NYS Music 20​17

Category: Beyond NYS

  • In Their Own Words: Freekbass

    On a sunny Friday evening on August 18, funk icon’s Freekbass and The Bump Assembly rocked the main stage at Nights Of Fire Music Festival in Franklinville, NY. Before the big performance, NYS Music was honored to sit down with Chris “Freekbass” Sherman in Freekbass and The Bump Assembly’s tour van. As we began,  Freekbass wittily commented, “It’s appropriate that we’re doing this in the van, because this is where we live.”

    Born, raised, and currently based out of Cincinnati, OH, Freekbass has released six full length albums and has collaborated with modern legends including Bootsy Collins, DJ Spooky, Mike Gordon, Buckethead, Bernie Worrell, and many others. His touring band, Freekbass & The Bump Assembly includes Razor Sharp Johnson (Bootsy’s Rubberband/P-Funk) on keys and synths and Rico Lewis (George Clinton & P-Funk) on drums.

    Whether he’s rocking the cover of Bass Guitar Magazine, playing upward of 150 shows each year, or working on his new album with Ropeadope records, Freekbass is one of the hardest working musicians in the funk business. NYS Music is humbled to present you this edition of “In Their Own Words.” Here we have a collection of bite size nuggets of knowledge, quoted directly from Freekbass:

    On Life On The Road:

    Living in the van, we play about 150 dates a year. I enjoy the road life. I always say you sorta have to have that trucker gene in you to really enjoy it. In James Brown’s autobiography, he explains how they started in a station wagon, then they moved to a van, then to a bus, then a plane, and then a private jet. It doesn’t matter if you’re in that private jet or that station wagon, the road is still the road.  You have to enjoy yourself.

    I like meeting new people all the time. It’s always exciting because you gain energy from new people, and the energy is always different in different places. The audience becomes as much a part of the music and the band as we are. I used to thank the audience at the end of the show. I’d say, “thanks for letting us play for you,” nowadays, i’m always saying, “thank you for letting us play with you.” It feels like our audience has become as much a part of the music as we are. We can play a song for 20 minutes long or the same song for 5 minutes. It all has to do with what the vibe is that night. A lot of our performance has to do with what’s happening with the audience.

    In the last few years, music streaming, illegal downloading, and torrenting has taken over the industry. Five to ten years ago, you recorded a record and then you played live to promote the record. Nowadays, it feels like it’s almost the opposite. A band records a record to help bolster their live show. For instance, when they first began, Pretty Lights gave all of their music away for free. Some people said, “oh wow this is a pretty odd business model,” but, the idea was to get inside everyone’s ears. All of a sudden, they created this huge live buzz, it was all about going to see them live. We have a brand new business model. I think it’s great. Nowadays, you have to be a really good live act. The one thing you can’t replace is a good live show.

    On Cincinnati Ohio’s Funk Music Scene:

    The Cincinnati music family is pretty tight knit. In the music industry, there already is just six degrees of separation between everybody, but, the funk community is even smaller. That’s one thing that’s great about being in Cincinnati. The history goes back to the days of James Brown and King Records; that’s how many great funk players such as Bootsy Collins got their start. There’s always been a strong community of funk musicians in the midwest. When there is a plethora of musicians playing the same kind of music, it’s easier to connect then it might be in other parts of the country.

    On Pre-Performance Rituals:

    We always get together and meditate and pray before a show. It’s something we do no matter what. This is nice because sometimes-at festivals especially-performing can be freaking chaotic due to changeovers and all sorts of things. I feel like prayer grounds us. Right before we go on, no matter how chaotic the day is, even if we have to run behind the back of the van and do it, we always pray.

    Fun Facts:

    I’m looking forward to the new Justice League movie…I also listen to a lot of superhero podcasts. My favorite one is called Holy Batcast. There is also Batmannews.com, Suicide Squadcast, Batman On Film, ect. I’m a big podcast fan. I also listen to WTF with Marc Maron quite a bit. I enjoy putting my headphones in and listening on long road trips.

    Listen To The Entire Freekbass Live at Nights Of Fire Performance:

  • LOCKN’ 2017 Day 3: Music Unites in Tumultuous Times

    A gentle breeze wafted across the festival grounds to keep festival goers cool on Saturday for the third day of LOCKN’ 2017. Nashville group Los Colognes helped start off the day at the Relix stage a bit before noon, with a few enthusiastic dancers already in the mood to move. One older gentleman with a silver ponytail beneath a weathered safari hat and donning a brown kilt pranced around the gravel pit directly in front of the stage.

    Not to be outdone, a toddler sporting a billowing batman cape and brandishing a brightly colored parasol flitted about observing the black fabric flap wildly behind him. Los Colognes conducting their own dance on stage, showcased their instrumental finesse in the way they would carefully build up the momentum in their sound, which kept the crowd engaged in their performance.

    A very enthusiastic crowd flocked to the field to see Pigeons Playing Ping Pong fly away with some energetic funky grooves that got the entire pit jumping to the beat. Ping pong balls were flung through the air in every direction, just as some toss glow sticks during their favorite jams. Lead singer Greg Ormont adores his flock, as Pigeon fans are fittingly named, as evidenced by the warm gratitude he expressed to the crowd throughout the set.


    Attendees raged to their animated cover of “Psycho Killer,” and solicited loud cheers when Ormont, Jeremy Schon (guitar) and Ben Carrey (bass) all spun in unison with their instruments, clearly having as much fun on stage as the crowd was below. At one point Ormont proudly decreed, “I think it’s officially FLOCKN’!” Their performance of “Couldn’t We All” immediately brought Charlottesville back to people’s hearts as the band repeated the line “couldn’t we all just get along” before Ormont, arms outstretched, paused briefly and smiled widely before diving back into their spritely brand of jam.

    Virginia native Keller Williams took up residence on the main stage with a guitar and some pedals to loop in his own effects. He put forth a low key, but upbeat set as people mulled about, many lounging happily in the dusty grass. A woman tapping on a hand drum offered it to the curious toddler gazing in her direction, mesmerized by the toy, but unsure what to do with it. The scene painted a heartwarming snapshot of the countless friendly interactions igniting across the festival grounds as complete strangers crossed paths and became friends.

    The energy shifted drastically as Greensky Bluegrass emerged, standing almost shoulder-to-shoulder armed with their instrument of choice, emitting their powerful barrage of mountain music. Some audience members displayed their sense of humor carrying poles with an assortment of figures mounted atop. One of the most recognizable was none other than the beloved character Wilson, the white volleyball marked with a blood red handprint from the movie Castaway. It’s owner freely passed Wilson on a stick to anyone desiring to dance with it.

    Lead vocalist Dave Bruzza took a moment to appreciate playing the festival and commented, “This is awesome. I watched this from my couch last year.” The crowd laughed and cheered in response, recognizing Bruzza’s supremely upgraded festival experience from last year. Greensky closed out their set with “Atlantic City” to loud cheers of the crowd, beautifully timed with the sunset as their last views of the crowd were awash in glimmering golden hues.

    Once again the main stage rotated to unveil John Butler Trio, who opened their set with “Cold Wind.” Butler then addressed the crowd stating, “Before we go any further, we’d like to pay our respects to the Native American people whose land we’re on today,” referring to the lands of Nelson County that the Monocan tribe originally called home. Butler is well-known for tying social, environmental and political issues into his songs, and his audience enthusiastically responded. He dedicated his next song “I’d Do Anything (Soldier’s Lament),” expressing, “To all the soldiers, may they call come home.”

    Following that he lightheartedly explained, “The intro to this next song is called ‘My Little Pony on Crystal Meth.’ I want to see that image at least once in my life. I dunno why I want to see that, but I just do.” He then quickly transitioned to “Better Than,” followed by “I Used to Get High.” Again Butler addressed to crowd to say, “On the day we arrived in your country we witnessed a whole bunch of bigotry… So we dropped this new song and it’s very fitting. It’s called “Bully.” The tune embarked with an electric guitar distortion that sounded like an emergency siren before engaging in a heavy hard rock sound.

    Next Butler brought out his acoustic for his meditative solo of “Ocean,” a full hand of long fingernails picking furiously as the crowd swayed. Butler continued to tie political awareness into his performance, at one point stating, “This is a great time to be playing music,” in reference to the power of creativity to fuel positive change within the community.

    Classic rock legend, John Fogerty, singer and songwriter of Creedance Clearwater Revival, pulled out all the hits in an explosive set opening with “Green River,” “Born on the Bayou” “Suzie Q” and “Who’ll Stop the Rain.” A jovial gentleman then trotted across the stage for an accordion solo as the crowd cheered him on. The band followed with “Lookin’ out My Back Door,” and Fogerty continued to wow the crowd with his non-stop energy, building momentum and at some points mixing rapid elements of punk rock into his performance.

    Widespread took to the stage for a jam that pushed into “Fishwater” which included Buffalo Springfield’s “For What It’s Worth,” “Who Do You Belong To?” and the ending of “Fishwater” to start the night off. Other highlights of their energetic headlining set included Dylan’s “A Hard Rains Gonna Fall” and a monster verison of “You Should be Glad” to end it.

    When Joe Russo’s Almost Dead took the stage, Bob Weir joined shortly after “Althea” for “Black Throated Wind” and a “Jack Straw” that pushed Bobby’s limits as he was sweating and gave a look of relief when the build up finally paid off and he could simmer things down into to end “Straw.” A stellar version of “The Wheel” included a ‘Benevento/Russo Duo-esque’ jam for the ages and Weir joined the band for the finale of the expected “One More Saturday Night.”

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  • Kings and Queens of Rock Reign at Lockn’ 2017 on Day 2

    As the Friday morning migration of early risers dispersed to acquire their first fix of caffeine at Lockn’ 2017, the fairly priced $3 cups were a welcome relief from the $9 beers that drained wallets the night before. Local rock group Sun-Dried Opossum, aided by the climbing heat of the mid-morning sun, beckoned attendees out of their tents and campers toward the Relix stage.

    Marcus King Band followed, upping the rock and roll intensity even more, to a noticeably larger crowd. The Relix field’s undulating topography provides varying levels that aid people further back in viewing the stage, but also offers some rather slanted footing that can make it trickier to find a comfortable place to stand. But patrons weren’t letting that stop them from gathering to soak in the sultry southern rock led by Marcus King. His rough around the edges vocals accompanied by trumpet, sax and organ blended to form a rich and mature sound. The heavy rock made a fitting soundtrack for the crowds dragging footsteps, weighed down with the increasing heat.

    New York band TAUK brought a level of sophistication with their polished sound, releasing beautifully executed instrumentation with a slightly spacey, ethereal tone. Accompanied by some much appreciated cloud cover, they provided the perfect soundtrack for the web of frisbee throwers flinging their tiny UFO’s through the air on the main stage field.

    The tribal soul vibes of Sinkane mellowed out the atmosphere with a lighthearted sound as people mingled, sprawled out in hammocks between whatever trees they could claim, and made the whole show field feel like one giant living room shared by all.

    The main stage welcomed Blackberry Smoke as it’s first performer of the day. They put out a satisfying performance of savory southern rock before Jim James completely switched up the energy with a solo acoustic performance. Despite his softer sound, he had a way of focusing the crowd’s attention with thought-provoking sentiments.

    He opened his set with an acoustic rendition of “Young at Heart” before paraphrasing the Nelson Mandela quote: “No one is born hating another person because of the color of his skin, or his background or his religion. People learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.” He explained it’s a quote he’d been thinking about a lot recently. He poignantly followed it with a tune about people making the same mistakes over and over again.

    Brandi Carlile took to the stage next and exploded through the speakers with a full band and really tight, controlled sound that laid a strong foundation for her unbelievable vocal ability. There was a lot of love for Carlile at the start of her set, but as she bounced around on stage, exuding positivity and grace, she quickly won over a lot more hearts too. The crowd was in awe to the point that she took notice and expressed to the crowd, “This is some of the best energy I’ve felt on stage.” The mutual love and respect between Carlile and the adoring crowd continued to grow throughout her set.

    After each song she wistfully tossed her guitar pick into the crowd, to the cheers and delight of many. One of her set highlights was an acoustic rendition of “The Eye.” She sung in a three-part harmony with two of her bandmates whom she has been performing with for fifteen years. They happen to be twin brothers, and she humbly introduced the tune exclaiming, “They are amazing singers and they could be standing at this center mic any day of the week and we’re about to show you why.”

    Next the band picked things up with “Hard Way Home,” followed by an energetic rendition of “Folsom Prison Blues,” which she sang in an effortless flutter between sweet and smooth to gruff and rusty vocals. Carlile remarked right after, “Momma’s getting’ to old for that shit,” and the crowd hollered in laughter at her sincerity, and ability to level with the crowd. Her conversational style between songs allowed her to genuinely connect with the audience. She played “The Mother,” a song off her new album about the impact of having a daughter. Jim James came back out to duet with her and their mutual respect for each other provided the glue for great stage chemistry. Next she dedicated “The Story” to Charlottesville before ending her set by covering “Going to California,” which she sang effortlessly because she is the queen of country rock.

    Phil Lesh and The Terrapin Family Band came out next to the utter joy of the very Grateful Dead-centric crowd. Their mellow rock sound was punctuated by a sea of cheers as fans recognized their favorite songs and proudly brandished their vibrant tye dyes. Gov’t Mule followed with more heavy rock, aided by the sharp vocals of Heart’s Ann Wilson during a one-two punch cover of “Immigrant Song” aptly followed by “Black Dog.”

    Wilson took a moment to express, “We judge each other by what we have or how successful we are, but that’s complete and utter bullshit. So let’s take it all back.” Wilson and Gov’t Mule then went into a deep bluesy, “I Don’t Care What You’re Wearing,” as a man donning a glitter-laden jellyfish hat paraded through the crowd at just the right moment.

  • LOCKN’ 2017 Day 1 Recap

    As the sun lowered behind the Blue Ridge Mountains, bathing the show field and it’s patrons in an opulent cloak of sun-kissed finery, the Mount Zion First African Baptist Choir paraded onto the main stage to welcome patrons to the 2017 LOCKN’ Music Festival. A sense of contentment swirled with eager anticipation permeated the crowd as the National Anthem and “Amazing Grace” drifted through the air.

    A moment of silence in honor of recent events in Charlottesville unified the respectfully silent crowd before local group Kendall Street Company took to the stage to get into the festival groove with some homegrown, incredibly danceable tunes. Their tight instrumentation and seasoned rock sound defied their youthful visage boldly displayed on the larger screens bordering both sides of the stage. Lead vocalist Louis Smith uttered the lyrics, “We are here now, so come along,” an inviting sentiment as patrons continued to accumulate near the stage. At one point Smith exclaimed, “I need to get things that fit tighter on my head. I’ve lost my glasses, I’ve lost my hat.” It was a fair representation of his energetic performance.

    Luckily LOCKN’ provides a general store on the grounds with a variety of essentials  for anyone, musicians and attendees alike, if they find themselves lacking something they can’t do without. Umphrey’s McGee did not seem to forget anything behind, producing an incredibly lively follow-up to Kendall Street Company. As night fell, the show field continued to populate with head banging humans, approving with jovial cheers and applause as Umphrey’s flooded the audience with dazzling lights and heart pumping jams.

    As Umphrey’s first set concluded, the stage gracefully spun 180 degrees as The String Cheese Incident flawlessly picked up where Umphrey’s left off, with no time wasted.   Lead vocalist/guitarist Keith Moseley donned a flat brim with a hooded sweatshirt and sunglasses, as if trying to remain incognito while playing their unique brand of bluegrass rock to thousands of spectators. During their set, some crowd members couldn’t resist the urge to release handfuls of vibrant glow sticks through the inky air despite being banned on festival grounds. They are a time-honored tradition that will die hard despite known environmental and personal health hazards. During their performance of “Texas,” the rhythm provided an almost salsa-like feel that even reflected in the bouncy footwork of the more enthusiastic dancers in the crowd.

    Umphrey’s and String Cheese each produced one more set seamlessly sharing the stage as festival goers danced, mingled, sampled the vast assortment of food and brews provided by local restaurants and breweries. At the conclusion of String Cheese set two, another seamless transition to the Relix stage took place as The Disco Biscuits took up residence to carry on the heavy and never-ending musical stimulation that LOCKN’ executes so well.

  • Dark Star Orchestra Expands on Fall Tour to Include East Coast Dates, Including 20th Anniversary Show in Albany

    Dark Star Orchestra rolled out more 2017 tour dates. The newly added East Coast performances include a handful of shows in New York, including DSO’s 20th anniversary celebration on November 11 at the Palace Theatre in Albany. The fall dates lead up to a Cosmic New Year’s Run which includes three nights at Philly’s Electric Factory from December 29 through New Year’s Eve. Details and tickets are available at DSO’s website.

    dark star 20th anniversaryDark Star Orchestra Remaining 2017 Dates:

    Sept.21 – San Antonio, TX – The Aztec Theatre
    Sept. 22 – Austin, TX – Stubb’s Austin
    Sept. 23 – Dallas, TX – House of Blues Dallas
    Sept. 26 – Salina, KS – Stiefel Theatre for the Performing Arts
    Sept. 28 – Boulder, CO – Boulder Theater
    Sept. 29 – Boulder, CO – Boulder Theater
    Sept. 30 – Boulder, CO – Boulder Theater
    Oct. 2 – Omaha, NE – Slowdown
    Oct. 5 – Cleveland, OH – House of Blues Cleveland
    Oct. 6 – Cincinnati, OH – Taft Theatre
    Oct. 7 – Columbus, OH – Express LIVE
    Oct. 10 – Grand Rapids, MI – The Intersection
    Oct. 12 – Detroit, MI – The Majestic
    Oct. 13 – Chicago, IL – The Vic Theatre
    Oct. 14 – Milwaukee, WI – Riverside Theater

    Dark Star Orchestra Fall Tour – Part 2 (Newly Announced Dates):
    Nov. 10 – Montclair, NJ – Wellmont Theater
    Nov. 11 – Albany, NY – Palace Theater
    Nov. 12 – Peekskill, NY – Paramount Hudson Valley
    Nov. 14 – Northampton, MA – Calvin Theatre
    Nov. 16 – Portland, ME – State Theatre, Portland, Maine
    Nov. 17 – New Haven, CT – College Street Music Hall
    Nov. 18 – Worcester, MA – Worcester Palladium
    Nov. 19 – Ithaca, NY – State Theatre of Ithaca
    Nov. 21 – Concord, NH – Capitol Center for the Arts
    Nov. 22 – Jim Thorpe, PA – Penn’s Peak
    Nov. 24 – Huntington, NY – The Paramount
    Nov. 25 – Huntington, NY – The Paramount
    Nov. 29 – Richmond, VA – The National
    Nov. 30 – Richmond, VA – The National
    Dec. 1 – Norfolk, VA – The NorVA
    Dec. 2 – Washington D.C. – The Anthem ( ** Recreating Grateful Dead’s 6/14/91 R.F.K. show **)
    Dec. 28 – Montclair, NJ – Wellmont Theater
    Dec. 29 – Philadelphia, PA – Electric Factory – with Dirty Dozen Brass Band
    Dec. 30 – Philadelphia, PA – Electric Factory – with Keller Williams solo
    Dec. 31 – Philadelphia, PA – Electric Factory – 3 sets of DSO

  • The Arise Festival Is More Than a Wake-Up Call

    At times, the music industry can seem like a viciously preposterous environment, kind of like a Sharknado movie sequel only with amplified instruments and egos, laptop computers and seven-dollar plastic water bottles sucked into a funnel cloud with the slimy sharks. But every now and then, a musician emerges from an overseas humanitarian mission or a music promoter decides to plant trees for each ticket sold to an event, or a festival books performers based on integrity as well as talent and name recognition.  And in the state of Colorado all of those can be found in the confines of one event, the Arise Music Festival, held last weekend August 4-6 at the scenic Sunrise Ranch near Loveland.

    “It’s not called the Wake Up Festival for a reason,” piped up festival co-founder Paul Bassis. “We want to bring in as many people and performers who are already awake.”  Organizers and staffers of the Arise fest set an intention of blending entertainment with community activism, consciousness-raising workshops and thoughtful environmental stewardship in a way that they hope separates their event from the rest.  The festival’s moving opening ceremony featuring Native American dances, African drumming and prayers offered an immediate and rousing example of that intention.

    And the Arise message seems to be getting out to the public. Last weekend’s event sold out for the first time in their brief five year history. One music group, Rising Appalachia, split a European tour in half just so they would be able to make a return appearance to Arise this year.  Alan Bartram, the stand-up bass player for bluegrass music favorites the Travelin’ McCourys, was impressed with the number of workshops offered over the weekend. “There was even a workshop on how to hula hoop with your elbow,” he commented with a baffled expression.

    Though the festival’s rust-colored mountain valley was raked by a daily series of rain and windstorms, the spirits of brightly colored festifarians remained buoyed by a wide ranging lineup that included EDM favorites like Tipper and rap musicians like Brother Ali. Fans of folk and bluegrass flocked to sets from Ani Difranco, Rising Appalachia and the frenetically improvisational Jeff Austin Band. Austin’s band joined with the McCourys for a spirited bluegrass tribute set to the Grateful Dead as well. The performance talent wasn’t limited to the musician sets either. Acrobatic acts like Fractal Tribe and Lunar Fire combined grace, athleticism and captivating aerials along with live music and fire performances throughout the weekend.

    The Arise festival sets a unique tone and atmosphere that is both fulfilling and fun. And its participants long for what surely will be a whirlwind of a sequel next year.

  • Fuzzy, Juicy and Sweet: The 2017 Peach Music Festival

    A well run music festival can be a fantasy land, a respite from reality. Such was the case at the 2017 Peach Music Festival in Scranton, PA this past weekend. As concertgoers reveled in musical bliss, the world around them grew darker and stormier. Unimaginable horrors were unfolding. Music, blasted from three stages across picturesque Montage Mountain, formed a barrier, shielding those in the vicinity from outside influences. The focus was friends, family and fun. That was the intent and, with little exception, everyone on the festival grounds, musicians, fans, security and vendors alike obliged like it was an unwritten rule. Like a peach, the festival was fuzzy on the outside, sweet and juicy on the inside.

    Photos courtesy of Alex B and 215Music.net

    Fuzzy

    Smiling was the face fashion of the weekend. “Strangers stopping strangers just to shake their hands,” sung early in Joe Russo’s Almost Dead’s Thursday evening headline set, elicited a real life recreation of the lyrics with strangers literally shaking each others hands, meeting for the first time and happy to be acquainted and dancing together for the next four nights. The venue staff, dressed in bright orange shirts with a graphic of a hand holding up the peace sign, were labelled as “Safety” rather than Security. They were constantly circulating through the crowd, dancing and grooving along the way, just as likely to be asking how you were doing as they were telling you what to do. And the kind vibes were returned, fans offering the staff snacks, hugs and even including them in their group shots. In a moment that nearly disrupted the peaceful atmosphere, a couple of cops came into the crowd on the prowl for a specific someone. Though it wasn’t for a bust, they just wanted to say hi to an old friend and give her a hug. Fans wandering through the crowd were quick with high fives, fist bumps, a quick dance or even a hug for fellow fans. Everywhere you turned excited reunions were happening with friends both old and new. Fuzzy!

    Sweet and Juicy

    The festival, started by the Allman Brothers, thoroughly maintains the spirit of the band, even as they become a more distant memory with each passing year. Allman Brothers t-shirts, still available at the merch booth, totaled more than twice that of any other band shirt represented at the festival among the crowd. The main stages, The Peach and The Mushroom, both harken to the symbolism of the band, while the path connecting them, Skydog Way, honors the late Duane Allman. With two original members in Gregg Allman and Butch Trucks passing this year, there was more honoring to be done. The much anticipated set specifically honoring them with an all-star band was Saturday afternoon. But even before that time, My Morning Jacket was busting out a cover of “Melissa” during their set on Friday night. Pink Talking Fish shed their raison d’etre to present their version of the Allman Brothers’ classic Eat a Peach album later that night. Saturday’s tribute set, lead by keyboardist Chuck Leavell, featured a rotating cast, a who’s who of Allman Brother’s past. As ex-Gregg Allman Band guitarist Scott Sharrard remarked earlier in the day during his solo band set, “The Allman family runs far and deep. I’ve been seeing a lot of familiar faces.” Dave Schools and Jimmy Herring emerged for “Dreams,” Duane Betts and Marcus King lent their signature dual guitar sound on “Southbound,” Warren Haynes took control for a rousing “Come and Go Blues” and the quintessential “Whipping Post” while the crowd gave it all they had as the backing singers on nearly every tune. It was a tribute set that delivered on all fronts.

    Leavell decided to “honor some other fallen brothers” and closed the set with “Yield Not to Temptation” for Col. Bruce Hampton, followed by a song to honor Jim Hall. There were more tributes to be had throughout, both for those who have passed on and those still with us. Joe Russo’s Almost Dead maintained their reputation of exploring the music of the Grateful Dead across two sets, blazing new trails on tunes like “King Solomon’s Marbles,” “The Eleven” and “Let It Grow,” though they did squeeze in their lone original, “Keeping It Simple.” The show-closing “Morning Dew” remained mostly intact; even they know you don’t mess with perfection. My Morning Jacket’s “Melissa” was played in a quasi-medley with Prince’s “The Beautiful Ones,” George Harrison’s “All Things Must Pass” and Bob Dylan’s “Blowing in the Wind.” Steve Kimock sandwiched his set between two songs from the Jerry Garcia Band catalog, opening with “My Brothers and Sisters” and closing with “Waiting for a Miracle.” Holly Bowling played her renditions of both Phish and Dead tunes to the somewhat unusual sight of a crowd dancing to solo piano. Everyone has their heroes to honor.

    Everyone also has friends they want to have the honor to play with as sit-ins were the norm at the Peach. The Turkuaz horns were one of the designated “artists in residence,” popping up all over the place. They came out for “Bringing Out Your Dead” and “Miss September” during a rainy Greensky Bluegrass set and helped Mike Gordon’s band finish their strong set with “Face” and the debut of “Victim 3D” off of their forthcoming album OGOGO. In the first performance by any Phish member since their momentous Garden run, Gordon was literally feeling it, bouncing joyously during some of the more exhilarating moments. He thanked the crowd for “those donut occasions” after a particularly rocking “Peel”/”Marissa” combo. Gov’t Mule’s set was labeled on the schedule as “with John Scofield and Friends.” There were friends aplenty: Marcus King and Jack Pearson joined for a 3-guitar assault on Marshall Tucker’s “Can’t You See,” Chuck Leavell on”Soulshine,” a bunch of Sco-Mule favorites with Scofield of course, and then a big finish with John Bell and Jimmy Herring on Neil Young’s “Cortez the Killer.”

    Widespread Panic also brought out guests, though they didn’t return the favor to Haynes. Instead, they invited out two young guitarists. Brandon “Taz” Niederauer showed off his skills going back and forth with a wide-smiled Herring on “Surprise Valley” and Marcus King joined on a heavy “Me and the Devil Blues.” Panic’s song choices were seemingly one of the only references to the events in the outside world all weekend. Possibly unintentional, but many tunes like “Pilgrims,” “Cease Fire,” “Life During Wartime,” and “Lawyers Guns and Money” certainly felt relevant. Continuing into their second performance on Sunday, they opened with “Hope in a Hopeless World” before ending the whole festival on a more hopeful note with “Ain’t Life Grand.” Regardless, the magic of Panic’s music comes between the songs, and on that front they delivered some doozies. “Big Woolly Mammoth” and “Party at Your Mama’s House” both ended in dazzling segue jams on Saturday night, while “Bear’s Gone Fishin’” and “Second Skin” traveled into highlight-worthy territory as they eventually wound around into the next song.

    Fresh-picked

    A small jaunt off the beaten path, The Grove was the place to find fruit ripe on the tree and we spotted some ready to be picked. Caverns thrilled with their heavy, near metal, psychedelic rock, featuring reverb-drenched vocals and heart-pounding drumming. Lespecial jumped genres and borders quickly and continually for a head-spinning set that combined Indian, Latin, Caribbean and more, delivered with an electronic groove. Ghost of Paul Revere brought the blues to the acoustic string band, with the leads coming from a fantastic harmonica player who, using various effects, elicited some rather unique sounds from his instrument. Arizona quartet Spafford commanded an overflow crowd showing why they’ve been pegged as the next big thing in jambands. Hayley Jane impressed with a rock-ready voice and stage presence, backed by her band The Primates and joined on stage by the coordinated interpretive dance stylings of the Interstellar Dancers.

    After four short days, it wasn’t without hesitation that the crowds left the shielded wonderland of music. The dream couldn’t last forever. Until next year, peach and love!

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  • Trey Anastasio Band Fall Tour with Halloween Show

    Trey Anastasio will bring his solo band on a six-night fall tour in Las Vegas and California in late October where the tour includes a Halloween show at the Wiltern in Los Angeles.

    Trey Anastasio continues to keep his solo band busy. With four shows already scheduled in mid-September in Northern New England and New Brunswick, he recently announced a string of shows out west in October and November. The tour kicks off with two nights at the Brooklyn Bowl Las Vegas on Oct. 27 and 28. It continues on Halloween at The Wiltern in Los Angeles, only the fourth time the Trey Anastasio Band has played the holiday, the last time being two years ago. He hits up the Observatory OC in Santa Ana, California the next night on Nov. 1. After a night off to travel north, he finishes up his tour with two nights at the Fox Theater in Oakland, California on Nov. 3 and 4.

    In addition to those dates, he also has a pair of orchestral dates in late September in Nashville and Atlanta.

    Tickets for the fall tour are currently available through a realtime pre-sale, which ends Wednesday, Aug. 23. They go on sale to the general public on Friday, Aug. 25.

    Trey Anastasio Band Tour Dates
    Sept. 15 – Harvest Jazz & Blues Festival, Fredericton, NB
    Sept. 16 – Thompson’s Point, Portland, ME
    Sept. 17 – Grand Point North Festival, Burlington, VT
    Oct. 27-28 – Brooklyn Bowl, Las Vegas, NV
    Oct. 31 – The Wiltern, Los Angeles, CA
    Nov. 1 – The Observatory OC, Santa Ana, CA
    Nov. 3-4 – Fox Theater, Oakland, CA

    Trey Anastasio Orchestral Dates
    Sept. 27 – Shermerhorn Symphony Center, Nashville, TN
    Sept. 29 – Atlanta Symphony Hall, Atlanta, GA

  • ARISE Has Risen

    ARISE Music Festival was held at Sunrise Ranch in Loveland, Colorado, on a jovial weekend August 4-6, surrounded by rock formations, pleasant lakes, and mysterious meadows. This land was indeed filled with love, so its name holds true to its essence. It was a glorious gathering of all walks of life – an open, family friendly, health conscious like-minded atmosphere where one can simply be whoever they please. Acceptance was a big feature of the time that was had and the energies that flooded the air proved this to be true. People united and rejoiced in ways the whole world could learn from.

    ARISEThe weekend consisted of countless extraordinary artists including performances by Atmosphere, Tipper, Lettuce, Beats Antique, Ani DiFranco, SunSquabi, Rising Appalachia, Brother Ali, Break Science, The Brothers Comatose, Desert Dwellers, and Dopapod, just to name a few. The vibe of these acts included a wide range of eclectic music including electronic, hip-hop, funk, jazz, world fusion, folk, soul, and progressive rock.

    Despite the waves of torrential downpour fluctuating all weekend, flooding and destroying the temporary homes of many, everyone at ARISE seemed to shine through the rain and it only made people dance even harder to the grooves of mother earth, especially when a calm, strong, and bright double rainbow appeared at the end of a fierce shower on the third day. This experience was an evolution of mankind, uniting positivity and kindness throughout each moment.

    Food vendors provided healthy and nutritional options for all types of eaters, as well as the festival’s own farmer’s market. As you entered from the main camping ground through giant neon totem poles, there was eye candy everywhere; each white tent displayed an extensive collection of interesting goods to be sold, not to mention countless painters, sculptors, and artists of all kinds.

    Temptations with zero expectations. Hammocks galore! There were yoga workshops and practices, domes to climb, beaded huts, teepees, and much, much more. This interactive experience gave one the liberty to wander to different areas such as the “Wisdom Village,” “Children’s Village,” and “Solutions Village”, which all co-created a friendly habitat for the weekend in its own worldly bubble. As a good-vibe-only festival, people could be found at any of the stages, including Big Sunrise Dome, StarWater, Scene Magazine, Green Tree, and main headliners at the Eagle stage.

    Sound mimicked the rhythm of body movements and the full moon and clear night on the final evening of the journey fabricated unparalleled liveliness. For anyone interested in participating in a relaxing care-free time with no service whatsoever, ARISE should be on the top of your list, where you can freely admire the sun and moon rise and set over this magical land while opening your mind to stellar soundwaves.

  • Hearing Aide: Incantation ‘Profane Nexus’

    Death metal has many faces, much like the seven headed beast that rises from the sea! It can have the speed and ferocious nature of a great white shark, thrashing while tearing the flesh apart without mercy! Or the infernal beast can take a sickening slow approach. Slowly filling your body and soul with dread as you gasp for air! Yes, the genre has taken many shapes and forms. One of the most recent incarnations, has risen from the depths of the nine circles once again. This demonic beast is known to those as Incantation from Jonestown, Pennsylvania. They have unleashed the most disgusting of all unholy sounds with their latest release Profane Nexus (released via Relapse Records). Let us delve into the hellish world of death metal, but with severe caution in this album review.

    Incantation 'Profane NexusProfane Nexus is the follow up from 2014’s Dirges of Elysium ( released via Listenable Records). With this latest release mixed and mastered by Dan Swano at Unisound  Studios, most known for helping the Swedish death metal scene with such groups like Entombed,  you can bet already the album will have that filthy muddied sound we love to drown ourselves in. The album starts with the blistering guitar works from McEntee and Lombardozzi on the opening track “Muse.” With the familiar down tuned style of the band, it contains both groove orientated soundscape combined with clearly mastered technical skills of both guitar players. You can feel the riffs gorge on your remnants with each passing second!
    If you need something for those blasphemy outings, “The Horns of Gefrin” shall be your unholy hymn of choice for you then! Severn (drums) will have you begging for the barrage of intense and unforgiving dynamic display he is showcasing in his drumming to stop before your skull cracks open! He will bash your head in with a smile on his face. Incantation is most known for their more sludge driven type of death metal much like Autopsy and Disma. The track “Incorporeal Despair” brings that sudden sensation of dread and suffocation to the album. McEntee’s vocal approach will make you feel as though he is speaking from the deepest parts of the abyss. Dragging through the river of Styx you shall find Sherwood as your ferryman as he plays  the most blood curdling  bass riffs, cracking your soul in half!
    Even throughout the many band changes in regards to  live performance members, the name Incantation shall reign forever in the death metal world from the past, present, and the future! I give this album an 8/10. Check out the band’s site to order, and sample the album, Relapse Records online store,  and of course check out your local record store to see if they can supply you with this perfect dose of death.  Remember boys and girls, hail the goat!
    Key Tracks: The Horns of Gefrin, Incorporeal Despair, Ancients Arise