On a frigid Saturday night in the early part of March, many brave New Yorkers left their cozy warm homes and made their way to the Homer Center for the Arts to see a band called Scythian. Known to many bluegrass, Americana, and Celtic fans, this high intensity band had yet to cross my path. I was anxious to see what they were all about.
Currently based out of the Washington, DC area, they personally describe their style as Celtic, gypsy, Americana, and punk; and I believe that’s a pretty accurate description of their eclectic sound. With a history of eastern European ancestry, bluegrass influences of their region, and love of Celtic music, the blend is seamless and energy highly intense. With fiddle, accordion, bass, penny whistle, percussion and guitar to name a few of the instruments to accompany, they quickly escalated the heat in the room. It took them no time at all to get the crowd to their feet in the beautiful venue that once was a church. Dancing in the isles outside the pews and in the balconies, the packed crowd stomped and clapped and danced the night away.
With brothers Alex and Dan Fedoryka, Nolan Ladewski, newcomer Fritz McGirr, and Thomas Pillon filling in for sister Larissa Fedoryka, this band demonstrated their multiple musical skills, charming personalities, and energetic stage presence throughout the entire evening. All night long I couldn’t tell who was having more fun, the band or the audience.
With a six-year absence from the area, Scythian was warmly welcomed back to New York on one of the coldest nights around, and I personally hope their return is much sooner as they now are one of my favorite live bands to see. Scythian, where have you been all my life?
Set 1: Lagan Love, Scratchbox Reel, My Son John, Wisemaid Set, Paint This Town, Gypsy Fiddle, Hey Mama Ya, Go Lovely Rose, Drums of Belfast, Jump at the Sun, Road to Galway, New York Girls
Set 2: Far Away, New Reel, I Will Go, Stop the Show, End of the Street, Leaving of Liverpool, The Ocean, Danny Boy, Same Old Man, Plackets, Girl Named You, Caeli, Dance All Night, Those Were the Days
Catskill Chill festival lovers received a disappointing announcement that the fest is going on hiatus for 2017. Fans have been waiting for an announcement on 2017’s Catskill Chill Festival since the stage lights extinguished on 2016’s festival Sept. 25. Hoping for a lineup and date announcement for 2017, fans received the opposite news instead. Festival lovers can only hope the festival returns in 2018.
After seven years, Catskill Chill will take a hiatus in 2017. In a post to fans on social media, the Chillfam team reflected on how the festival brought people together and the one of a kind atmosphere that the festival created. The Chillfam team also thanked everyone from fans, vendors, bands/artist, volunteers, venues, promoters and media, who have supported the festival since its inception in September 2010.
One thing the festival promoters did not state in the post was why the festival would not take place, just stating that they needed to take a step back and that they will be be announcing Chillfam parties throughout the northeast real soon.
Many jamband favorites have played the festival throughout the years including Mike Gordon, George Clinton & Parliamant/Funkadelic, Greensky Bluegrass, Lettuce, moe., Twiddle, Dopapod, Kung Fu, Nth Power, Papadosio, and Pink Talking Fish to name a few.
Below is the festival’s statement issued through Facebook regarding the hiatus:
This Wednesday, March 8, Melvin Seals & JGB will return to The Westcott Theater in Syracuse. The “Keepers of the Flame” are no strangers to Central New York, having played the same venue less than six months prior and every year since 2012.
The folky Dishonest Fiddlers as well as Upstate’s own Los New Yorkers are opening for Seals and his band, so fans can expect a little bit of everything on this upcoming hump day. The Syracuse show is the third stop in the Empire State this tour, following their Friday night performance with special guests Ron Holloway and John Kadlecik at the Capitol Theatre in Port Chester and the Tuesday night gig at the Buffalo Iron Works with Pink Talking Fish.
Melvin Seals and JGB continue to show their love for New York as they return to the Putnam Den in Saratoga Springs on Saturday, March 11 and the Bearsville Theater in Woodstock on Sunday, March 12. The different bills feature eclectic opening acts from all over the Northeast, so prepare for something unique and special to happen at every show.
Tickets for Wednesday night’s show at the Westcott Theater are still available and the remainder of the tour dates can be found here.
Montage Mountain, in Scranton, PA is ready for another four-day festival weekend this summer, as the Peach Music Festival, has announced its 2017 lineup for the festival’s sixth annual event which takes place Aug. 10-13.
This year’s lineup will include several New York State, including New Hartford native Joe Bonamassa, NYC natives Lettuce, who will feature Chaka Kahn during their set, and Buffalo’s Aqueous, performing two sets during the festival.
Other artist appearing over the four-day festival will include Gov’t Mule and Friends, My Morning Jacket, Dark Star Orchestra, Rusted Root, Mike Gordon, Papadosio, the Record Company, Whiskey Myers, Pink Talking Fish, Holly Bowling, the Jauntee, Elise Testone and Widespread Panic, who will be performing on two separate nights.
Also, Umphrey’s McGee, and Joe Russo’s Almost Dead, will each perform 2 sets in one night during the festival.
Jam band fans love the Peach Music Festival. The festival has a wide variety of music genres that include folk, country, jazz, and several styles of rock.
The festival was created by the Allman Brothers Band, along with Live Nation Entertainment, in 2012. Festival lovers were worried in 2015, that the annual event would end, after the Allman Brothers Band decided to quit touring after 45 years in 2014, but side projects of band members appearing at the festival, helped ease the minds of attendees that the Peach Music Festival is sticking around for awhile.
Vendors for the festival have not been named as yet, and the festival itself is still taking vendor applications.
There are several different ticket levels to purchase. Pass levels include General Admission (GA), Reserved, VIP, and Super VIP. All passes include all four days of the festival. No single day passes are available. Prices for passes increase $20-$30 over time as the show draws closer. Children passes (ages 6-10) will be available at the door for $60 before fees while supplies last. Children five and under do not require a ticket.
Twiddle has announced the 2017 lineup for their second annual Tumble Down music festival, held on the Burlington, Vermont waterfront, will include Fruition, Madaila, Aqueous and more.
Tumble Down, Twiddle’s music festival returning to Waterfront Park in their hometown of Burlington, Vermont July 28 and 29, features four sets from Twiddle along with sets from Americana/bluegrass act Fruition, Burlington psych pop band Madaila, Buffalo jammers Aqueous, and San Francisco-based Midnight North. The festival also features daytime sets from New York based acts Lucid and Teddy Midnight, along with Strange Machines, Holly Bowling and Vermonters Navytrain and The Mangroves.
In addition to the waterfront festival, Tumble Down features late night performances each night. July 28 will see the Everyone Orchestra, conducted by Matt Butler and featuring Holly Bowling along with members of Twiddle, Fruition and Midnight North, at Higher Ground, while lespecial and the Pitchblak Brass Band play Club Metronome. On July 29, Mihali and Friends play Higher Ground, and Gang of Thieves with Backup Planet are at Club Metronome. All the late night shows start at 11 p.m. The Higher Ground shows are all ages and are $18 in advance or $23 at the door, while you must be 21 or over to attend the Club Metronome shows, which are $10.
Tickets for Tumble Down 2017 and all the late night shows are on sale now. A two day pass for Tumble Down costs $63.
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.
Chris 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.
On Friday, February 10 at Webster Hall in Manhattan, The Wood Brothers brought their unique blend of soul, folk and rock to a packed house. In a venue known for DJs and dance parties, the rare bill featured an Oakland based indie-Americana band known as The T Sisters. A short opening set from the ladies warmed the room up for the main family act of the evening and created a comfortable space for everyone in the room.
As the stage darkened and The Wood Brothers appeared in the shadows, the heartbeat of “Stop That Train” began pulsating on stage. The song, popularized by Bob Marley and The Wailers, created a fantastic segue for “Two Places” off their newest studio album Paradise. The topics of lost love and the urge to embark on a new adventure are etched into the lyrics of both songs. “All my life, I’ve been a lonely man,” paralleled with “I’m livin’ a beautiful dream while I’m chasing another” made this opening combo one of the most delicately crafted surprises of the show, and we had only just begun.
Couples began embracing each other during the always-beautiful “Keep Me Around” as Jano Rix gave the song something extra with his self-made instrument, the Shuitar. Friday night partiers at the venue bar slammed rounds of shots after Oliver Wood announced that the song, “Loaded” was on their newest live album, Live at the Barn. Much like the recorded rendition, Oliver asked for assistance from the rowdy audience and we were happy to belt out the playful lyrics along with them.
The trio always does an outstanding job of cleverly crafting their set lists and digging deep into the twelve-year-old catalog. Friday night was no exception. “Tried and Tempted,” which found its way into the sixth spot of the set list, can be heard on their debut record, Ways Not To Lose. In only a half dozen tunes, they had played a new cover and songs from each and every one of their five studio releases. Chris Wood showed off his moves during “Snakes Eyes” and got the crowd shaking along with him during this crisp and rocking version. Oliver unleashed a new song with a bluesy reggae feel and since they have been working on some new material in their hometown of Nashville, TN, one can only hope that a new studio album is on the horizon. The year 2016 sucked for so many reasons, and the lack of a Wood Brothers original release didn’t help.
Speaking of 2016, “American Heartache” was next up and lead into an uplifting “Atlas” which was one of the first songs the Wood Brothers ever played onstage nearly a dozen years ago in the same city. The somber “Blue and Green” mellowed Webster Hall out before “One More Day” brought the fire to a roar and allowed Oliver to show off some unusually bluesy chops at the end the tune.
To the crowd’s enthusiastic approval, the band brought out Big Mike (an old -timey stand-up microphone) and quietly played one of their loveliest pieces, “The Muse” off the 2013 album with the same name. Along with Big Mike, the brothers also welcomed their opening act, The T Sisters, to join them for another song off The Muse, “Sing About It.” After hearing the live NYC debut of this song at the Bowery Ballroom a few years prior, I knew there was something special about it, but Friday night’s version took it to a whole new level with the addition of female vocalists. In pop culture, three brothers and three sisters sharing the stage may remind you of rainbows, sunshine and dancing all through the night, but unlike the Brady Bunch, the six members on stage Friday night sang about the power of music in its most spiritual and rawest form.
As The T Sisters exited the stage, “Postcards From Hell” kept the relaxed and thought-provoking vibe present in the room. To finish the set, they executed two more songs from their southern rock influenced catalog with “Singin’ To Strangers” and “Honey Jar.” A new version of their old hit “Luckiest Man” brought smiles to faces throughout the room as part one of a two-song encore. The Band’s “Ophelia” closed out the show and gave the audience one more chance to sing along with the trio. In a recent interview, Oliver mentioned how much of an influence Levon Helm has been for the band’s development, and they certainly paid tribute during the well-received finale. The show started and ended with classic covers and gave long-time fans and strangers alike one more fantastic Wood Brothers show for the books.
Setlist: Stop That Train> Two Places, Keep Me Around, Loaded, Smoke Ring Halo, Tried and Tempted, Snake Eyes, (New Song), American Heartache, Atlas, Blue And Green, One More Day, Muse*, Sing About It*^, Postcards From Hell, Singin’ To Strangers, Honey Jar
The field for the 13th edition of Mountain Jam is set. The annual Catskills festival, held at Hunter Mountain, announced its lineup and headliners, Tom Petty and the Heartbreakers and the Steve Miller Band back in November. Friday, the full line up was announced, including additional headliner String Cheese Incident.
Also added to the June 16-18 bill are indie folk artists the Head and the Heart, reggae rapper Matisyahu, Brooklyn-based sax buskers Moon Hooch, Sudanese pop, krautrock, free jazz artist Sinkane, country legend Marty Stuart and his Fabulous Superlatives and “hometown” girl Amy Helm and the Handsome Strangers.
Helm is the daughter of the late Band drummer Levon Helm, whose studio, affectionately known as “the Barn,” is located in nearby Woodstock.
Matisyahu, Moon Hooch and Sinkane will participate in the Late Night Jam. The full lineup is available here.
Noticeably absent from this year’s bill are festival hosts Govt Mule and Mountain Jam regular Grace Potter. However, festival mainstays Michael Franti and Spearhead and Gary Clark, Jr. will appear. Also appearing is Peter Frampton, St. Paul and the Broken Bones, Holly Bowling, TAUK, White Denim and the Big Takeover.
Mountain Jam prides itself on its family inclusive environment and the kids can expect to see sets from the Paul Green Rock Academy and Ratboy Jr. along with kid friendly activities in the Kozy Kids area.
Three-day general admission tickets, camping and parking passes as well as several VIP packages are available at the festival’s website.
The impetus was a one-off tribute to The Last Waltz during last spring’s New Orleans Jazz and Heritage Festival, and Warren Haynes and Don Was put together an all-star cast of musicians to celebrate the 40th anniversary of the Band’s all-star farewell concert at San Francisco’s Winterland Ballroom on Thanksgiving Night, 1976.
That performance spiraled into yet another tribute during Haynes’ annual Christmas Jam featuring many of the same musicians. All involved agreed that it was too good and too fun not to continue. The Last Waltz 40 Tour was born.
Upon entering the picturesque Palace Theatre, attendees were treated to a full scale reproduction of the original Waltz stage, chandeliers and all. With the stage aglow in indigo, the mood was set before the musicians even set foot on stage.
While billed as a tribute to the now 40-year-old classic concert, this show felt fresh, more of a celebration of this great slice of Americana. Those in the know understand that what was originally released in the film and the three-LP album in 1978 was far short of the actual four hour-plus long show back in 1976. Thursday’s show was closer in length to that evening, clocking in at three hours and 20 minutes.
The “Band” for this tour was fronted by Warren Haynes, founder of Govt Mule and former Allman Brothers Band guitarist. There isn’t much Haynes hasn’t had a hand in. Among his unlikely group of merrymakers was former Doobie, Michael McDonald, outlaw country artist Jamey Johnson, avant-jazz keyboardist and virtual mad scientist of the keys, John Medeski, of Medeski, Martin and Wood, Dirty Dozen Brass Band drummer Terence Higgins and uber-producer and bassist Don Was. The four-piece horn section, anchored by Bonerama trombonist Mark Mullins, performed the late Allen Toussaint‘s arrangements throughout the night, adding just perfect punch of authenticity to the classic songs of the Band.
The night began with the PA pumping in the introductory theme from the movie, bringing the capacity crowd to its feet. Johnson took the lead vocals on “Up on Cripple Creek,” giving proper reverence to Levon Helm while maintaining his Nashville twang. Each time Johnson took the lead throughout the night was a pleasure, particularly during his performance of “Georgia on My Mind.” Johnson channeled the legendary Ray Charles with a touch of Willie Nelson in a soulful country-fied take of this classic that had the audience cheering throughout. McDonald’s piano solo and Haynes’ guitar solo complemented Johnson’s vocals perfectly.
The music of the Band is the music of America (despite four of the original five members being Canadian). In their productive years, this group defied classification as they waded through the waters of blues, country, New Orleans-style funk and classic rock. At their peak, they were lauded by such legends as Eric Clapton and George Harrison, the former even expressed an interest in becoming a member at one point. There is a direct line that can be drawn from the Band through the Eagles, Tom Petty, Big Star, R.E.M., Wilco, My Morning Jacket to Blitzen Trapper. They compiled the best of American music into one package and launched the careers of a hundred bands. That is what this tour was all about. The fact that Haynes and Was could gather musicians of different genres and generations to pay tribute to this band attests to that truth.
Late in the first set, New Orleans royalty, Ivan and Cyril Neville, joined the festivities for a funky version of Bobby Charles’ classic “Down South in New Orleans,” a song performed with Dr. John in the original show. Medeski displayed his virtuosity on the keys here as Cyril and Ivan provided the vocals. This was followed by the biggest curve ball of the night, a slinky, slowed-down, funky version of the classic blues song “Who Do You Love.” Cyril drove home the beat on the congas accompanied by Higgins in the pocket, while Ivan joined Medeski on the keys. The contrast from the original, performed by Ronnie Hawkins, couldn’t be more pronounced, yet it fit the setlist perfectly. Haynes worked the pedals, Medeski and Ivan worked the keys and everyone with a microphone in front of them harmonized the chorus to a T. Mullins tossed in a muted trombone solo to cap off a true highlight of the night.
The first set concluded with Johnson leading a sing-along to the Band classic “The Night They Drove Old Dixie Down.” Johnson’s contributions to this show cannot be overstated. The man has the vocal chops to handle anything in the Band’s repertoire.
Following a quick 20 minute intermission, the band jumped feet first into the second set with a stellar horn intro to the classic “Ophelia.” Johnson again took the lead singing as Don Was kept the back end with a huge smile on his face. Haynes contributed one of his trademark solos and the stage was set for a second set that somehow ended up overshadowing the first.
At the original, a maroon jump-suited Van Morrison appeared to perform his classic “Caravan” with the Band backing. On this night, Haynes played the role of Van the Man. Morrison’s voice is difficult to replicate. Haynes made it sound effortless on his turn at the mic. His soulfulness combined with the horn section made it seem as if one was back at the Winterland in 1976.
Michael McDonald took center stage for Neil Young’s “Helpless,” tossing in a bit of his blue-eyed soul that gave his own imprint on the song. McDonald is still at the top of his vocal game and his unique cover of Young’s classic was a welcome addition to the setlist. McDonald was the wild card of this lineup. While he’s contributed keys and vocals to many classics throughout his career, covering someone like Neil Young isn’t something one would expect from him. He made it his own while still keeping true to Young’s original.
As if the night couldn’t get more exciting, John Medeski took over McDonald’s keyboard while the Doobie sat aside him playing banjo for the Johnson-led “Rag Mama Rag.” Medeski put on one of the performances of the night with his assault on the keys, putting the audience’s feet in motion and the keyboard on notice. His performance on this song alone cemented his status as one of the best keyboardists in the game today. One could not help but focus on him as he played.
Following this run-through, the Palace crowd was treated to an appearance from the first of two original The Last Waltz performers in “Steady Rollin’” Bob Margolin. Accompanied on harp by Chris O’Leary from Levon’s Barn Burners, Margolin introduced himself as someone who performed with blues legend Muddy Waters at the original. He told a story of an after-show jam session at the hotel with Ronnie Wood, Levon Helm, Eric Clapton and Bob Dylan, where they performed a series of Robert Johnson songs. O’Leary then broke into his harp intro to Robert Johnson’s “Kindhearted Woman Blues” as Margolin laid some old school blues on the Palace crowd. He then broke into a stomping version of “Further on Up the Road,” performed by Clapton in the original, with Haynes on vocals. The 68 year old Margolin displayed more energy than just about anyone on stage during this performance, frog-hopping towards the front row while wailing away. Those who didn’t know him prior, took note this night.
Following Margolin’s electric performance was the part of the night everyone was anticipating. Original member of the Band, Garth Hudson gingerly approached the stage to a standing ovation, decked in a wide-brimmed black hat to hit the keys for “The Weight.” Johnson kicked off the vocals, followed by Haynes and then McDonald, providing that Doobie bounce to one of the Band’s signature songs. O’Leary and Margolin remained onstage for this one. O’Leary provided the “Wait a minute, Chester” portion with a bouncing spirit that had the crowd bouncing along as well.
A soulful rendition of “I Shall Be Released” was delivered with aplomb by Johnson accompanied by a classic Hudson keys solo. Unfortunately, he wasn’t very visible behind the keyboards, aside from his wide-brimmed hat, however the sounds coming from the keys were unmistakably Hudson.
The entire band left the stage following “Released,” leaving Hudson alone at the keys with the spotlight on as he performed his signature improv “The Genetic Method,” a nearly five minute piece inspired by Bach’s “Toccata and Fugue in D Minor” that accompanies “Chest Fever.” This one featured vocals by all the leads including an especially soulful take from McDonald. Each musician on stage was admiring Hudson’s work throughout smiling at the legend as they performed. Haynes’ solo was particularly inspired in this one.
“Don’t Do It” closed the night on a high note with inspired vocals from O’Leary and McDonald with a pop from the horns that left the audience dancing in the aisles with smiles on their faces.
The Last Waltz and the Band are American (and Canadian) treasures. Forty years on and the music that was created is still celebrated and inspirational. The audience in attendance was a mix of those who saw the Band in their heyday as well as those who have been influenced by the artists influenced by them. The music is still as relevant today as it was when it was originally performed and yet sheds a light on the history of American music. This tour was a celebration of that legacy but also a continuation of it. As the years go by musicians will still perform these songs and the legacy will still be celebrated. Here’s to more of that. Thank you to Don Was and Warren Haynes for providing us with this celebration, which will no doubt continue at least until the 40th anniversary of the movie’s release in 2018.
Gary Allan isn’t your typical mainstream country musician. Allan’s roots are firmly planted in a classic country soil, and the southern California and Bakersfield influence is apparent in his music and compositions.
Performing to a sold out crowd at The Turning Stone Casino, Allan’s abilities to seamlessly switch gears on stage from an upbeat tempo to ballad is effortless. Backed by one of the most talented bands I’ve seen recently, the setlist showcased their skills perfectly. Between Allan’s ruggedly sexy voice and the band’s ability to lull you in with each tune, you fall in love with this show a little more as each song is performed.
Playing popular hits such as “Song About Rain,” “Airplanes,” “Do You Wish It Was Me,” and “Best I Ever Had,” although comfortable and welcoming, it wasn’t the popular songs that struck a chord in me. It was the classic sound, the Bakersfield rockabilly, and rock-based tunes that made me sit up and take notice of this ensemble. Songs like “Guys Like Me” with a heavy slide guitar, and “Man of Me” that featured piano, fiddle, slide guitar, and heavy percussion and guitar blew me away. While “Half of My Mistake” and “Smoke Rings In the Dark” showcased a definite southern California sound with a little Tex-Mex/Bakersfield sound mixed within.
In a generation of new country sounds, it was refreshing to hear a classic country sound like “Nothing On But the Radio” and “It Would Be You.” His new music on Set You Free truly stands out to me. The honesty of the lyrics, the deliverance of the emotions with songs like “It Ain’t The Whiskey,” and the super sultry sexy “Sand in My Soul” truly draws you in and makes you fall in love with this album.
Further reflecting his classic country sound were covers such as “Her Man,” by Waylon Jennings, and “Fast As You,” a Dwight Yoakum favorite, highlighted the smoldering country and Bakersfield sounds that are slowly making their way back in to mainstream country today.
Allan is true class and classic at the same time. With songs like “Learning How to Bend,” he demonstrates his talent in songwriting and performance. He has a way of drawing you in to his songs where they become your life. That’s a gift. Perhaps it’s because of the honesty in his music. He doesn’t march to the beat of popular tides, he’s true to his roots and to his sound. You feel his music because he feels his music.
The stand out performance of the evening was “Get Off on the Pain.” The honesty in which Allan delivers this song cranks it up to over drive and he leaves it all on stage with that number.
Closing out the show with “Drinking Dark Whiskey,” this Chris Stapleton, Mike Henderson number, once again highlighted Allan’s classic country sound and the tide that country music is to turning to today. With a new album on the horizon, it is my prediction we have yet to see the best of Gary Allan. This ever evolving musician has just begun to make his mark on the country music stage.
Setlist: Tough All Over, Radio, Man to Man, Guys Like Me, Do you Wish It Was Me, Smoke Rings, Sand in my Soul, It Ain’t the Whiskey, Half of My Mistakes, Her Man (Waylon Jennings cover)It Would Be you, Get Off on the Pain, Song About Rain, Airplanes, Learning How to Bend, Life Ain’t Always Beatuitful, Best I Ever Had, Man of Me, Right Where I Need to Be.
Encore: Every Storm, Fast As You (Dwight Yokam cover), Drinking Dark Whiskey (Chris Stapleton/Mike Henderson cover)
Chris 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.
