NYS Music 20​17

Category: Beyond NYS

  • Folkfaces Announce Extensive 2017 Summer Tour

    Buffalo’s Folkfaces are gearing up for 2017 and their biggest summer tour yet. The extensive tour focus primarily on New York, giving those in the state plenty of opportunities to check them out.

    Buffalo-based Americana quintet Folkfaces has had a busy 2017 and the year is only half over. They released their debut album How Long? back in April while also completing two spring tours. The band consists of Tyler Westcott (guitar, vocals), Dan Borodzik (slide guitar, vocals), Ellen Pieroni (saxophones), Patrick Jackson (upright bass) and Dan Schwach (drums, washboard).

    Folkfaces’ summer tour features over 30 dates throughout New York with stops in five other states and Toronto. The tour kicks off this Wednesday, June 21 at Al’s Wine & Whiskey in Syracuse and closes out at the Night Lights Music Festival in Sherman. The tour primarily brings the band throughout New York with a heavy focus on the western portion of the state for their hometown fans.

    In addition to their own shows, they’ll be sharing the stage with a handful of other bands. They play with Dustbowl Revival on June 28 at Babeville in Buffalo. They’ll join The Tenants on July 14 for a house show in Akron, Ohio on July 14. On July 22, they play the Putnam Den in Saratoga Springs with The North and South Dakotas. The Fredtown Stompers and the Buffalo Brass Machine join them on Aug. 2 at the Tralf in Buffalo. As part of the Buffalo Infringement Festival, they play alongside Swimmer, Minor Racket, Dark Matter Trio and The Funk Theory Extravaganza on Aug. 4 at Nietzsche’s in Buffalo. Nietzsche’s sees them again on Aug. 23 along with Minor Moon and Pine Fever.

    Folkfaces is one of NYS Music’s 87/90 up and coming featured artists.

    Folkfaces Summer Tour Dates
    June 21 – Al’s Wine & Whiskey, Syracuse, NY
    June 23 – 42 North, East Aurora, NY
    June 28 – Babeville, Buffalo, NY *
    July 6 – The Waterhole, Saranac Lake, NY
    July 7 – The Monopole, Plattsburgh, NY
    July 8 – Light Club Lamp Shop, Burlington, VT
    July 9 – The Pizza Stone, Chester, VT
    July 12 – Temple Bar and Grille, Rochester, NY
    July 13 – The Crittenden Tavern, Coudersport, PA
    July 14 – House Show, Akron, OH **
    July 15 – Cobblestone Festival, Buffalo, NY
    July 16 – 10th Ave. Burrito Co., Belmar, NJ
    July 17 – Shrine World Music Venue, New York, NY
    July 17 – Silvana, New York, NY
    July 18 – Arlene’s Grocery, Brooklyn, NY
    July 19 – Salt Gastropub, Stanhope, NJ
    July 20 – Cabaret at Germano’s, Baltimore, MD
    July 21 – TBA
    July 22 – Putnam Den, Saratoga Springs, NY #
    July 28 – Fiddler’s Picnic, Marion, NY
    July 31 – Buffalo Infringement Festival, Lafayette Square, Buffalo, NY
    Aug. 2 – The Tralf, Buffalo, NY ##
    Aug. 3 – Funk ‘n Waffles, Rochester, NY
    Aug. 4 – 189 Public House, East Aurora, NY
    Aug. 4 – Buffalo Infringement Festival, Nietzsche’s, Buffalo, NY ^
    Aug. 5 – The Riverboat Bar, Alexandria Bay, NY
    Aug. 6 – Junction City Music Hall, Toronto, ON
    Aug. 11 – Slyfest, Sherman, NY
    Aug. 20 – Nights of Fire Festival, Franklinville, NY
    Aug. 23 – Nietzsche’s, Buffalo, NY ^^
    Aug. 25 – Night Lights Music Festival, Sherman, NY

    * w/ Dustbowl Revival
    ** w/ The Tenants
    # w/ The North and South Dakotas
    ## w/ The Fredtown Stompers, Buffalo Brass Machine
    ^ w/ Swimmer, Minor Racket, Dark Matter Trio, The Funk Theory Extravaganza
    ^^ w/ Minor Moon, Pine Fever

  • Ween Perform New Cover, Rarities and Fan Favorites at The Waterfront in Maine

    On Saturday, June 10, Pennsylvania rock outfit Ween brought their unique brand of hard rock to the scenic waterfront at Thompson’s Point in Portland, Maine. Early on, fans were delighted to hear the high-energy funk anthem “Monique the Freak” for only the second time since their reunion after a four-year hiatus. Soon after, an eager crowd was treated to a slowed down, jazzy version of “Take Me Away,” complete with a walking bassline and an extended talk box intro. Fans were also ecstatic to hear the sultry “Your Party,” as the entire audience sang the chorus in unison.

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    Gene brought out a megaphone to alter his voice on several occasions, most notably during the trudging, creepy classic “Poop Ship Destroyer.” Fan favorite “Ocean Man” featured Gene Ween on mandolin, accompanying Dean on guitar, and Gene displayed his wide range with the crowd-pleasing “Push Th’ Little Daisies.” Ween surprised the audience with a cover of Crosby, Stills, Nash, and Young’s 1970’s protest song, “Ohio,” for the first time, which allowed singer Gene Ween to showcase his impressive vocal range once again.

    Nearing the end of their set, they played a nearly ten-minute rendition of the punky “I’ll Be Your Johnny on the Spot” that featured a long, patient jam before eventually dropping back into the last chorus. Ween then ended their set with the ethereal “Demon Sweat” before returning to the stage for a lengthy three-song encore. For their encore, they played their oft-covered hit, “Roses are Free” before the scorching, anthemic “Buckingham Green.” They then performed an extended version of the mellow, titular track from “The Mollusk” before bidding the crowd farewell, until next time.

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    Setlist (courtesy of Brownbase):
    Marble Tulip Juicy Tree, Happy Colored Marbles, Bananas and Blow, Monique the Freak, Never Squeal, Fat Lenny> Cold and Wet, The Stallion pt 1, I Gots a Weasel, Your Party, Poopship Destroyer, Take Me Away, Wayne’s Pet Youngin, Seconds, Ocean Man, Even If You Don’t, I’ll Be Your Jonny on the Spot, I Got to Put the Hammer Down, She Fucks Me, Push th’ Little Daisies, Ohio, Big Jilm, Demon Sweat
    Encore: Roses Are Free, Buckingham Green, The Mollusk

  • Phoenix Rises From Red Ashes at Red Rocks

    There are certain things in life that move you in the most harmonious manner, that it sends chills down your spine. Phoenix was the cause of that exact sensation on a splendid and spectacular evening at Red Rocks Amphitheatre in colorful Colorado on Wednesday, June 7. The night was simply captivating, as giant natural rock formations surround you at this outside venue. An occasion like this should definitely be on a bucket list for those of you who have not had the chance to experience such an event at this magical place.

    phoenix red rocksThe night started off with an energetic group called The Lemon Twigs, who demonstrated their capacity to jam all while rocking funky outfits and made the crowd pop with extreme intrigue and positive responses. The audience slowly filled the arena and nature’s light began to dim. As their performance came to a close, boulders as crimson as can be started to glow underneath the moonlight in the background, and Miike Snow entered the stage not too long after that. As a Swedish indie pop band, they incorporated a sense of synthpop and alternative dance flare and gave fans a sweet taste for what’s to come next.

    Everyone was fooled that night; what was once a clear starry night moments before, took a turn for what was least expected. When it rains, it pours. However, the heaviest of downpours and even slight hail that evening surely didn’t stop the crowd from going wild. The weather gods somehow knew Phoenix was about to perform and it almost seemed like the rain was a grand opening display before an incredibly riveting performance. This French ensemble conquered the stage while standing on a giant LED platform and created a tantalizing memory to store in everyone’s minds. Thomas Mars soothed the surroundings with his vocals, Christian Mazzalai rocked on guitar, Deck d’Arcy on bass and keyboards, and Laurent Brancowitz on guitar and keyboards. The group included their touring members Robin Coudert on keyboards and percussion, as well as Thomas Hedlund on drums and percussion.

    This group’s style has developed over time only to create distinct soundwaves that hit one’s pleasure centers even more. Flavors of synth pop, alternative rock, and new wave filled the atmosphere all while including the French language in some of their masterpieces. This particular show at Red Rocks was actually the last one before they released their newest album, Ti Amo, which is now available for all to listen. It holds a unique and upbeat essence that puts the move in groove. They performed a couple fresh tunes off the new album such as “J-Boy” and “Ti Amo” as well. Certain underlying musical elements are discovered in the back beats of their songs. Other oldies magically graced the air including “If I Ever Feel Better,” “Lasso,” “Girlfriend,” “Trying to be Cool,” “Fences,” “Lisztomania” and “1901.”

    At the end of the performance, Thomas Mars of Phoenix entered the Red Rocks crowd as a personal closing of the night and shared that special moment with everyone around. ‘Twas a heart-warming and sincere performance with a sprinkle of friendliness. Phoenix rose and thus vanished into the night after wooing the crowd with their delectable sound.

  • Getting Weird at the 15th Strangecreek Campout

    Memorial Day weekend and Labor Day weekend bookend the festival season, meaning many northeasterners start and end their summers at Camp Kee-Wanee in Greenfield, Mass., for the 15th Strangecreek and Wormtown Campouts.

    strangecreekLast week was the 15th annual Strangecreek, and the vibe was very focused around the family that had been built up over the years. Camp Kee-Wanee is the perfect spot to host this festival, with a picturesque green landscape that leads into the forest, which is cut in half by a stream running through the creek. The late night cabins make it as fun for ragers as all the kid friendly activities make it perfect for families.

    The four-day fete spanned May 26 to 29 and was a hit to everyone in attendance. Aside from the rain over the first two days, the festival went off without issue, and by the time the music was done late on Sunday night, everyone was left with ear-to-ear smiles.

    I wasn’t able to arrive until Friday evening, just as Consider the Source was soaring on the main stage. Prior to that, David Gans’ tribute to the Grateful Dead’s Ron “Pigpen” McKernan had fans singing the type of blues that only Pigpen could sing. Rebel Alliance and Relative Souls were prior.

    At 7:30 p.m., Shakedown took over the Vernville stage to play 90 minutes of the way they interpret the Grateful Dead. It was a very nice and relaxing way to segue back to the mainstage, where headliner Badfish brought the sunny spirit of Sublime to Strangecreek. It was a welcomed surprise to boogie down to one of my favorite bands from my teenage years.

    A few minutes before 11, I caught the tail end of Western Mass. group The Alchemystics and their genre melding blend of funk and hip hop.

    In the Keewanee Cabin, Tweed jammed, and jammed and jammed until the early morning hours, before Skeleton Keys brought a new spin on Grateful Dead music, using two pianos to interpret the legendary catalog. West End Blend and Bella’s Bartok were the late night acts at the Wormtown Cabin.

    After some late night campground shenanigans, I turned in to my tent and took a much needed rest. The cool mountain air, paired with a quiet camping area, made it easy to fall and stay asleep.

    The morning started with a delicious smoothie from the Solar Cafe and a bacon, egg and cheese from an independent vendor. By the time I got to the Vernville stage, Desert Rain was wrapping up, so I wandered to the Riverworm stage, nestled in the woods, to check out Rhythmic Circus, who were the perfect complement to the fair weather.

    A friend messaged me and told me not to miss The Broadcast, a three-piece group that played the main stage at 3 p.m. They brought a sort of straightforward approach to rock and roll, but mixed in some fiery soloing.

    Big Mean Sound Machine, The Fritz and Ryan Montbleau were up next, before a dinner break to get ready for the band I come to see every year: Max Creek.

    The four-piece band has been around since the late 1960s, and continues to innovate in the jam scene. Guitarist Scott Murawski has been playing a lot with Phish bassist Mike Gordon in recent years, and the duo’s partnership and style showed a lot during the show. Max Creek, years ago, sometimes felt like it was Murawski soloing over chord progressions, but this show featured a lot more in the ways of subtle rhythm shifts and deep grooves, which is similar to what he does with Gordon. And not to be forgotten is the Dead’s spirit, which is tattooed all over Max Creek’s live sets.

    Shakedown and Zach Deputy rocked the Wormtown late night cabin, and Keepers of the Vibe and the Z3 held down Kewanee.

    Sunday morning is what I’ve been looking to for a while. New York based group Cousin Earth was opening the Riverworm stage at 10:30 a.m. to bring their super unique, sometimes quirky and all-the-time fun and intricate music to Strangecreek for the first time. The five-piece band featured Joey Calfa on electric ukulele, Corey J. Feldman on a bass the size of a ukulele, Terry Brennan on vocals and percussion, Nate Searing on drums and Tara Lawton on vocals and melodica. They bring a Broadway vibe to rock and roll, and add in memories from your childhood, such as playing the Animaniacs theme song, or performing a video game medley. All in all, Cousin Earth was the most energizing set of the weekend, and I urge you to catch this band any chance you get.

    The Rev Tor Band and Hayley Jane and the Primates performed on the main stage, before Bella’s Bartok took another shot at the crowd. Bella’s Bartok is quite unique, with an indy rock feel and also a singalong sort of vibe. At one point, their singer sang a song while on an inflatable couch that the crowd was making surf.

    The Talking Dreads and Annie in the Water had the Vernville stage hopping, while Steal Your Peach brought the river to life.

    Eric Krasno of Soulive played a set with his solo band on the main stage right around the time people were learning that Gregg Allman had passed away.

    Zach Deputy, Pink Talking Fish and Pink Floyd tribute The Machine closed out the festival in grand fashion. Pink Talking Fish’s set consisted of all Phish material, adding another layer to the weekend.

    From September 15 to 17 at Kee-Wanee is Wormtown, which is put on by the same people. Melvin Seals and JGB and Max Creek are the headliners. You should really plan on attending if you want to experience one of the most amazing and laid back festivals in the country.

  • Rock AM Ring Festival Resumes After Possible Terror Threat

    With the most recent tragedy at the Ariana Grande concert in Manchester, England still fresh, authorities are taking every security threat very seriously. Germany’s annual rock festival, Rock AM Ring, had to be halted on it’s opening night Friday for what authorities called “concrete leads,” in a possible terror threat against the festival that police wanted to eliminate before the festival continued.

    With over 80,000 fans attending the festival over the weekend, authorities wanted to make sure that everything and everyone is safe. Friday’s lineup included headliners Rammstein, Five Finger Death Punch, In Flames, Clutch and many more.

    rock am ring festivalAfter the Ariana Grande concert bombing, Rock Am Ring disallowed back packs at the festival and beefed up security to 1000 officers. Festival promoters made the following statement to fans after they were informed by the police:

    Due to a terrorist threat, the police have advised us to interrupt the festival. We ask all festival visitors to leave the festival site in a calm and controlled manner towards the exits and camping grounds. We have to support the police investigations. All visitors will be kept informed about any developments on all Rock Am Ring social media channels, radio and the speakers. We hope that the festival will continue tomorrow. Thank you for your cooperation.

    One of the concerns involved a person who helped erect and organize the security fencing for the event. The Koblenz police released a statement about the possible threats:

    Because of the last attack on a concert in Manchester, the security concept for Rock Am Ring was modified in advance and the number of security officers was significantly increased to around 1,200… Since a threat could not be ruled out, all necessary measures were taken immediately. We cannot provide any further details on the background information. We take all tips and suspicious incidents extremely seriously and investigate closely.

    Rock AM Ring resumed early Saturday in Nurburg, once promoters got word that everything was clear. Festival organizers released a statement telling fans the festival would indeed resume, “After intensive searches and sweeps of the complete festival site by the police, the suspicion of a potential terrorist threat has not been confirmed.”

  • Mountain of Youth: The 5th Annual Susquehanna Breakdown Recap

    “And they’re off!” On Friday, May 19 the gates lifted in Scranton, Pennsylvania and campers raced to grab the flattest and grassiest space on the The Pavilion Lawn at Montage Mountain.  They were not there for the 142nd Preakness Stakes, which traditionally takes place in Maryland every third Saturday in May, but instead were celebrating a new bluegrass tradition, the 5th annual Susquehanna Breakdown. Some attendees dressed in jockey-like colors and patterns with ridiculous hats and clothing combinations.  Others wore graphic t-shirts splattered with band names like Cabinet, Umphrey’s Mcgee, Greensky Bluegrass and Phish.  By the beginning of the first set at 6:30pm, one thing was clear… everyone was there to place their bets on a winning weekend.

    The Dishonest Fiddlers, orchestrated by founder Dave Brown, are a Scranton local bluegrass act that switches up the bill every time they perform.  The lightweight and easy listening bluegrass invited campers to put down their tent poles and join in the music at the smaller “Breakdown Stage.”  Breakdowners were delighted to discover that Cabinet’s own fiddle player, Todd Kopec, was sitting in during the festival’s opening act.  The Dishonest Fiddler’s performance marked the first of many expected Cabinet sit-ins over the weekend, but that comes as no surprise as the festival is named after one of their songs!  Next up on the bill was the American-festival veteran Keller Williams.  It is hard to think of the word “bluegrass” or just “grass” in general and not think of the pumpkin pie hair-cutted freak bouncing around stage barefoot from instrument to instrument.  Once you have seen one Keller show, you have seen them all, but that doesn’t stop anyone from attending.  Keller Williams got his start in parking lots playing to the energetic crowds that gathered before the main attraction, The Grateful Dead.  For over 20 years, he has been marching to the beat of his own drum, guitar, synth and whatever else he decides to bring on stage.  The completely improvised sets travel through space and time reminiscent of a spun-out music junky that can’t decide which radio station to listen to as they station hop.  Keller closed his roots-filled funky set with a cover of Marian Hill’s “Down,” which lyrically is the most genius song to kick off a festival.  If you hate on modern pop music, give this one a listen.

    As the sun finally disappeared on Day 1 of the festival, the audience was treated to more Keller Williams for the first semi-official Cabinet set of the weekend entitled “Keller & Cabinet.”  Launching into the bluegrass traditional tune, “My Grass Is Blue,” got the fans boppin’ and air pickin’ before a cover of “Float On” by Modest Mouse.  As more and more non-camping 2-day-pass holders made their way into the venue, the atmosphere began to feel less like a backyard BBQ and more like a full-fledged festival.  The communal body heat kept everyone warm as “Ain’t Gonna Work Tomorrow” served as a reminder that Montage Mountain was home for the next 36 hours.  It wouldn’t be Night 1 of a festival without some minor technical difficulties.  After three minutes of tinkering, the stage was back on track and Cabinet allowed Keller to take the wheel for his originals, “Alligator Alley” and “Sing for My Dinner.”  Before the final track of the collaborative set, Keller commented that he wanted to do a reggae version of the upcoming tune but Cabinet insisted on playing it fast.  Much like Ricky Bobby in Talledega Nights, they wanted to go fast, and fast they went through Amy Winehouse’s “Rehab.”  Ironically enough, ambulance lights flickered through the crowd during the Winehouse cover as the first festival attendee maybe had too much too fast. Members of the crowd looked on in hopes that this would be the one and only emergency rescue of the weekend.

    On a brighter note, Cabinet came out swinging for their first major set of the weekend, tackling their catalog of reggae, bluegrass, roots and rock.  “The Smile” breezed into the first slot as the symbolic greeting tune of the evening.  “Hey Baby” gave Mickey Coviello’s guitar and Pappy Biondo’s banjo some focus in the spotlight and afterward they modestly commented it was “groovy as all hell.”  Pappy was once again the center of attention during their rendition of “Diamond Joe.” Building the song up with some fantastic peaks and valleys via JP Biondo’s mandolin and Todd Kopec’s fiddle, the 6-piece band transformed the poetic country tune into a jam-grass meltdown.  The “Diamond Joe” lyrics feature horses, betrayal and payback which are central themes in many old-timey tunes and Cabinet made this timeless piece their own to showcase their talent during this set.  The band mentioned that the crowd size was much larger compared to years past and I took it as a sign of festival growth, strength and some perfect weather.  The friendly fireside vibe of the Cabinet set was not complete without a singalong and “Pine Billy” served as a fitting choice.  The “way up on a mountain” lyrics got extra howls as families and friends belted out “Pine Billy” during the second half the short set.  “Sunday 60 Breakdown” finished off the set and the crowd significantly thinned as their beloved Cabinet went to get some rest before a big Day 2.

    The evening was not over yet as late night funk trio Organ Freeman treated the mountain to an ass shaking dance party.  Drummer Rob Humphreys, organist Trevor Steer and Erik Carlson on guitar answered the age-old question “Won’t you take me to Funkytown?”    For those in attendance looking for poppy instrumental jazz or experimental and danceable funk, they found it right off the bat with “We’re On Our Way.”  The band tested out several new songs during their set and considering most in the audience didn’t know the names to their originals anyway, it was all new and exciting to us.  The first cover came in the form of Stanton Moore Trio’s “Pie Eyed Manc.”  It was clear that Moore’s sound has a strong influence on Organ Freeman as they worked their layered grooves into every jam they went into.  My one critique is that at 1:30 in the morning, instrumental jazz begins to all sound the same.  As many non-campers such as myself began exiting the venue, it was incredible to clearly hear the echoes of funk during the entire walk back to the parking area thanks to mountain’s valley walls, which acted as natural amplifiers.  The successful first night of music was complete and the main attraction was only hours away.  The Breakdowners were nestled all snug in their beds, while visions of mandolins played in their heads.

    CABINET FRIDAY NIGHT SETLIST:

    A Smile, Treat Me So Bad, Hey Baby, Diamond Joe, Mysterio, Eleanor, The Dove %, Pine Billy, Sunday 60 Breakdown

    % Brief Power Failure occurred twice during The Dove

    KELLER WILLIAMS SETLIST:

    My Grass is Blue, Float On*, Ripped 6 Pack, Ain’t Gonna Work Tomorrow, AGWT Reprise (post Power Failure), Alligator Alley, The Tower, Sing For My Dinner, Rehab **
    * Modest Mouse Cover ** Amy Winehouse Cover  (Setlist credit: Rich Stoler)

    ORGAN FREEMAN SETLIST:
    We’re On Our Way, (New Track 1), Only If You Mean It, Putin And I Get Along Fantastic, Life’s A Bench, Reptile Moonshine, Pie Eyed Manc*, Change For A Nickel, The Green Green Grapes, You Said You Quit Drinkin’, (New Track 2), Verve, Byrd vs Fish, (New Track 3), Go By Richard, Not By Dick  ENCORE: Hit The Ground Running, Come out Swinging
    *- Stanton Moore Trio

  • Pink Talking Fish Jazz Up Sold Out Boston Show with Giant Country Horns

    Fusion tribute band, Pink Talking Fish, offered a special treat for fans during their sold out Boston performance at The Paradise Rock Club on May 6. As the group took to the stage they were joined by sax player Matt Wayne, and the Giant Country Horns, who famously backed Phish during their 1991 summer tour.

    Wayne skillfully composed all the horn compositions for the night’s set list. In addition, he traded in his usual horn for the baritone sax, as Dave Grippo’s instrument of choice is the alto sax. The Giant Country Horns consist of Grippo, Russell Remington on tenor sax, and Carl Gerhard on trumpet. This solid horn section stood on risers behind the members of Pink Talking Fish, which consist of Eric Gould on bass, Dave Brunyak on guitar, Richard James on keys, and Zack Burwick on drums.

    The group charged right into a jazzed up version of Phish’s “Landlady,” complete with dancing steps by Gould and Brunyak. Heavy horns got the crowd in an engaging mood from the get go. The steamy energy in the room continued as they flowed into the Talking Heads “Nothing But Flowers.” Burwick added an island touch on drums as the melody melted into an extended jam. Brunyak took his guitar on an easy ride through the tune, ensuring fans were given a hefty dose of improvisation early on.

    Burwick led the entrance into the next song as a drum-heavy intro for Pink Floyd’s “Astronomy Domine” took over. Massive horns kicked in, rounding out the heady flavor to the melody. The entourage of musicians then blasted full steam ahead into a double whammy that featured a sandwiching of “Lizards” with “Girlfriend is Better” stuffed in the middle. Hints of “Gumbo” teased the audience but the party kept going as Floyd’s “Money” blasted out in all its glory. Most of the horn section left the stage for the majority of the song, with the exception of Remington on sax. As the song rolled along to the backend, the complete horn section rejoined the band on stage, as “As She Was” absolutely begged for a brass-filled jam.

    A clean finishing “Gumbo,” followed by Grippo showcasing his talent on sax during “Have A Cigar,” had the audience fully primed and charged up. A jazzed up first set closed out with a double decker duo of awesome featuring “Slippery People” and “Suzy Greenberg.”

    After a much needed break, second set blasted wide open with “Burning Down The House,” stacked with horns blaring and fans jumping up and down. Phish’s “Tweezer” was cranked out, stuffed thick with keys pounded out by James, and a plethora of slick brass rounding out the spaces in the melody. Grippo let loose on sax and blazed a lay of the land with a quick walk around the stage as fierce notes flew out from his instrument.

    Taking the intensity down a notch, Brunyak and James flowed into darker tones by easing into Pink Floyd’s “Shine On You Crazy Diamond.” The mood in the room tensed up as mysterious vibes shared by the keys and guitar danced around each other. With Brunyak’s locks on full flow mode, and a slight hesitation before the tune picked up, touches of James’ keys gently chimed in, swaying the song towards an energetic pace. The horns behind added extra punch, as if the brass tones should naturally have always been there to begin with. Wayne busted out his chops on sax briefly before Remington took over and ran with the song on tenor.

    Brunyak took lead on vocals during a playful “Found A Job.” Screaming horns filled in the spaces throughout, before a chilled out “Wolfman’s Brother” took hold. “Run Like Hell” ran like hell with excessive energy throughout the walls of the venue. The powerful horns continued to bring magic to an already mystical flow throughout the set. Without skipping a beat, the music melded into “Making Flippy Floppy,” with James taking lead on vocals. Midway through, the vocals flipped over to Gould, making sure the song stayed true to its flip flop roots. Brunyak broke a string and, without skipping a beat, switched out guitars while the audience barely took notice. The tune was spiced up with a touch of salsa before coming to completion.

    The epitome of a brass, bass, and guitar heavy tune sneaked onto the set as “Frankenstein” reared its head, demanding attention by fans in the venue. The jam did not disappoint as heavy crunches of guitar and clean chops from the brass section blew the roof off the venue. Cheers and hollers coming from the crowd almost drowned out the band. The extended jam, complete with in-your-face drums, horns that wouldn’t quit, and an extra serving of spice delivered by James on keys, held all the ingredients for an epic end to second set. Encore brought out the big guns, as “Golgi Apparatus,” “Cavern,” and “Tweezer Reprise” neatly brought the fired up show to a magnificently splendid close. With the Giant Country Horns filling in the spaces, and adding the perfect blend to Pink Talking Fish’s performance, we can only hope this brass trio make more appearances with the band down the road.

    Set 1: The Landlady , Nothing But Flowers> Astronomy Domini> The Lizards> Girlfriend Is Better> The Lizards, Money> And She Was, Gumbo, Have A Cigar> Slippery People> Suzy Greenberg
    Set 2: Burning Down The House#, Tweezer@> Shine On You Crazy Diamond> Found A Job, Wolfman’s Brother> Run Like Hell> Making Flippy Floppy%> Frankenstein
    Encore: Golgi Apparatus> Cavern > Tweezer Reprise

    # w/ Possum tease
    @ w/ Lullaby of Birdland tease
    % w/ Rift and Caravan tease

    Click here for the audio of the event!

  • Kevin Morby Provides a Preview of Things to Come in Philadelphia

    Kevin Morby is releasing his new album in just a couple weeks (out June 16), but you’d forgive those in attendance on Friday, May 26 during the sold out show at Johnny Brenda’s in Philadelphia if they were unaware.

    The album didn’t even getting a passing mention from the stage, even as the band filled half the 80 minute set with it’s songs. That is of course unless you count Morby’s stark white suit, decorated with bold black musical notes. Across the back the album’s title, City Music, was spelled out in sparkling jewels, while the lapels included his initials. An unorthodox but rather fashionable way of getting the message across.

    Regardless, there was no need for the announcement. Most in the crowd seemed well aware of the music that was on it’s way, to the point of singing along with the couple of singles that have already made their public appearance. The set got off to a wailing good start with the title track off the new album. Morby played a dueling guitar lead with Albany’s Meg Duffy, who released her own stellar album earlier this year under the Hand Habits moniker. Her soft voice and precise playing were the perfect foil for Morby’s monotone and brasher guitar strokes throughout the night.

    The set explored material from the full breadth of Morby’s catalog. The energy peaked with “Destroyer,” where the rhythm section, Nick Kinsey on drums and Cyrus Gengras on bass, locked into a tight groove while Duffy soared with slide guitar leads. They kept the energy high with “I Have Been to the Mountain” and “Harlem River” featuring more heady guitar action. It slowly mellowed out from there, before closing with the quietest moment, Morby playing solo on “Beautiful Strangers.”

    Though non-traditional with the album promotion, Morby promised the crowd that they would honor the old concert tradition of coming back out for a few more songs if the crowd clapped after they left the stage. And they didn’t disappoint, playing two fan favorites off of last year’s breakout album, Singing Saw, and then finishing it off with a bombastic cover of Velvet Underground’s “Rock and Roll.”

    John Andrews, who we last saw drumming in Quilt, was fronting his own band, The Yawns, in the opening slot. They played a short but exciting set featuring material off their recent release, Bad Posture. Lazy, slinky, psychedelic folk rock, songs like “Drivers” and “Old News” gave way to the engrossing set closer “Audrey” that had the crowd desperate for more.

    Kevin Morby Setlist:
    City Music, Crybaby, 1234, Aboard My Train, Destroyer, I Have Been to the Mountain, Harlem River, Come to Me Now, Parade, Downtown Lights, Beautiful Strangers
    E: Cut Me Down, Dorothy, Rock and Roll

  • Interview: Olivia Grace Discusses her Upcoming Releases and Next Steps in Brooklyn

    Indie pop artist Olivia Grace is originally from Maryland but ready to take the New York music scene by storm. She’s focusing her energy and creative juices into launching a musical career while completing her senior year of college. Her latest single “Blackbird” was released on September 30 enticing listeners with her unique style. NYS Music had the chance to find out more about Olivia Grace’s unreleased music including “Shoestrings” to be released early June.

    Sammy Steiner: As a singer-songwriter, where did your inspiration for “Shoestrings” come from?

    Olivia Grace: Ultimately, the song is about feeling out of place. It’s somewhat unapologetic, but it’s also about trying to make sense of everything when you’re not quite sure how you fit in. The story isn’t completely about me, as I do love creating fictional characters in my songs. However, when I wrote this song I had just moved to New York, and it was completely different from what I had been used to. I lived in Chicago beforehand, but New York just doesn’t compare. I think that feeling of navigating a new city and finding my place inspired a bit of the song.

    SS: Can you take us through your journey and involvement in the creation of this track? What was your favorite part of the record-making process?

    OG: The song took over a year to write. When I first started it, it sounded more like a folk song. It was slower with completely different rhythms. It didn’t really feel like THE song. I came back to it when I was flipping through old song ideas, trying to write something new. I picked it back up and it just flowed out. My favorite part recording was the “oh’s” that you hear in the beginning and after the chorus. They were actually added last minute. The song didn’t feel complete when my producer Matt and I had finished. He told me to just go crazy improvising over my piano/instrumental part, and eventually I started singing the “oh” melody. We both knew when we heard it that, that was it!

    SS: Do you have any upcoming plans or prospective venues where you hope to perform in the New York State area?

    OG: I do! I’m currently setting up some shows for July in New York, so I’ll probably be posting about it in June!

    SS: Can you name your top three favorite artists to cover at your shows and why?

    OG: Truthfully, I don’t cover that many artists at shows! I mostly perform my original songs. The one song I always try to fit in my set is Lana Del Rey’s “Video Games.” It’s just so beautiful and after years of performing it, I still love it.

    SS: What are your plans going forward? Are you going to focus on future musical projects or touring?

    OG: I have a lot of unreleased recordings right now, and I’m still going in the studio and recording more. I’m writing quite often as well. Both those things are my main focus right now. I don’t see myself doing a full on tour *right now* but I am traveling a lot this upcoming year, so I probably will be doing a few shows here and there.

    SS: What is one thing you’ve learned from your glimpse into life as an artist thus far?

    OG: Be patient. Everything takes time, hard work, and persistence. You can’t rush success.

  • Driftwood Takes The Stage At FTC StageOne

    Groups Driftwood and Seth Walker hit FTC StageOne in Fairfield, Connecticut Friday, May 19, and left with quite the bang. Both acts were polished, and the energy that each group brought was high and captivating. The venue in which the show was held was small and quaint, with a smaller stage and crowd the night of the performance. The acoustics were phenomenal, and the size made the performances personal and intimate.

    driftwood FTC StageOne

    Seth Walker, the opening act, set the tone for the night with positive energy and dedication to his performance. Despite the small venue, front man Seth Walker and his band commanded the stage with loud presence and loud sound, their melodies washing over the entire crowd. The crowd seemed heavily interested and entertained by the music this group brought to the table. Walker referred to the crowd as “small, but mighty” between songs.

    Walker was in tune with the instrumentalists he played along with, watching them solo and announcing their names and instruments after they finished. The stage presence of this group was sharp, and it kept the crowd interested. The group as a whole was highly interactive, able to talk and feed off of one another’s melodies and vibes during their set. Bassist Myles Weeks harmonized with Seth Walker on multiple songs, adding depth and flavor to the sound. Seth Walker’s set as a whole held a good amount of variety, ranging from bluesy, jazz bangers to soft, folk songs with country twang. The instrumental aspect of music is held on a high appreciation in both the Seth Walker Band and Driftwood. Walker, though a primarily jazz musician, has his fair share of folk music. The blend of tunes he chose to showcase was complimentary to Driftwood, making Walker a successful and suitable opening act.

    After Walker cleared the stage, only a short period of time passed before Driftwood took the stage, sound checking their instruments and setting up their equipment. They were quick and efficient in the process, and soon enough, they were introducing themselves and performing their first song. Bassist Joey Arcuri was unable to make it that evening, and due to the sudden setback, the group was forced to change their set around. It consisted mostly of their slower tunes, but the set still featured sound variety. It was clean, polished, and performed as if there was never a set back to be had.

    Violinist and vocalist Claire Byrne revealed to the crowd that the group was once a trio after addressing the absence of the groups bassist, and interacted with the crowd often throughout the night, encouraging their participation with the music being played. Byrne  encouraged clapping and snapping on a number of songs, and was featured as a soloist on many numbers. Driftwood was personable, courteous to the crowd, and spoke amongst themselves naturally. The stage chemistry between the band was phenomenal, as well as the chemistry between the band and crowd.

    Their music was well-rehearsed, and the intonation and dynamics of this group were amazing. Their harmonies were crisp and well-balanced with the instrumentals. Dan Forsyth and Joe Kollar were attentive to Claire’s solo sections, and even had solos of their own. The group left the crowd smiling and singing along, even requesting an encore. Driftwood ended the evening on a high note, and those who traveled to see them play did not leave disappointed.