NYS Music 20​17

Category: Genres

  • Jess Novak Band to Celebrate New Release at Turning Stone Friday

    Syracuse’s Jess Novak Band will release its new album, Fireworks & Fairytales, Friday November 10 and to celebrate, the band is throwing a CD release party at Turning Stone Casino Resort’s Turquoise Tiger Lounge in Verona Friday beginning at 9:30 p.m.

    jess novak turning stoneThe free show will feature the four-piece Jess Novak Band that includes Novak (violin, vocals, guitar, percussion), Mark Nanni (keyboards, accordion, vocals), Anthony Saturno (guitar) and William Harrison (drums, bass). The band will be joined by the horn section that contributed to the new CD – Melissa Gardiner on trombone and Nick Fields on trumpet. Several special guests who contributed to the making of the album may also appear alongside the band.

    JNB blends pop, soul, blues and rock, leading the audience on a voyage through the Stax vaults and down through the juke joints of the south. Terry Roland of No Depression magazine said of the band:

    There are those rare moments in music when the dynamics of sight and sound converge into a near-perfect storm. Then it rains down talent and a connection of musical and personal chemistry create something that is irresistible….Their music is a blissful shot of Americana blues-based soul music.

    The album is the Jess Novak Band’s third and the sixth overall for Novak. The first video from the album, “Do to You,” was released Nov. 5 and has received an Akademia Music Award for Best Pop/Rock. You can see the video below.

    The band plans to begin a cross-country tour in early 2018 in support of the new album. In the meantime, you can catch them gigging throughout Central New York. In addition to being available at JNB shows, Fireworks & Fairytales will be available for streaming and download through iTunes, Spotify and Amazon.

  • Halloween Horror Camp 3

    The 2017 Halloween season got off to a frighteningly good start last weekend courtesy of a small and intimate party in The Berkshires that featured some of the region’s burgeoning musical acts.  Bands from Upstate NY and Western MA, along with an intimate collection of 200 some-odd live music lovers, assembled at the rustic H.A. Moses Scout Reservation in Russell, MA for a brief, yet utterly enjoyable, festival of nostalgic music and musical costumes and the third rendition of its Halloween Horror Camp. With each band playing a predesignated set of covers from other artists, the opportunities to “dress up” both in costume and musically ran rampant this cool October evening.

    Halloween Horror CampNormally used for Boy Scout camping purposes, the main lodge was transformed into a dance hall of sorts and nearby cabins were available for additional purchase as well for those that preferred bunk beds instead of roughing it outdoors. In fact, in a really unique twist, “campers” weren’t even informed of the event’s location until about 48 hours beforehand when an e-mail was sent to ticket holders.  All that was known was that it would be somewhere in the 413 area code of MA. Those that were willing to put their faith in a party with no address were rewarded with a night of music that spanned multiple eras and genres.

    One of the earlier acts of the day of Halloween Horror Camp 3 was Creamery Station who performed a “Watkins Glen” themed set of Dead and Allman Brothers tunes.  With band members feeding into the holiday spirit and adorned in full body cow costumes, classic tunes like “Deal” and “Statesboro Blues” greeted still arriving guests and those still setting up tents and camps.  A cover of The Band’s signature hit “The Weight” was also included in this engaging early set of music.

    Shifting courses a bit, a set of Daft Punk covers followed, delivered by Northampton’s own Mammal Dap with assistance from Mary Corson on vocals.  Together, they did justice to Daft Punk’s seminal album Discovery in a performance that covered nearly the entire recording.  Songs like “One More Time,” “Voyager” and “Too Long” seemed to get the dance floor moving a little steadier and served as a great precursor for things to come.

    Albany’s own Formula 5 then delivered one of the more anticipated sets of the evening with a blistering set of Phish covers.  Beginning with a well jammed “AC/DC Bag” that fed directly into “Story of the Ghost,” the Upstate NY jam outfit did not disappoint with its cover set of one of their inspirations.   A crisp “2001” kept the rave vibe alive and well in the main lodge but one of the true gems of the set was “Reba” and a corresponding jam that was melodious and powerful all at once. The same could be said for the rousing rendition of “Harry Hood” that followed later in the set before a customary “Cavern” set closer.

    Cosmic Dust Bunnies then turned back the clock and took everyone on a musical romp through the 80s with a long set of covers from the era of hair spray and cassette tapes.  Songs like “Superfreak” and “Word Up” gave the start of their set a retro dance vibe before the New Haven rockers settled into more pop hits like “Everybody Wants To Rule the World” and the ever present Rick Astley classic “Never Gonna Give You Up.”  The Bunnies continued to impress and up the ante with standout takes of “Dirty Diana,” “Love Is a Battlefield” and “Panama.”  The selection and variety of artists that were covered in this set was really impressive and a fun take of Lionel Richie’s “All Night Long” helped bring a close to it.

    Strange Machines, a Boston-based rock fusion act, then threw it back even further with a standout set of songs by The Doors.  A full throttle version of “L.A. Woman” kicked things off and a fun “Love Me Two Times” > “Higher Ground” > “Love Me Two Times” sequence showcased the band’s ability to stylistically bob and weave.  The “Riders on the Storm” and “Strange Days” that came towards the end of the set offered a true psychedelic tone to the evening that proved not all the music tonight had to be upbeat and poppy in order to be enjoyed.

    The party kept going well into the hours of Sunday morning courtesy of a Bassnectar themed DJ set from Uncle Bob and a stellar set from lespecial chock full of Primus covers, a sound the band has really honed of late. The final set from Roots of Creation featured Grateful Dead and Rage Against the Machine songs intertwined and throwing the crowd into a final frenzy of the night, while Kerry Quirk gave the fans what everyone wants late at night, a healthy dose of Madonna.  Those that stayed and camped overnight were welcomed with a community breakfast in the morning to help recharge before leaving the wilderness and returning to civilization.  Halloween Horror Camp has all the feel of a remote festival with a powerhouse music lineup combined with a backwoods campfire among friends.

  • Gwar Ruins the 1 Percent at Town Ballroom

    The day after Halloween the ghouls were still out play and people were ready to rock with mutant metal band Gwar. The intergalactic band bestowed mere earthlings of Buffalo in support of their latest album “The Blood of Gods”. Town Ballroom housed all the humans and extraterrestrial bands that night. Brent Purgason was pulling double duty, his band U.S. Bastards, the most earthling related of the group kicked things off.

    Next up was Doyle, The Misfits guitarist Doyle Wolfgang Von Frankenstein, His singer Alex Story gave everyone a good laugh, before every song he said “This is a love song; you can dance to it if you want too.” In a girlish voice that complimented his mini skirt and fishnet stockings.

    Ghoul performed with their potato sack masks,  like something you would see out of a old scary movie. The band’s thematic set is heavily influenced by Gwar. Ghoul had various characters that squirted fake blood — from an odd dictator in a cape and gas mask to their dreaded voodoo magician complete with his large fake chicken that streamed red liquid into the crowd. Also, who wouldn’t love a giant distorted looking turnip to end a set?Black Sabbath`s “War Pigs” came over the speakers and the earthlings started getting wrestles. Fans started singing the first verse at the top of their lungs. GWAR walked onto the stage and started “War on the Gwar” playing the first track off the new album The Blood of Gods. Other new tracks included the catchy “I’ll Be Your Monster Baby” which is probably the closest thing you’ll ever get to a love song by GWAR. Blothar proceeded to covered the front section of the crowd with fake blood from his cow utter like penises

    The crowd of monster lovers also partied to older blood-filled songs like “Hail, Genocide!” and “Saddam a Go-Go.” Everyone who attends a Gwar show knows there is no hold bar with them, they poke fun at politics, corporations, social media and of course religion. During the new song “El Presidente” they brought out a Jabba the Hut looking Donald Trump which received “Boos” from the crowd as well as a mutant version of Hillary Clinton. Both were slaughtered for the gluttonous fans who wanted blood. Politics doesn’t matter at a GWAR show, mutants rule their world.

    “Do you want Blood?” asked Blothar. The already soaked crowd wanted more and they got it. GWAR ended the night with a cover of AC/DC’s “If You Want Blood (You’ve Got it)” Bone Snapper came out with his infamous sawblade spinning machine which spat out waves of blue into the audience.

    After all the recent sad events going on in the world GWAR and the other bands gave people a chance to escape from their troubles and have a great time full of singing laughter and of course blood.

  • Fusion Lives with John Mclaughlin and Jimmy Herring at The Egg

    “FUSION LIVES!” This was the mantra repeated by an enthused patron during breaks between songs at The Egg on Thursday, November 2nd. Few would disagree with her this evening, one that included the legendary and inspired sounds of Mahavishnu Orchestra great John McLaughlin and the 4th Dimension, with Jimmy Herring and the Invisible Whip opening the night on the Meeting of the Spirits Tour.

    Herring’s new group includes former Aquarium Rescue Unit bandmate Jeff Sipe on drums, Matt Slocum on B3 organ and clavinet, Kevin Scott on bass and Jason Crosby on keyboards and violin – and they were just the opening act. Groovy funk lines from Scott laid the foundation for flowing instrumentals, with hints of the Flecktones heard in spots throughout the set. Crosby and Slocum blended together perfectly, and Sipe sat masterfully behind the kit. “Les Brers in A Minor” was a delight to all, nodding to Herring’s time with Allman Brothers Band and respect to the late Gregg Allman.

    As John McLaughlin took the stage with the 4th Dimension, the audience was ecstatic, with chirps of excitement coming out of the crowd in a raucous ovation. This being McLaughlin’s final tour, he played little new material, “El Hombre Que Sabia” in tribute to Paco Lucia, and made the music of Mahavishnu Orchestra come alive once again.

    There were instances where the foursome onstage – Mclaughlin, Gary Husband (drums/vocals), Etienne Mbappe (bass) and Ranjit Barot (percussion) – sounded like they were recreating Frank Zappa songs, but with fewer personnel needed to build compositions to a frenzied state before returning to earth. Mbappe’s tone on bass was like an Altoid – curious strong, for he was wearing gloves the entire night. Jazz musicians gonna jazz I guess.  Husband’s vocal effects on the kit and his superb double team with Barot (and later, with Sipe) drove the set towards a triumphant close.

    The Invisible Whip joined the 4th Dimension for Mahavishnu Orchestra compositions, and altogether with nine musicians on stage, Jimmy’s jazz rock and John’s jazz fusion took alternating turns leading the way, with McLaughlin stepping to the side at times to let Jimmy and the rest do their thing. When McLaughlin broke out the two-necked guitar, the audience was captivated. When he wailed on the whammy bar of his Paul Reed Smith ‘PRS,’ it created a most unique and melodic tone, not a wank on a note for show. Combined together, these two legendary guitarists, John Mclaughlin and Jimmy Herring, along with two powerhouse drummers, brought to mind influences that could be found among the music of Col. Bruce Hampton and Aquarium Rescue Unit, Phish, Frank Zappa, and all the rest who take a ride on the spacious musical journey that is improvisation.

    John Mclaughlin and Jimmy Herring

  • Disco Biscuits Perform Phenomenal 2-Night Run at the Worcester Palladium

    Philadelphia trance-fusion pioneers, The Disco Biscuits, brought their unique sound to a two-night run at the Palladium in Worcester, Massachusetts for Halloween. With Lespecial for support on their first night, and Jaw Gems on the second, The Disco Biscuits delivered two jaw-dropping shows to the crowd at the recently renovated Palladium.

    Opening with the flowery and optimistic “Grass is Green,” things quickly took a dark turn when they dropped into “Minions,” returning to “Grass is Green” to complete the sandwich. They followed this immediately afterwards with their newly reworked version of the song “Loose Change” for only the third time since it’s reintroduction into rotation. Before 2017, the song had not been played since 2010, in its old format. They concluded their set with a yet another sandwich, this time featuring fan-favorite “Confrontation” (complete with “Funkytown” teases as well as a myriad of Biscuits teases) as the bread and the dark instrumental “Gangster” as the meat. The final chorus of “Confrontation” had the entire crowd chanting in unison before a well-deserved setbreak.

    The Biscuits weren’t pulling any punches when they opened set 2 with the high-energy introduction to “Munchkin Invasion” which segue-wayed into the rare “Voices Insane,” which featured bass-slapper Marc Brownstein on the vocoder for the chorus and a creepy robotic vocal jam. This transitioned seamlessly into a soaring version of “Astronaut” that nearly ripped the roof right off the theater. “Astronaut” featured an “Owner of a Lonely Heart (Yes)” tease. This onslaught of music was concluded with the peak and ultimate conclusion of “Munchkin Invasion” before the Biscuits wrapped the second set up with a standalone version of their tune, “Reactor.”

    After two blissful sets, full of teases and intense peaks, the Biscuits were clearly still hungry, and delivered a lengthy, three-song encore including an improv-heavy version of “Once the Fiddler Paid,” a smoking version of their flagship song, “M.E.M.P.H.I.S.” and finally, an extended “Spacebirdmatingcall.”

    If Thursday night was the night of blissful peaks and scorching improvisation, Friday night was the night for dark, creepy ambience. The Halloween spirit was certainly present, as the Biscuits delivered a night of tricks, fake-outs, and long, dark, spooky and meandering jams.
    Thursday’s show began with a four-song set, showcasing the Biscuits’ impeccable ability to improvise and keep their audience both kinetic and confused, as they struggle to identify the next tune. The whimsical “Crystal Ball” opener gave way to the high-intensity peak of “Mulberry’s Dream”, which was inverted, one of the Disco Biscuits’ trademark moves in setlist writing. “Mulberry’s” gave way to the ending of “Crystal Ball,” followed by an extraordinarily lengthy version of the heartfelt “Therapy,” penned by Marc Brownstein about his father and family life that teased damn near every song in the Bisco catalog.

    Set 2 opened with “Triumph,” which flowed into “Save the Robots” before seguing into the atmospheric and Halloween-appropriate theme song from the Netflix original “Stranger Things,” which was expertly executed and infused with teases from the Biscuits original “Portal to an Empty Head.” This segue-wayed back into “Save the Robots” before the Biscuits took their only pause of the second set. The eager crowd turned rabid when the band began playing the opening notes of fan-favorite “Spraypaint.” “Spraypaint” bled into a capable cover of Donna Summer’s “I Feel Love” before shredding into the instrumental “Tempest” and then back into “Spraypaint” to conclude the second set. The second set featured a fake-out of classic Biscuit song “Little Betty Boop” as well as “Orch Theme,” which was performed a few days later at Hulaween. Teases of “Funkytown” by Lipps Inc. and “Electric Avenue” by Eddy Grant were present throughout the night, as well as strong teases of “And The Ladies Were The Rest of the Night” during “Therapy.” The Biscuits concluded the run with a standalone version of “Ladies” as the encore.

    The Disco Biscuits truly delivered in Worcester for Halloween weekend, with a full-on sonic assault that showcased their ability to play rock, funk, electronica, and of course, blistering improvisation.

  • Hearing Aide: Darkroom ‘Darkroom’

    Remember those glory days of rock n roll when such bands like Kansas, Bad Company, Blue Oyster Cult, and many more classic giants reigned supreme? Something about that sound and tone of those bands really made an impact on music history. So many active audiophiles know you can never appreciate the modern sounds we have now, without paying homage to the ones that set the classic rock standard. Yet, we keep on forgetting that type of sound still carries a  large fan base. Even to this day we have radio stations, podcasts, and concerts all dedicated to that chapter of rock. Let me tell you though brother, that sound is still kicking and screaming! This proves to be the very case with a band hailing from the snowy land of Syracuse, Darkroom, whose textbook rock vibe will bring back that sound of the past and bring it to new light!

    darkroomThe album, Darkroom foundation is created by the hands of  David Manzano (drums), David DiNiro (guitar/vocals), Jeff Brown (bass/vocals), Ronnie Dark (guitar/keyboards/vocals) and Steve Kratz (vocals). This motley group of guys know how to package something old and to make it as if it was brand new. The album presents itself with so many classic rock influences from all across the rock realm spectrum. With tracks like “Trouble” and “The Hunted,” the energy of that rebel rock hits you hard like a brass knuckled punch. The fact that “The Hunted” is actually about a famous serial killer in our area really gives it that nice tongue in cheek play with the lyrics.  Manazo really can show you how he can make his kit come alive keeping that nice jazz and blues infused playing on the tracks. Let us not forget Brown’s bass playing pretty much hits in the same ball park paving the way with some hints of funk aspired basslines, keeping that rampant energy striving.

    The guitar work from both DiNiro and Dark really gives the album a clean guitar style, which in this day in age is extremely missed in the modern rock era with great melodies with huge hints of progressive influences if you listen closely enough. With Kratz on main vocals, you really can hear the passion this guy has while presenting the final product. Sometimes I feel like listening to these tracks he could give some classic rock heavyweights some run for their money.  If you enjoy groups like Bad Company, you will find these two tracks to be your gateway drug to something simply incredible.

    If you are like me, a man who likes to enjoy a nice cold beer, sometimes you just gotta have the perfect tunes to enjoy that said beer. The band possesses many diverse  elements which come alive on this album. They are able to create a very calming and at peace vibe on some tracks. Tracks like “Fly” and “Reflections” really carry that bar rock sound with great approach from the guys. “Reflections” has strong presence of The Eagles as it presents some great catchy lyricism and fabulous groovy sections. “Fly” has that type of energy that makes you just kinda want to put a quarter in the jukebox, order yourself a beer, and relax a bit after a tough day at work. The slow and steady style really makes this track one hell of a great song and with some of the most intriguing keyboard playing I heard in the last couple years from Dark. The keys shaping that ambient  background really helps amp up that idea of just taking it easy.

    In the end, it looks like that rebel rock attitude and perfected sound will continue to beat in the hearts of the fans. With Darkroom always finding new ways to make the material of the past interesting and relevant, I have no doubt these guys will not give up with that strong of a drive to keep on exploring new and old territory.  This album gets 4.5 out five stars. Checkout the band’s page and give them a good hard listen to!

    Key Tracks: The Hunted, Fly, Trouble

  • John McLaughlin Kicks Off Meeting of the Spirits Tour in Buffalo with Jimmy Herring

    Jimmy Herring and the Invisible Whip struck the match. John McLaughlin and the Fourth Dimension fanned the flames. Together, using material from a 45 year old band, McLaughlin’s Mahavishnu Orchestra, they built a blazing fire inside the University at Buffalo Center for the Arts Wednesday night on the Meeting of the Spirits Tour.

    06DSC09133

    It was the first night of a fusion guitar lover’s dream tour, dubbed The Meeting of the Spirits. It will be the last ever North American visit for the legendary British septuagenarian guitarist.

    The opening set from Jimmy Herring’s new solo outfit, was anything but your typical opening set. The seats in the theater were full and the crowd was at full attention from the first notes. Herring showcased his talents in restrained spurts, masterfully directing his bandmates through 50 minutes of exhilarating instrumental fantasies. His crack squad of Jeff Sipe, Jason Crosby, Matt Slocum and Kevin Scott were with him every step of the way through a seven-song set including “1911” and “Jungle Book.” Their mid-set rendition of “Les Brers in A Minor” made clear that it was a jazz fusion tune hiding out in a Southern rock band all along.

    McLaughlin’s Fourth Dimension is another band brimming with talent. Bassist Etienne Mbappe, drummer Ranjit Barot and keyboardist/drummer Gary Husband all had ample space to showcase their talents throughout the set. Masterful bass solos were met with drum solos complete with mind-boggling scat drumming. Husband made the synthesizer a chameleon, realigning the sound continuously. “Kiki” and “Miles Beyond” gave way to more mellow material like “Gaza City” and “El Hombre Que Sabia,” a tune McLaughlin meant to record with Paco Delucia before he passed away, which now he plays as an homage. He wandered the wide-open stage as he played, effortlessly creating guitar sounds that were impossibly perfect at impossible speeds. As their set ended, McLaughlin was ready to keep it going, calling for Herring and band to come out. Call it a first night mix-up, apparently there would need to be a quick break.

    01DSC09175

    For the third set both bands combined to form a 9-man fusion supergroup. This was headphone music and luckily the theater’s acoustics were up to the challenge. The sound was impeccable. And the playing was too. Double drummers, double bassists, double keys, and McLaughlin pulled out the double-neck guitar to boot. Somehow as the band doubled in size it only grew tighter. McLaughlin played facing the band for most of the set, not only lead-guitarist but musical director, steering the monster band through a selection of classic Mahavishnu Orchestra tunes. “Meeting of the Spirits,” “Trilogy,” “The Dance of Maya,” not quite as fresh and vital as they were 40 years ago, but still powerful and invigorating. The maestro was in and the class was in session. “Eternity’s Breath” showcased the intensity of a band where every member is a secret weapon. Though perhaps they were most impressive on the mellower “Earth’s Ship,” as the bassists weaved lines around each other and the rest of member’s distinct sounds were teased apart gently to beautiful effect. The inner mounting flame was burning, unfortunately it couldn’t be eternal.

    Leaving a Buffalo stage for the last time, McLaughlin said his final goodbye to the city with a quote from the Eagles, of all things, “We may lose and we may win though, we will never be here again.”

    Take it easy, John.

    [ngg_images source=”galleries” container_ids=”1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967″ display_type=”photocrati-nextgen_pro_thumbnail_grid” override_thumbnail_settings=”0″ thumbnail_width=”150″ thumbnail_height=”150″ thumbnail_crop=”0″ images_per_page=”0″ border_size=”0″ border_color=”#eeeeee” spacing=”2″ number_of_columns=”0″ display_type_view=”default” ngg_triggers_display=”never” ngg_proofing_display=”0″ captions_enabled=”0″ captions_display_sharing=”1″ captions_display_title=”1″ captions_display_description=”1″ captions_animation=”slideup” order_by=”pid” order_direction=”ASC” returns=”included” maximum_entity_count=”500″]

  • 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.

  • Phil Lesh Given Key to the Village of Port Chester

    The meaning behind being given the key to a city has changed time and time again since it’s origins in medieval times. Back then, it granted peasants a freedom from serfdom; now it’s a symbol of thanks to any person, native or alien, who has had an positive impact on a community. Looking back on what Mr. Lesh has done for Port Chester, it’s a mystery why he wasn’t given this earlier.

    He has made over 70 appearances at the Capitol Theatre alone and was widely recognized for his streak of 17 shows within 11 months between 1970-71. One of the Grateful Dead’s most highly praised live albums was recorded during this time at The Cap in February of 1970. Three From the Vault is considered to be one of the most desirable and included the first live performances of the songs “Bird Song” and “Deal.”

    Lesh also is a strong advocate organ donation awareness, another reason why he was given this prestigious honor. He had a close call with Hepatitis C and was fortune enough to be given a liver by a random donor he only knew by the name of Cody. Due to this traumatic experience, Lesh, is always saying to his fans, “Save the life of someone you’ll never meet.” Lesh is a truly selfless person and is undoubtedly deserving of the key to the “Village of Port Chester.”

  • 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.

Built in Breakdance