NYS Music 20​17

Category: Funk/Soul/R&B

  • Melvin Seals & JGB Return to Central NY

    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.

  • The Peach Music Festival Announces 2017 Lineup

    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.

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

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

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

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

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

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

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

    magic beans thom lafond

  • Kung Fu and lespecial Bring Friday Night Heat to Putnam Den

    An eager, tight-knit crowd impatiently awaited a double header of CT-rooted funk-fusion Friday, February 24 at Putnam Den, straight from the talents of lespecial and Kung Fu.

    Fresh off the heels of a sold-out double header at Vermont’s own Nectar’s and Bishop’s in Northampton, livetronica act and festy favorite, lespecial, is riding their wave of growing fame. Last year at Disc Jam they offered an unforgettable late night set to their fans in Stephentown, NY, just 40 minutes out from the Den’s home. Kung Fu made a return to the Saratoga Springs venue in less than a year, after their last run around performance with Particle to a 330-person crowd. Acting as their first show of 2017, the five-some will soon after embark on tour before hitting the summer festival circuit, incorporating one original set and one Steely Dan set each night of The Fez Tour.

    lespecial hopped on stage with an impressive amount of gear to warm things up for a Saratoga crowd. As the aggressive, death-funk dance trio exploded into the first set of the night, gentle improv ensued but not for long. Completely unforeseen, the genre-spanning musicians swiftly ditched light and airy tunes and kicked into high-gear heavy metal paired with matching facial expressions. The intensity was written all over drummer Rory Dolan’s face as the grit grew stronger, so did the jam face.

    Dipping into afro-latin fusion with “Harambe Zombie” and funky, self-explanatory acid jazz improv, they took the crowd by storm with Star Wars’ delights as the opening notes of “Imperial March” had all ears perked up. Jonathan Grusauskas and Luke Bemand swapped their guitar and bass to face each other on synths and samplers for the Darth Vader theme. Another treat of the night came wrapped up with a Beau Sasser sit in. The Kung Fu keyboardist aided the trio with a Beatles cover, bringing the naturally slow and emotional “Because” into an unforgettable reggae jam with sprints of polka sprinkled in between. Cowbells were broken out during “Jackwise” ahead of a “Feel it in the Air” cover that segued in and out of what sounded comparable to R.L. Grime/DipLo and Friends mix samples.

    https://www.instagram.com/p/BQ7CMFtjtBD/?taken-by=nystatemusic

    Their hard-hitting and glitch-hop tunes have a way of capturing you inside of a real-life video game as each level-up introduces you to yet another genre or sample. Conventional isn’t their game– and that’s why they’re so captivating. Their ability to span multiple genres in one song and effortlessly transition between them makes you wonder why these guys haven’t gotten the blown up recognition they so rightfully deserve. Yet at the same time, you cherish the fact that they’re still loved in a small, niche group and not popularized to the masses for your own selfish reasons.

    An already amped crowd moved forward and tightly packed together for Kung Fu’s introductory show of 2017, which quickly and almost instantly incited an electro-fusion 70’s dance party. In addition to recent waves of global warming, Kung Fu brought the heat, making Den dwellers feel as if they stepped into a groovy time machine.

    Beau Sasser, Todd Stoops’ keyboard replacement, Adrian Tramontano and Chris DeAngelis of Fu have all been recently found in the Albany/Capital Region area playing with side projects and supergroups at local pubs and restaurants, offering smooth tunes at Speakeasy 518 or getting funky at the City Beer Hall for what used to be Funk Night Wednesday’s. Although this Putnam Den stop wasn’t scheduled as part of the Fez Tour, fans certainly got a treat of what was to come with two Steely Dan songs, “Black Cow” and “Peg” sandwiched throughout the night’s tunes of “Scorpion>Gungho” and “Bopcorn,” before closing out with an encore of “Getdown.”

    Imaginations were left to roam wild and wonder what Steely Dan bust outs will make their way to the national, 28-date Fez tour.

    https://www.instagram.com/p/BQ8Uxa8DcV9/?taken-by=nystatemusic

    If Friday night was anything close to what fans can expect from both groups on tour and on festival bills, summer 2017 is one to be cherished. lespecial will continue their current tour with four more NY dates in Ithaca, Buffalo, Rochester and NYC while Kung Fu embarks on their inaugural tour of 2017, making their Putnam Den stop feel like an ultimate launch party.

    lespecial Set List: Improv> Pentachronic, Harambe Zombie, Pressed for Time, Acid Jazz Improv, New Fish, Imperial March>Force>Lamp, Because*,Sound We Do, Jackwise, Bugg’n>Air>Bugg’n
    *the Beatles

    Kung Fu Set List: Hammer>Paragon, Black Cow*, Scorpion> Gung Ho, Bopcorn, Peg*, Do The Right Thing, Saul Good, Samurai
    Encore: Getdown
    *Steely Dan

  • Hearing Aide: Sister Sparrow & The Dirty Birds ‘Fowl Play’

    If success is playing over 700 shows and releasing three wildly successful studio albums, then Sister Sparrow & The Dirty Birds have it. Their presence on stage is infectious, contributing to a vast and ever-growing festival scene. The Brooklyn-based Sister Sparrow and the Dirty Birds just released their newest addition to the catalogue, a two-disc live album titled Fowl Play, that provides enough horsepower and sheer grit to get you in the mood to roll down the windows and hit the road.

    The album starts hard and heavy with “Freight Train,” complete with wailing horns and a voice that could bring just about anyone to their knees. It’s no surprise that lead vocalist Arleigh Kincheloe can use her voice to soar over the rest of her seven-piece band. “Freight Train” is how you start a live album. If you’re new to the band, then that’s the song that will keep you listening.

    “My House” slows it down, with that 50’s soul feel almost comparable to a Sam Cooke ballad. The song is bookended with Kincheloe’s sultry voice, but the meat of the song is the guitar solo in the middle. You’ll definitely want to go back and listen again to get the full effect. For a band who prides themselves on hard-hitting, gritty rock, the ballad is where you really see the definition and talent. Ballads can be tough for a large band, but their ability to settle down and hit you with the feels is undeniable.

    Disc two opens with “Dirt,” which is a prime example of why you should set the computer down and go see them live. The attitude and low-end growl is what makes Sister Sparrow & The Dirty Birds so popular among a vast fan base. The harmonica and sax solo battle is one for the ages, grabbing your attention from every angle. Arleigh’s brother Jackson Kincheloe on harmonica and Brian Graham on saxophone somehow fit more notes into a solo than what should be possible. But nevertheless, it builds to a full-band roar, like a battle cry after winning the war.

    Fans crave live albums, and this one does not disappoint. It appeals to just about every genre, and provides funky, gritty jams that can get just about anyone moving. Get your copy on their Bandcamp where you can also preview the album. They don’t currently have any tour dates announced, but keep a close eye on their website for upcoming tour and festival announcements. Do yourself a favor and hop on the Dirty Birds train, because wherever it’s going, you’re in for one wild ride.

    Key Tracks: Freight Train, Dr. Feelgood, Dirt

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

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

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

    Sinkane1

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

    Sinkane3

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

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

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  • Clyde Stubblefield, ‘Funky Drummer,’ Dead at 73

    Clyde Stubblefield, the drummer who provided the backbeat for a generation, died Saturday at the age of 73. As the drummer for James Brown’s band, Stubblefield laid the groundwork for funk and inadvertently created the most sampled track of all time. The drummer’s wife, Jody Hannon, confirmed his death from kidney failure.

    Clyde StubblefieldStubblefield’s resume as Brown’s drummer includes classic tracks such as “Cold Sweat,” “Say it Loud – I’m Black and I’m Proud,” “I Got the Feeling,” “Sex Machine” and the track that gave him his notoriety, “Funky Drummer.”

    He was a funky drummer. The brief interlude in “Funky Drummer” provided the beat that launched a thousand hip-hop acts. The track was sampled by the Beastie Boys, Public Enemy, Run DMC, N.W.A., LL Cool J and even George Michael. Unfortunately, Stubblefield never saw any royalties from any of these uses of his most famous piece as he was not listed as a songwriter on the track.

    Roots drummer Questlove proclaimed Stubblefield, “The Funky Funkiest Drummer of All Time” in a tribute on Instagram Saturday

    Stubblefield was born in Chattanooga, TN on April 18, 1943, influenced by the factory sounds and the rhythm of the trains near his home. He went on to briefly perform with Otis Redding before being introduced to Brown, joining his band in 1965.

    Following his career with Brown’s band, Stubblefield relocated to Madison, WI, performing weekly Monday night gigs with his Clyde Stubblefield Band, a band that included long-time friend Steve “Doc” Skaggs on keyboards and vocalists Charlie Brooks and Karri Daley. He maintained this schedule until health problems sidelined him in 2011.

    Over the years, Stubblefield performed with Rock and Roll Hall of Famers the JBs and frequently collaborated with fellow Brown band drummer John “Jabo” Starks as the Funkmasters.

    Stubblefield battled kidney problems and bladder cancer since 2000. Due to his lack of health insurance, paying for the procedures proved difficult. Following Prince’s death last year, Stubblefield revealed that Prince had secretly paid his nearly $90,000 in medical bills in full. Prince and Stubblefield had never met but Prince considered the funky drummer one of his idols.

    Check out the 1999 video below, where Stubblefield discusses his style and jams with John Medeski on keys, Fred Thomas on bass, Fred Wesley on trombone and John Scofield on guitar:

  • Disc Jam 2017 Initial Lineup Announced

    Disc Jam Music Festival 2017 announced the initial lineup for its 7th edition.  The June 8-11 festival returns for the third year to Gardner’s Farm in Stephentown, NY, a Berkshire Mountain town near the Massachusetts border.

    The weekend of music, art and disc golf features more than 60 acts on its twin main stages and two side stages and features headliners The Motet, Break Science Live Band, Dopapod, Turkuaz, Manic Focus, TAUK, Kung Fu, Pink Talking Fish, Giant Panda Guerilla Dub Squad, Aqueous, Gubbulidis (Twiddle side project), Ghost-Note (Snarky Puppy side project), Electric Beethoven, Consider the Source and Honeycomb.

    The festival’s grounds are home to a 27-hole disc golf course that will play host to a number of tournaments throughout the weekend appealing to the enthusiasts as well as casual players.

    Other announced artists reads like a list of the Northeast’s best talent, including: Yheti, lespecial, Esseks, Brightside, Of the Trees, Spiritual Rez, Roots of Creation, Holly Bowling, Hayley Jane, Agent Lockhart, the Mallett Brothers Band, Strange Machines, Congo Sanchez, Sophistafunk, Wild Adriatic, After Funk, Funky Dawgz, Funk You, Swift Technique, Litz, Calliope Musicals, Earphorik, West End Blend, Teddy Midnight, Mister F, Formula 5, Chromatropic, Annie in the Water, Goose, the Mushroom Cloud, Eggy, Lord Electro, William Thompson Funk Experiment, Ben Silver (Orchard Lounge), Toadface, Saltus, Uncle Bob, DELTAnine, Klassik, Leila, Detox, Tsimba, Zerogravity, Zoologic, Bunk Buddha, Bells & Robes, Icculus, Echo Mecca, Kroma Kode, In Flux, Stephen Lewis, Mether, Qwill, Oogee Wawa, the Other Brothers, Humble Digs, Monotronic, Resin Heads, Big Jon Short, Zack Slik, Political Animals, Schooley Mountain Band and Cal Kehoe.

    Promoter Tony Scavone said of the talent:

    We’ve put together a Who’s Who of Northeast musical talent without straying from our funk/jam roots, while keeping with the times to include the electro-fusion craze that has taken hold of new music being created by today’s fastest rising acts

    In addition to the breadth of music and disc golf, there will also be flow arts workshops, interactive art throughout the grounds and daily yoga sessions. Craft and art vending will be sponsored by PhanArt.

    Early bird tickets are available now at the Disc Jam website for $125. This includes camping and early entry to the grounds. Special VIP packages include a stay at nearby Jiminy Peak.

    Check out Dopapod’s performance with the West End Blend horns from last year’s festival below:

  • Red Hot Chili Peppers Play Key Bank Center

    I can’t believe I made it this far in life without ever seeing the Red Hot Chili Peppers but I’m so glad I was able to drive in a snow storm from Syracuse to the Key Bank Center in Buffalo on February 10 to make this at the last possible minute.  I just feel bad for missing the openers. Going into this concert my first thought was “what on earth is this band going to be like without John Frusciante?!”  And honestly this band still holds its own as the kings of funk rock. Guitarist Josh Klinghoffer is damn amazing at what he does, plays the parts justified, the solos slightly different, but nails the backing vocals.

    Overall, the band is as vital as it ever was, and show no signs of slowing down.  But their stage production was massive and unique.   Above the crowd and stage was the new kinetic light sculpture, designed by the production company called TAIT Towers.  This technique and stage design has  never been done before at other shows.  The band made an ambitious move to excite the crowd and add to their already insane musical experience.  It is really hard to explain how these lights work but check out this link to see a better explanation.

    The band opened with a cool little jam before frontman Anthony Kiedis stormed the stage before going into “Can’t Stop” and “Dani California.”  I also want to point out that Flea is still one of the most bad ass bassists ever to grace music and Chad Smith can pound the drums meaner than Animal the Muppet.  Eat your heart out Will Farrell.  Also in addition to all the crazy production, the band had additional musicians when they performed songs off their latest album The Getaway.  They had an additional guitarist, keyboardist, and percussionist to make the songs more massive.  It was also cool to see the band do jams, bass interludes, and guitar solos in between songs, as well as showing off their sense of humor.

    One of the highlights of the night was “Aeroplane” which was off their 1995 album One Hot Minute which featured Dave Navarro on guitar at the time….which was why it was such an unexpected treat to hear.  And my life was complete towards the end of the show when they played the iconic “Under The Bridge.”  Found it interesting when the band did a cover of Iggy and The Stooges’ “Search and Destroy” in which Kiedis took his shirt off.  Not sure if that was supposed to be a nod to Iggy himself.  The band closed off their set with “By The Way” before a kick ass two song encore of “Good Bye Angels” off The Getaway and the oh-so-fun and dirty song “Give It Away” which the crowd went bananas over.

    Overall it was an unforgettable night, I would expect RHCP will be back in NY very soon and will still sell out a massive arena…and it would be great to see what kind of ambitious production they would carry next.  Not to mention with so many albums out, there’s so many songs that still need to be incorporated into their set.

  • Disco Biscuits Drop Mid-Run Heater at the Fillmore

    All Disco Biscuits shows are not created equal.  Throughout their career, the band has gone through periods of inconsistency that can last for years at a time.  In fact, the only guarantee involved in attending a Biscuits run are the differing opinions that the massively diverse fan-base somehow accumulates over the course of the weekend.  The Disco Biscuits homecoming at the Fillmore Philadelphia last weekend drove this point home yet again, with nearly everyone’s preference all over the musical map.  Thursday, February 2 kicked the weekend off with a rarely played tune, “Biscuits Are Coming Home” which has only been performed 3 times previous, the last of which was in 2010.

    From the information gathered, it seems as though there was a 33/34/33 split as to who championed February 2, 3, and 4 as the best shows, respectively.  Friday happened to be my 50th Disco Biscuits show, so let’s hope there isn’t a slight bias in my agreeing with the slight majority.  Thursday’s setlist selections didn’t seem to stream, while Saturday was nearly completely frequent repeats (with several of the evening’s tracks having been performed multiple times during the last 3 runs)  from last year’s rotation.  Anyway, let’s put on our red shoes and dance.

    The 3rd began with familiar Philadelphia locals, Swift Technique.  Combining aspects of funk, rock and roll, and hip hop with a heavy rhythm section and the sparkling lead vocals of Chelsea ViaCava provided an excellent warm up to the ultimately horny theme of the evening.  A skintight rendition of Rage Against the Machine’s “Know Your Enemy” provided the horn section a platform on which to display their multifaceted choreography routine; playing while darting through the crowd to the delight of surprised early birds.

    The Biscuits hit the stage a few minutes before 10 PM, coming hot off the line with “Bernstein And Chasnoff.”  Guitarist Jon “Babs” Gutwillig took a few minutes to gain his sea legs, but by the time they rolled into “Voices Insane” his licks and hairstyle for the evening fulfilled the wacky technicality demanded by the composition.  The solo was noticeably brighter than the commonly minor and eerie jam that suits the song’s unsettling lyrical content. It appropriately continued the upbeat theme as bassist Marc “Brownie” Brownstein slapped it silly into the end of “Bernstein and Chasnoff,” bringing the first segment of the night to a promising end.

    Quite a tasty sandwich, and only the first course!  The opening bars of “The Very Moon” proved another slight challenge for the Barber, but he seemed to lock in and flash a smile at keyboardist Aron Magner just as the galloping acoustic piano lit up the whole room. With 2 crystal chandeliers flanking the stage on either side of the ceiling at the Fillmore, the light show was multiplied in a dazzling array of prisms.  Just as the tune was about to peak into its heavy riffing funk section, Swift Technique’s horn section rejoined the stage for a seamless transition into Rick James’ “Give it To Me Baby,” which the Disco Biscuits have played once before on Halloween of 2015, also accompanied by horns.  This version seemed more frequently rehearsed, having been at both performances.  The ST horns exited stage left as the funk cover transitioned into an ending of the old school “Morph Dusseldorf” to complete the final round of the first set.

    After a quick half hour plus set break, the boys from Philly came out swingin’ harder than Rocky with a pummeling “King of the World,” with the horns of Swift Technique once again in their corner.  Drummer Allen Aucoin kept pace as immaculately as usual, slowing things down for a debut cover of David Bowie’s 1983 smash hit “Let’s Dance.”  The white lasers playing off the disco ball like a crown brought the energy of the crowd straight back to the 80’s dance vibe that we all hate to love.  Disco Biscuit cover tunes are usually not, in any way, my bag; but something about Gutwillig’s low crooning register actually worked with the classic.  It was roughly 10 to 15 times more together than last year’s covers of “Touch Me” and some other unmemorable tripe at the February Fillmore run, which were also performed with Swift Technique horns. And the Doors are completely unbearable as it is.

    The resulting improvisation was quite danceable, flirting with a few familiar melodies before taking flight with an inverted “Humuhumunukunukuapua’a.”  “Astronaut” continued the segment with a surprising drop in and quite the dreamy bridge, conjuring an image and feeling of zero gravity.  There were many contradictory opinions as to where the next jam was leading, and the Biscuits turned up the heat big time with the lead in to the chorus of “Down to the Bottom,” playing a fully dyslexic version instead of their typical last-first inversion arrangement.  Combining that classic with the end of “Confrontation” to bring the evening to a close left many fans with their favorite high energy segment of the weekend.  For the encore the boys selected “On Time,” which was a bit strange considering they played it in the encore slot on the second night of last year’s Fillmore run as well.

    With two down and one to go, the internet was ablaze with vastly differing commentary.  We rushed to our Ubers and off to typical Philly after parties in cramped lofts to continue having our brains jangled by DJs, Space Bacon, and other sixth tier jam squads…and to continue the beautiful and elusive flight of the Flugel.

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