately, there won’t be any costume changes or running and jumping around by “Weird Al,” as he and the band will sit on stools, and jam out songs for around 90 minutes.

    “Weird Al,” has released 14 studio albums. Four of those fourteen albums reached gold status, while six others reached platinum certifications, including 1984’s “Weird Al” Yankovic in 3-D. He has also won four Grammy awards in his career including Best Concept Music Video for the song “Fat,” in 1989. He has sold over 12 million albums, and has appeared in numerous television shows and on the big screen.

    The tour will kick off on Feb. 27, at the Bardavon 1869 Opera House in Poughkeepsie. New York will see several other stops on the tour throughout the state, including March 1 at the Tarrytown Music Hall in Tarrytown; March 13 at the University at Buffalo Center for the Arts in Buffalo; March 14 at the State Theatre in Ithaca; March 17 at The Paramount in Huntington; and March 23 at The Apollo Theater in New York.

    During a recent interview with Nerdist, “Weird Al” commented on the upcoming tour, his longevity, Emo Phillips and what he hopes fans take away from the tour. “Weird Al” was also asked about his stamina, he replied:

    I’ve definitely had time to relax, reconnect with my family, even take a shower! But yeah, when I’m on the road, it’s pretty exhausting–I get a real workout every night. This upcoming tour shouldn’t be too taxing though. We’re just going to walk out on stage, sit down on stools and play a bunch of songs. No running and jumping around, or changing into thirty different costumes. It’ll be a little rougher on my vocal cords, because I won’t have any video breaks during the show. But the whole vibe of this next tour is going to be pretty laid back. It’s the “Let’s Not Work Up Too Much of a Sweat” tour.

    What he’s looking forward to the most about the tour:

    The band and I are really just looking forward to a change of pace. I’ve been putting on fat suits and riding Segways around the stage, and I just wanted to do something totally different this time out. I don’t think I’ll be making a habit of this: this is quite possibly a once-in-a-lifetime thing. It’ll also be really fun for me to play some of the songs that I was always proud of, but somehow slipped through the cracks. There are only so many songs I can perform in my live show, and the parodies are the audience-pleasers, so we have to focus on those, and as a result, a lot of my original material never makes the cut. But this is not an audience-pleasing show. It’s probably going to be an audience-baffling show. As I’ve said before, there’s a subset of my fan base that’s going to go absolutely nuts for this tour, but it might not be for everybody.

    If he was nervous touring a different type of show for the first time around:

    Well, I wasn’t really nervous until you just brought it up! Yeah, I always get a little nervous right before a tour, and particularly when I’m doing something new. And this tour is extremely different from every other tour I’ve done. I guess I just have to go into it with a good attitude. I know it’s not going to be perfect… it’s not supposed to be perfect. All my other shows were rigidly planned down to the second, and on this tour, we’re literally doing a different set list every night. I’m going to talk a lot more on stage. See, this is really going against my nature and stepping out of my comfort zone. I’m the kind of guy that likes to have everything super-planned out and over-rehearsed and always know exactly what I’m going to do and say. On this tour, I’m just going to walk out on stage and see what happens. It could suck; it could be amazing. That’s a little terrifying to think about… so… I’m going to stop thinking about it.

    On what he hopes fans will bring home from seeing this show:

    Primarily, lots of MERCH. That would be good. Besides that… this tour is geared specifically for the long-time hardcore fans, so I just hope that some of them get their minds blown by hearing some obscure old favorite songs that they never dreamed they’d ever get a chance to hear live. And we’re really pulling out the deep cuts for this show. We’re rehearsing 50 or 60 songs, most of which we’ve either never played live before, or haven’t played in decades. It’s a lot of work. I’d also like to think that, since this show will be comprised almost entirely of my original songs, it might shine a light on the fact that I’ve done some decent non-parody material over the last three decades. But hey, I’m not kidding myself – I know that to 95% of the general population, I’ll always just be the “Eat It” guy.

    How it feels to tour with his longtime friend Emo Phillips:

    I’m really looking forward to that. Emo’s one of my oldest friends, and I think he’s seriously one of the funniest guys in the world. I’ve never traveled with a support act before. For a long time, promoters would hire local comedians to open the show. We never knew anything about them before we got there. Some were good, some were not so good, and some were totally inappropriate. And then, when our show length passed the two-hour mark, we decided to eschew the opening act entirely and make it an “Evening With Al.” But we’re going to try not to bust anybody’s bladder on this tour: Emo’s doing about 30 minutes, and I’m doing about 90. It’ll be really fun; I always have a good time with him, and it’ll be a blast riding a bus with him for 15 weeks. I just hope he doesn’t snore, or perform daily ritual sacrifices or anything. Eh, whatever, I’m sure I’d get used to it.

    The Ridiculously Self-Indulgent, Ill-Advised Vanity Tour Dates:

    Feb. 27 – Bardavon 1869 Opera House – Poughkeepsie, NY
    March 1 – Tarrytown Music Hall – Tarrytown, NY
    March 2 – Foxwoods Resort Casino – Ledyard, CT
    March 3 – The Music Hall – Portsmouth, NH
    March 4 – Wilbur Theatre – Boston, MA
    March 7 – Place Des Arts – Montreal, QC
    March 9 – Danforth Music Hall – Toronto, ON
    March 10 – 20 Monroe Live – Grand Rapids, MI
    March 11 – Michigan Theater – Ann Arbor, MI
    March 13 – University At Buffalo Center for the Arts – Buffalo, NY
    March 14 – State Theatre – Ithaca, NY
    March 16 – Caesars Atlantic City – Circus Maximus – Atlantic City, NJ
    March 17 – The Paramount – Huntington, NY
    March 18 – American Music Theatre – Lancaster, PA
    March 20 – Music Center at Strathmore – Bethesda, MD
    March 23 – Apollo Theater – New York, NY
    March 24 – Palace Theatre – Greensburg, PA
    March 25 – Playhouse Square – Ohio Theatre – Cleveland OH
    March 26 – Lexington Opera House – Lexington, KY
    March 28 – Kentucky Center for the Performing Arts – Louisville, KY
    March 30 – Virginia Theatre – Champaign, IL
    March 31 – Hoyt Sherman Place – Des Moines, IA
    April 2 – Mayo Civic Center Presentation Hall – Rochester – MN
    April 3 – Pantages Theatre – Minneapolis, MN
    April 4 – Pantages Theatre – Minneapolis, MN
    April 6 – Vic Theatre – Chicago, IL
    April 7 – Vic Theatre – Chicago, IL
    April 10 – Pabst Theater – Milwaukee, WI
    April 12 – Honeywell Center – Wabash, IN
    April 13 – Walker Theater – Chattanooga, TN
    April 14 – Miller Theater – Augusta, GA
    April 15 – Tabernacle – Atlanta, GA
    April 17 – War Memorial – Nashville, TN
    April 19 – Gillioz Theatre – Springfield, MO
    April 20 – S.E.Belcher Jr Chapel and Performance Center – Longview, TX
    April 21 – Paramount Theatre – Austin, TX
    April 22 – Wagner Noel Performance Arts Center – Midland, TX
    April 24 – tafford Centre for Performing Arts Theatre – Stafford, TX
    April 25 – Tobin Center for the Performing Arts – San Antonio, TX
    April 27 – The Majestic Theatre – Dallas, TX
    April 28 – Orpheum Theater – Wichita, KS
    April 29 – Folly Theater – Kansas City, MO
    May 1 – Paramount Theatre – Denver, CO
    May 3 – Avalon Theatre – Grand Junction, CO
    May 4 – Tuacahn Ampitheatre at Tuacahn Center for the Arts – Ivins, UT
    May 5 – Fox Tucson Theatre – Tuscon, AZ
    May 6 – Lensic Performing Arts Center – Senta Fe, NM
    May 8 – Meza Arts Center- Ikeda Theatre – Mesa, AZ
    May 9 – McCallum Theatre for the Performing Arts – Palm Desert, CA
    May 11 – The Theatre at Ace Hotel – Los Angeles, CA
    May 12 – Humphrey’s Concerts by the Bay – San Diego, CA
    May 15 – Crest Theatre – Sacramento, CA
    May 17 – Golden State Theatre – Monterey, CA
    May 18 – Turlock Community Theatre – Turlock, CA
    May 19 – Fox Theatre – Oakland, CA
    May 20 – Uptown Theatre – Napa, CA
    May 22 – Cascade Theatre – Redding, CA
    May 24 – McDonald Theatre – Eugene, OR
    May 25 – Revolution Hall – Portland, OR
    May 26 – Revolution Hall – Portland, OR
    May 27 – Martin Woldson Theater at the Fox – Spokane, WA
    May 29 – Moore Theatre – Seattle, WA
    May 31 – Grey Eagle Resort & Casino – Calgary, AB
    June 1 – Casino Regina – Show Lounge – Regina, SK
    June 2 – River Cree Casino and Resort Entertainment Centre – Enoch, AB
    June 3 – Esplanade Theatre – Medicine Hat, AB
    June 5 – Burton Cummings Theatre for the Performing Arts – Winnipeg, MB
    June 6 – Fargo Theatre – Fargo, ND
    June 8 – Columbia, MO – Jesse Auditorium – Columbia, MO
    June 9 – Surf Ballroom – Clear Lake, IA
    June 10 – Meyer Theatre – Green Bay, WI

  • Throw Away the Rudder (Float Away on Vapour Trails) – A Tribute to Gord Downie

    When your nation’s leader gives a tearful press conference lamenting that they are less of a country without you in it. When your country’s flagship news magazine spends the majority of its broadcast speaking of your legacy. When a national network dedicates hours of programming on both television and radio to the news of your death. When the Toronto Maple Leafs hold a moment of silence for a lifelong Boston Bruins fan. When your hometown’s mass transit system substitutes the bus route for “thanks for your life” on the message boards. When musicians, athletes, politicians, actors, commentators, indigenous leaders and everyday people recount memories of their encounters with you. These are all signs that you led a life to be celebrated.

    Gord Downie of the Tragically Hip passed away Oct. 17, a casualty of glioblastoma, a severe and incurable form of brain cancer. His diagnosis followed a seizure he had in December of 2015. Why this resonates so strongly with me is that my mother was diagnosed with the same. The fact that he didn’t take this diagnosis as a death sentence but as a mission to bring his message to Canada and the world, speaks to the character of the man. The period following his diagnosis turned out to be one of his most prolific.

    Downie was genuine. Downie was intense. Downie was humorous. Downie broke down fences. Downie built bridges. Downie was uniquely Canadian. Downie was one of kind.

    The Tragically Hip was never a big name in the U.S. Perhaps the obtuse poetry of the band’s lyrics or the uniquely Canadian references in their songs kept that from happening. Those Americans who had heard of the Hip and who learned to love the Hip most likely did so because of some connection to Canada, whether it be proximity to the border, family ties or a friend in the know. For me, it was a combination. I was turned on to the Hip by my friend Derrick, who had played hockey professionally and had many Canadian friends who were big Hip fans. Knowing my fondness for the Toronto Maple Leafs, Derrick told me about a Hip song that lamented former Leafs player Bill Barilko, entitled “50 Mission Cap.” I was hooked.

    I was in my mid-20s when I dove into the Hip. I dove in deep. Perhaps it was my many family trips to Canada in my childhood. Perhaps it was my need to be different than others. Whatever it was, I loved the sound of the Hip and the content of their lyrics. Through those lyrics, I discovered more about Canada than I ever would have otherwise. I was fascinated by the story of Barilko. I researched Hugh MacClennan and David Milgaard. I was an American with my own little Canadian secrets.

    Perhaps the coolest thing about being an American Hip fan in their heyday was that seeing them live didn’t involve sleeping out for tickets or sitting in a huge stadium to see them play. While the band’s hometown of Kingston, Ontario is just a few hours away from my hometown of Rome, New York, in Hipworld, it may as well be light years away. My first time seeing the band was at the Club Chameleon on the Day for Night tour in Syracuse in 1995 with a band called the Rheostatics opening. Not only was I getting an opportunity to see a new favorite band in an intimate venue, I was also being introduced to a cool new band I had never heard of in the Rheos. I’ve been a Rheos fan since that day and have the Hip to thank for that.

    The people working the door that night were asking each attendee how far they’d come for the show as they entered. I’d never encountered that when going to a concert. A few years later, I realized why. It soon became apparent that Hip fans travel, not unlike Pittsburgh Steelers fans. And I can’t say as I blame them. Given the choice between seeing my favorite band among 20,000 others in a stadium or with 1000 people in a small bar in Central New York, I’d choose the latter as well.

    Perhaps the Tragically Hip’s greatest legacy is that on Canadian music as a whole. In the year and a half since Downie’s illness was revealed, generations of Canadian musicians have come forward to express their gratitude for the band’s music. On New Year’s Day, 2017, Canadian radio host George Stroumboulopoulous celebrated the career of the Tragically Hip in a four hour show that brought together artists as varied as Sam Roberts, Geddy Lee, Blue Rodeo, Barenaked Ladies, A Tribe Called Red and Tanika Charles to perform versions of Hip classics and discuss the band’s influence on them and the musical culture of Canada as a whole. You can listen to that show here.

    Perhaps my biggest takeaway in becoming a Hip fan is the relationships I’ve developed along the way. To meet a fellow Hip fan is to meet a kindred spirit. And if you happen to be wearing something Canada-related, the barriers are immediately broken. This happened to me at Syracuse’s Landmark Theatre during the Phantom Power tour in 1998, the second of mine and my wife’s three consecutive “Thruway Tour” shows that also hit Albany and Rochester that year.

    It’s pretty much a requirement to wear something Canadiana to a Hip show, whether it’s a maple leaf patch on your jean jacket, a hockey jersey or the shirt of any Canadian band. I wore my favorite Maple Leafs hat to every Hip show that tour. While waiting in line for a beer, a tall gentleman in front of me turned and asked where in Canada I was from, apparently bewildered that an American would be a fan of a Canadian hockey team. I mentioned that I was from less than an hour away and have been a Leafs fan for years. That question led to a friendship going on 20 years now. My friend Tom hailed from Barrie, Ontario and made the trip south for the show in Syracuse. He spoke about the tremendous time he had at the Hip’s run of shows at Bill’s Bar in Boston earlier that year and how he wished he could hear those shows again. As luck would have it, I happened to have said shows on tape from a trade I had made on a Hip listserv. He jotted his address down on a cocktail napkin.  A few days later I copied the shows and mailed them off to Barrie and a friendship was born. Tom now lives in the Calgary area, but thanks to the miracle of technology, he and I have been able to maintain our friendship over all these years and I can count him as one of my truly best friends.

    Since 1995, I have been fortunate enough to see the Hip a total of 12 times, the most memorable was at Woodstock ’99 on the Saturday morning of that weekend in my hometown. Definitely one of the finest performances I’ve witnessed by any band, Gord at peak stream-of-conscious banter. When Downie said, “Ah, it’s nice to be back in Rome,” my face lit up, despite the fact that he’d more than likely never been here before.  The last time I saw them was with my wife at CMAC in Canandaigua on July 4, 2015. You can read my review of that show here.

    The night of the band’s final performance, in their hometown of Kingston last August 20, I sat in my living room, watching along with 12 million others across Canada and throughout the world as Downie gave his final farewell, tears in my eyes.

    Gord Downie brought people together. He had a magical touch that reached the rock fan and the poets. In times that have become increasingly divided, the world could use a lot more Gord Downies.

    Rest in power, Mr. Downie. You have enriched the lives of millions. Your words, your actions, your life will live on in those you’ve inspired.

  • Interview: Roan Yellowthorn (Jackie McLean) on her influences and the power of a song

    Jackie McLean, daughter of singer-songwriter Don McLean, best know for his song “American Pie,” is the front woman of Roan Yellowthorn. She adopted this alter ego when returning to music after taking time to complete a university degree.

    She began to gain media attention as a result of her distinct voice and poetic lyrics on her first self-titled EP in 2016. Roan Yellowthorn is expected to release a new album by the end of 2017 displaying the same outspoken singer/songwriter qualities people loved so much on her first EP. In the meantime, NYS Music had the privilege of speaking with Jackie McLean about Roan Yellowthorn’s past releases and some of her biggest influences.

    Roan Yellowthorn Jackie McLean

    Sammy Steiner: Given that “Child in Chief” is a political protest song, how did you hope it would impact your audience and society at large?

    Jackie McLean: I initially wrote “Child in Chief” for myself as a kind of therapy tool to help me process all of the negative feelings I had around the outcome of the election and the entire climate leading up to it. I also hoped that I could give a voice to the fear and anxiety that a lot of other people felt in the wake of the election. I wanted to honor my own feelings of discomfort and apprehension in an artistic and articulate way and, through doing that, I hoped to be able in some way to bring people together in solidarity and resistance. A good song can do that.

    I think music is such a powerful medium because it can convey many things at once. A good song has many layers and a lot of nuance and I love the opportunity to embed artistry into a message. I feel like it was the perfect medium for me to express my emotions and feelings of political dissent.

    SS: Did your father’s (Don McLean) singer/songwriter career influence any aspects of your artistry and if so, how?

    JM: Yes, I think my dad’s career has had a large impact on both my artistic and personal development. On one hand, seeing his job probably normalized for me the idea of having a career in the arts. That’s been valuable. It feels natural to me on some level to have art be my profession. On the other hand, my father’s fame as a musician has inhibited me in some ways- maybe making me feel like I can’t compete or that any success I find is not my own. Those fears have at times contributed to hindering me from becoming confident as an artist and a person. So I’d say it’s a complex issue and there have been benefits and challenges. But it’s all good now. I’ve had to find myself, the same as everyone else, and I like where I am.

  • Gord Downie, Tragically Hip Frontman, Dead at 53

    Charismatic frontman and Canadian national treasure, Gord Downie of the Tragically Hip passed away Tuesday night at the age of 53.

    Tragically Hip Cancer Gord DownieDownie was diagnosed with glioblastoma, an aggressive form of brain cancer, in December 2015. It was discovered after he suffered a seizure.

    The diagnosis wasn’t publicly revealed until May of last year when the band also announced a final Tragically Hip tour. The Hip, with Downie (vocals), Rob Baker (guitar), Paul Langlois (guitar), Gord Sinclair (bass) and Johnny Fay (drums) embarked on a 15 show cross-Canada tour in 2016, culminating in a nationally-broadcast show in their hometown of Kingston, ON on Aug. 20.

    Gord Downie
    Gord Downie assessing the situation in Canandaigua.

    A statement issued on the band’s website spoke of the inevitability of Downie’s passing, “Gord knew this day was coming – his response was to spend this precious time as he always had – making music, making memories and expressing deep gratitude to his family and friends for a life well lived, often sealing it with a kiss…on the lips.” Downie made a point to kiss his bandmates on the lips at the end of each performance on the Man Machine Poem tour in 2016 to show his love for them. The full statement from the Downie family:

    Last night Gord quietly passed away with his beloved children and family close by.

    Gord knew this day was coming – his response was to spend this precious time as he always had – making music, making memories and expressing deep gratitude to his family and friends for a life well lived, often sealing it with a kiss… on the lips.

    Gord said he had lived many lives. As a musician, he lived “the life” for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of their life than Gord. No one.

    We would like to thank all the kind folks at KGH and Sunnybrook, Gord’s bandmates, management team, friends and fans. Thank you for all the help and support over the past two years.

    Thank you everyone for all the respect, admiration and love you have given Gord throughout the years – those tender offerings touched his heart and he takes them with him now as he walks among the stars.

    Love you forever Gord.

    The Downie Family

    Downie’s final days were spent championing indigenous causes, forming The Gord Downie and Chanie Wenjack Fund to support reconciliation between indigenous and non-indigenous people in Canada. Chanie Wenjack was a young indigenous boy who died while trying to escape one of Canada’s now defunct residential schools in 1966. Downie released a solo album entitled Secret Path, accompanied by a graphic novel, last October to bring light to Wenjack’s death and the impact of the residential schools on Canada’s indigenous people.

    As a result of his tireless work for the First Nations people, Downie was honored at a ceremony given by the Assembly of First Nations last December. National Chief Perry Bellegarde bestowed an eagle feather, a symbol of the creator, on Downie and gave him an honorary aboriginal name, Wicapi Omani, which means “man who walks among the stars.”

    Gordon Edgar Downie was born in Kingston, ON on Feb. 6, 1964. He attended the Kingston Collegiate and Vocational Institute, where he met his future bandmates. Davis Manning was an original member of the band as saxophonist. He was replaced by Langlois in 1986. The band inked a deal with MCA Records after an appearance at Toronto’s famed Horseshoe Tavern, releasing its self-titled EP in 1987. The follow-up Up to Here in 1989 produced four hit singles for the Hip in Canada, “Blow at High Dough,” “New Orleans is Sinking,” “38 Years Old” and “Boots or Hearts.”

    The band’s blues-based sound and poetic Canadiana lyrics endeared them to Canadians of all walks and perhaps kept the Hip from success in the U.S., aside from the border towns. Nonetheless, the Hip became Canadian rock royalty, garnering 16 Juno Awards (Canada’s equivalent of the Grammys), the Order of Canada, induction into the Canadian Music Hall of Fame and a street naming in their hometown.

    Over the course of 30 years, 14 Tragically Hip albums, five solo efforts (with another set for release on Oct. 27) and many collaborations, Gord Downie was a champion of music, especially Canadian music. The Hip brought many Canadian artists with them on tour, including the Arkells, Rheostatics, the Sadies, Eric’s Trip, Spirit of the West, the Inbreds and Ron Sexsmith among others. Many of them have left fond remembrances. Max Kerman of the Arkells told CBC Radio’s “Q” podcast, “Gord taught me that it’s OK to dance.” The Toronto Globe and Mail tweeted, “Gord Downie, troubador of Canada, charmed and challenged a nation.”

    Canadian Prime Minister Justin Trudeau, visibly emotional, delivered a statement on Wednesday, describing Downie as one who “gave us goosebumps and made us proud to be Canadian.”

    But Downie was more than a musician. Downie was an activist. He was a performer. He was a poet. He was an actor. Gord Downie was a treasure. To gather an image of who Gord Downie was, the New York Times said it best, “The place of honor that Mr. Downie occupies in Canada’s national imagination has no parallel in the United States. Imagine Bruce Springsteen, Bob Dylan and Michael Stipe combined into one sensitive, oblique poet-philosopher, and you’re getting close.”

    Farewell, Mr. Downie. “It was a pleasure doing business with you.”

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