NYS Music 20​17

Category: Albany

  • Erin Harkes, the Busiest Woman in Show Biz

    The interview was wrapping up just a few minutes before her show was to start. Was there anything you’d like to add that my questions didn’t touch upon?, I asked. “We didn’t even talk about my sobriety,” said Erin Harkes.

    The local musician and, as of four years ago, comedian is never shy about the subject of alcoholism. Her sobriety has been covered in newspaper features. It’s a part of her comedy skit.

    I didn’t want to ask, because I didn’t want readers to think it defined you.

    “It’s very much a part of me,” said Harkes. “I would not be who I am without my sobriety.”

    According to the National Council of Alcoholism and Drug Dependence, Inc., roughly one in twelve people in the United States suffer from alcohol or substance abuse. Harkes has been sober for six years. Those participating in Alcoholics Anonymous carry a token depicting the length of their respective sobriety. A reminder. A last extension of a helping hand before one walks into a bar.

    Harkes spends her life in bars. According to last year’s schedule, she worked 274 shows; on a 365-day calendar, that’s three-quarters of her days. The musical comedienne quit her day job about four years ago. “It’s a hard thing to do when you’re surrounded by …,” she said, gesturing behind her: a bar that stretched the length of the room, lights bouncing off bottles of liquor and the shiny metal of beer taps. In a career that often obligates her to perform in front of her former vice, she expressed pride in her ability to maintain the course.

    But, Harkes said she understands not to be overconfident. She’s her own manager, and her own accountant. “No one does me better than me,” said said. She’s her own boss in a line of work that requires a thick skin impervious to crowds unreceptive to her jokes, indifferent to her songs, or the occasional heckler. It’s also needed when she listens to her body, feels a familiar urge, and packs up her equipment. She said it doesn’t happen often, but it boils down to a short conversation between herself and the venue owner: the owner either understands or she doesn’t play there again. Her attitude is not out of contempt. In the end, she said, she has to take care of herself.

    Despite her propensity for travel — again, 274 shows last year — Harkes has attempted to be more selective with her shows. When she first quit her job, she said she would take every opportunity presented her way. Last year, she attempted to taper off the number of shows by selecting quality over quantity. It was a means to prevent herself from burnout. There’s also the balance between her music career, and her comedy one.

    “If I wasn’t doing music full time, I’d probably be doing a lot more comedy,” said Harkes. Her reputation is strongest with music, so it pays more. “It’s like you couldn’t take an unpaid work day to go do whatever your hobby is. So, it’s really hard for me to take comedy shows. They have to be really worth it. … I have to sit down and seriously look at it. Is it really worth it? Is it a good investment? Sometimes the return, you don’t make any money at all doing comedy. So, I just work really hard on the other end to supplement it.”

    So, you’re a double threat like a Bo Jackson?

    “[Laughs.] Do you really have to make a sports reference to a musician?” she asks.

    Adam Sandler?

    “I prefer Bo Jackson.”

    Truth be told, she holds on to early comparisons to former Fleetwood Mac lead singer, Stevie Nicks. Harkes’ soulful lyrics, her music delivery and, perhaps, her light-hued locks, has had people comparing her another double-threat. (Nicks has long been known as a dancer during live performances, and is recognized for her contributions to fashion, as well.)

    “The first music I remember listening to was Fleetwood Mac,” said Harkes. “I loved the harmonies. I loved everything about it. … I was born in 1977. Clearly these albums were before my time. I’d just like to state that [for the record],” she said, as she laughs some more.

    Jackson — again with the sports reference — was a rare gem of an athlete who excelled at two professional sports. He would often be asked as to which he prefered, and obscurely referred to one as a hobby over the other. Harkes said she loves both music and comedy — and doesn’t want to choose.

    “I love music,” she said. “It provides for me. I feel very blessed. I mean, I work really hard and it just blows my mind that I’m able to do it [for a living]. The comedy is way harder. I don’t know if it’s because it’s still new to me still. The excitement is so fresh. I get nervous, and I enjoy that.”

    “They each have their pros and cons,” Harkes said. “I wouldn’t say I love them equally. I love them much differently.” With music, she said, she sits down and dives into the music. No interaction with the crowd is needed. However, she describes comedy as sometimes “terrifying,” because she’s not able to hide behind anything. The interaction between performer and audience is vital to the quality of a show. “It’s like every few seconds, someone’s standing on your chest.”

    “With the comedy, you need the audience and you need the attention,” said Harkes. “It seems like I’m putting myself in a precarious situation, because I’m already an attention-starved individual.”

    It’s January, and Harkes has her schedule planned out for the entire year. She’s the regular host of the all-female comedy show “Chicks Are Funny” at the Funny Bone in Crossgates, in addition to the hundreds of shows to which she travels. There is no time to reflect on her progression, but she said she sets goals with each coming year; one of which was performing last year at Carolines on Broadway in New York City.

    “I don’t ever like to tell people my goals,” said Harkes, “and I’m the only one who knows if I fail them.” But, just as she did when she quit her day job, she’s taking the opportunities that come to her. Only this time, the opportunities are getting much better. Before she was able to establish goals for 2017, she was already accepted to perform at the Boston Comedy Festival. And on television, she was asked to appear for the third season of Hulu’s “Laughs TV.”

    “The things I didn’t expect, the things I didn’t anticipate I would get, I got them,” said Harkes. “I don’t know. Sometimes it’s throwing so many things up onto the wall and seeing what sticks.”

  • Hearing Aide: Wild Adriatic ‘Feel’

    Saratoga Springs’ Wild Adriatic has logged a good deal of miles on their way to many well deserved accolades as a live act. On their latest LP, Feel,  they looked to their touring experience both for inspiration and style. In a recording session in Austin, with Grammy-nominated producer Frenchie Smith, they kept it simple. They avoided production bells and whistles, opting for a more organic and in-the-moment sound. The songs themselves were born on the road as well, in various writing retreats around the country, from Wisconsin to Virginia to Texas.

    But this journey begins in Appleton, Wisconsin, site of some of the band’s most memorable shows. The opening track, “Appleton,” starts things off with an unexpectedly funky nod to Sly and the Family Stone. They ease into their more muscular moments with the slinky and soulful “Runnin’ Thru” and the infectious and poppy “Come Back Baby,” where guitarist Travis Gray works a gorgeous falsetto backed by the West End Horns.

    There’s no looking back from there. Fueled up, the trio –  Gray, Rich Derbyshire on bass and Mateo Vosganian on drums – step on the gas, letting loose on their energetic and soulful rock engine. When all three cylinders are firing, Wild Adriatic commands attention.

    “Same As It Ever Was” establishes their ability to elevate a simple blues into a grooving and fist-pumping rocker – a formula they find more success with on “Hurricane Woman” and “Some Nerve.” Thumping bass, rollicking drums, ripping guitar riffs are all tied together with Gray’s unmistakable voice.

    “Blaze of Love” blends their knack for funky grooves, powerful beats and soaring leads perfectly. The album closes with “Busman’s Holiday,” a deep rocking blues number that calls to mind Led Zeppelin and the Black Keys. Gray repeatedly sings, “I’m going back on the road.” This excellent collection of songs is ready to go with them there. Back where they all began.

    Key tracks: Blaze of Love, Same As It Ever Was, Come Back Baby

  • Greensky Bluegrass Crack Egg Jokes Amid Stellar Performance

    Anders Beck had a moment before Greensky Bluegrass’ performance at The Egg on January 31. He shared with the audience that, for dinner, he was served chicken inside an egg. And that was just one of the many egg yolks cracked by the dobro player this evening, who had high praise for the venue in saying, “It’s unique, it’s different, it’s The Egg.” An apt description.

    Fruition opened the night with a crisp and refreshing Northwest bluegrass sound that is at times mellow and folky then at times rockabilly. They emanate an energy that kicked up in unexpected spots, never spending too long in one genre for more than a song.

    greensky bluegrass eggA symphony of sound greeted a sold out audience inside The Hart Theater for Greensky Bluegrass this evening, and they opened with “A Letter to Seymour” and a dark “In Control.” The Band’s “Shape I’m In” got deep and stretched out nicely in a patient jam before a trio of new songs off Shouted, Written Down & Quoted followed — “More of Me” (with extra egg humor), “Fixin to Ruin,” and the very upbeat and extended “Living Over.”

    The second set began with crowd pleaser “Take Cover” and a hypnotic beat developed two songs later during “Lose my Way,” fitting to its name. The psychedelic light show paired perfectly with the progressive jamgrass and fell neatly into Paul Simon’s “You Can Call Me Al.” An animated Paul Hoffman took off on mandolin during “Pig in a Pen,” then swapped to guitar to jam out the final two songs, “While Waiting” and “Don’t Lie.” The latter of which was built layer upon layer and led to a deep culminating jam to close the set.

    For the encore, Greensky brought out opener Fruition and stepped in front of the mics to the front of the stage as the audience gathered near for purely acoustic versions of “Demons” and “Meet me on the Mountain.” The camaraderie the two bands exhibited as they collaborated in the finale was representative of the communal nature of their mutual bluegrass roots. That communal sense stretched to the crowd, who found themselves inspired to leap to their feet at numerous junctures throughout the show and dance with a passion aroused. As a friend said in passing prior to show time, “This is bluegrass for the rock n’ roll fan and rock n’ roll for bluegrass fans.”

    Set 1: A Letter to Seymour, In Control, Last Winter in the Copper Country, Ghost of Richard Manual > Shape I’m In, More of Me, Fixin’ To Ruin, Living Over

    Set 2: Take Cover, Burn Them, Lose My Way, You Can Call Me Al, Room Without a Roof, Pig in a Pen, While Waiting, Don’t Lie

    Encore: Demons*, Meet Me On The Mountain*

    * Acoustic, with Fruition

  • John Prine Brings His Illegal Smile to Albany

    John Prine, the “songwriter’s songwriter,” is busy touring. He makes a stop in Albany in July to share his classic tunes.john prinePrine is known as the “songwriter’s songwriter” as many legendary artists have recorded his music, including Carly Simon, Johnny Cash, John Denver and Bonnie Raitt. His catalog includes classic songs like “Angel from Montgomery,” “Sam Stone,” “Paradise,” and “Hello in There.” At 70, he is still actively touring.

    Prine heads out on a month-long European tour in April after playing a handful of dates stateside. He makes stops in nearby Hershey, PA on March 31 at the Hershey Theatre and Newark, NJ on April 1 at the New Jersey Performing Arts Center, both shows with Larry Campbell and Teresa Williams. Upon his return from Europe, he plays some shows in the maritime provinces in Canada.

    Prine makes a stop at Albany’s Palace Theatre on Friday, July 28 at 8 p.m. Tickets for the show go on sale tomorrow, Feb. 3 at 10 a.m. with prices ranging from $38 to $102.50.

  • The Egg Hosts Legendary Chicano Rockers Los Lobos

    A uniting sound in a time of discord was found with Los Lobos at The Egg Performing Arts Center in Albany, on Sunday, January 29. The legendary cross-cultural rock n roll group brought out a rising tempo over the course of two sets in the Hart Theater this evening.

    The first set was highlighted by “Burn It Down,” while the second set took off with the rockabilly “Train Don’t Stop Here,” highlighted by Conrad Lozano on bass with Cesar Rojas’ vocals. The iconic “Kiko and the Lavender Moon” was soulful and smooth as always, with that haunting accordion from David Hidalgo. “Mas Y Mas,” found the band joined by a guest trombonist and Steve Berlin on trumpet.

     

    Kiko and the Lavender Moon @LosLobosBand @theeggpac #tejano #nysmusic

    A video posted by NYS Music (@nystatemusic) on


    “Last Night” brought the crowd to their feet, and featured lyrics from “Turn on Your Lovelight” and a brief horn duel, then segued seamlessly into the Buddy Holly classic “Not Fade Away.” The set ended with a rousing rendition of the Grateful Dead’s “Bertha,” and an encore of Traffic’s “Light Up or Leave Me Alone.” Once again, the timeless Los Lobos sound rocked The Egg, bringing rock n roll and Tejano together to the delight of the audience.

    Los Lobos Albany

  • Interview: Marco Benevento Kicks Off Northeast Tour, talks Duo, Fred Short and his new Instrument

    Marco Benevento kicked off tour last night in Syracuse and performs tonight at Buffalo Iron Works. The Woodstock resident took time to talk with NYS Music about his recording studio in Woodstock, performances with JRAD and The Duo, as well as his forthcoming album Woodstock Sessions, due out this Friday, February 17. Catch him at The Rongo in Ithaca on February 1, Brooklyn Bowl on February 2 and at The Hollow in Albany with Maybird and Band of Ghosts on February 3. Marco Benevento sat down for an interview with NYS Music ahead of these shows.

    marco benevento interviewBen Landsman: You just played the first Duo shows with Joe Russo in years. What was it like reviving the Duo sound?

    Marco Benevento: It was so much fun. It was bit of work because we hadn’t done the music in a while and had to have a couple of rehearsals. I hadn’t done foot basslines on the Hammond in a while, but it was really well received.

    BL: Has performing in Joe Russo’s Almost Dead change your chemistry at all?

    MB: It did in a way. We play the part when we do the Grateful Dead stuff and go into character, even through we’re doing our own twist on it. We’re doing a very improvisational take on it. Maybe we’ve spent a lot of time playing together and the classic rock stuff, maybe it carries over from the complex nature of the Duo music. We’re good at reading each other’s minds, knowing when to move onto the next section. We have as pretty dialed in musical relationship.

    BL: You started singing within the last few years. How has that changed your sound, given that your piano lines/melodies can sound like lead vocals.

    MB: Singing is a new instrument for me, and now when I sit down I write lyrics before melodies at times. Coming up with lyrics on the spot and intuitively singing right from the start as far as the song-writing process goes, quite honestly im hooked. I love the new instrument, the new process that I have. I still don’t like the sound of my own voice, but after we do shows I get a lot of positive feedback from the audience, which I need because I’m still a beginner at it. I do love the process of lyric writing and the act of just singing with people live. It’s more of a connection with the audience than ever before. I’m currently working on my seventh record and have about 15 songs and they all have words and vocal melodies, so I can’t stop now.

    BL: You are the founder and recording engineer of the Upstate NY recording studio. Fred Short. What artists have recorded there and how has the studio changed you as a musician?

    MB: I have a lot more time to create. My studio is right next to my house, so then the kids and wife go to bed, I can get pretty busy out there pretty quickly. It’s all wired up so 1 or 2 on switches and we’re rolling. I’ve been super busy, I can’t believe I’ve been without it for so long. It’s so great to have a recording space that I know so well. I’ve had my friends come and record, a bunch of stuff for other people. A.C. Newman, the keyboardist for The New Pornographers did all the keyboard stuff for his album in my studio. I’ve done some stuff with Mike Gordon from Phish, he came up and we had a nice session with his band there. I did some new stuff with my friend who does the music for Bob’s Burgers and did some music for some of those episodes. Mainly I’ve been working on my own stuff and had Kalmia Traver from Rubblebucket come up to record “Limbs of a Pine” off my album TigerFace. A friend of mine calls it ‘Inspiration Station,’ a small room with tons of keyboards, some drums, bass amp and guitar amp.

    BL: Are you still using circuit bent electronics/toys/instruments? If so, which ones?

    MB: I’m not using it as much as I used to. For a while I went through a phase where I could use a toy help me write a song. There’s something about those toys – I call them ear candy – that sort of give me fun sounds to get started. Over the last couple years I haven’t been using them a lot, and did it so much. They’re battery operated pieces of plastic and sometimes they break on the road, which is part of why I don’t use them anymore. Casio drum machines I will use here and there and random Japanese kids toys too. I love them to death but haven’t been using them lately.

    BL: What have you been listening to lately?

    MB: Tons of vinyl, I have a pretty serious vinyl addiction. I’ve been listening to a lot of stuff off this record label Light in the Attic; they put out a Native American compilation that’s pretty dope. This band called Relatively Clean Rivers. I’m a big fan of the keyboardist from The Arcs, Leon Michels, he has some pretty cool stuff out there. I subbed for him this past May and really got a chance to hang out with those guys and check out some real vinyl and got pretty inspired by them. We made a record with Richard Swift from The Arcs, so whatever Richard, Dan or Leon does, I really dig.

    BL: What other musical ventures do you have planned this year?

    MB: We have Northeast tour right now, then off to the West coast via Colorado, then we have a 3 week West coast tour coming up at the end of March into April from Washington State down to L.A., promoting the new live album we have coming out called Woodstock Sessions, and touring around that for the next few months to promote the new live record.

    Full tour dates can be found here.

  • Umphrey’s McGee Exceeds Expectations in Albany

    Sometimes a band finds the perfect song to capture the feeling of their audience. With lyrics that sting out of raw truth and careful and passionate instrumentals, you can feel the connection between the band and its faithful fans. As Umphrey’s McGee opened their January 28 show at the Palace Theater in Albany with “Divisions,” a collective energy was felt by all in the room. “All my thoughts divided, oh. All my friends divided so. And our whole world’s divided, oh.” The timing of these words never more appropriate. “Soul embrace. We’re all the same.” The meaning never more important.

    Just days before the scheduled show in New York’s capital, the band announced their lead guitarist, Jake Cinninger, would not be performing for this and several other shows due to the flu. Renowned saxophonist Joshua Redman, was already scheduled to perform. The brass added an unfamiliar yet celebrated  element to the typical Umphrey’s sound. Yet, without Jake, this was not typical Umphrey’s to begin with. A sound noticeably different, but surprisingly not at all disappointing.

    “Weight Around” was a masterpiece we’ve come to expect from this band, who are celebrating their 19th year together. Redman took the stage for “Gone for Good,” although he was overpowered by Brendan Bayliss’ guitar and Ryan Statsik’s thundering bass. It was unclear if this was a technical issue or due to the fact he wasn’t standing anywhere near his mic. The problem was corrected for the next song, “Higgins,” and right into “Ocean Billy” to close the first set. Although not a substitute for the lead guitar, Redman serves as a unique alternative to be showcased.

    Second set was a helluva grinder to say the least. Nestled between an 18-minute “1348” and then a 3-minute finish to the song, “Intentions Clear” was the perfect song for Redman, fitting seamlessly into the groove. “Walletsworth” offered the fire and grit to bring the crowd to a roar, signaling their clear approval. Joel Cummins shone on the keys and Andy Farag delighted on percussion.

    Most surprising was the “40’s Theme” accomplished without Cinninger. Bayliss eagerly took on the lyrics. Once again, although different, the song was fun and satisfying. After a brief “Kitchen,” Bayliss addresses the crowd and acknowledged the elephant in the room – Cinninger’s absence – while expressing his gratitude for his colleague’s role in the band. After an impressive drum solo by Kris Myers, a mood lifting rendition of Simple Mind’s “Don’t You Forget About Me” clearly demonstrated the band had Cinninger in their thoughts as they closed the second set.

    Returning to the stage for “Resolution,” the lyrics again provided hope – “I see the road leading towards the solution we need.” Bayliss took charge on this with raw power and grace before they circled back to “In the Kitchen” to conclude the evening.

    As Bayliss addressed the crowd, thanking them for helping them out, it was the fans who got all the help they needed, even if just for a few hours.

    Set 1 Divisions, Prowler > 2nd Self, Weight Around, Gone for Good*, Higgins*, Ocean Billy*

    Set 2 1348* > Jimmy Stewart > Intentions Clear* > 1348*, Walletsworth* > 40s Theme, In the Kitchen > Don’t You Forget About Me^

    Encore Resolution> In the Kitchen

    * with Josh Redman on saxophone
    ^ Simple Minds cover

  • Rubblebucket Brings a Bit of Brooklyn Bounce to The Hollow

    Funky art-pop ensemble Rubblebucket brought a bit of Brooklyn to a jam-packed Albany crowd Friday, January 26 at The Hollow Bar & Kitchen. From the get-go, each song was performed with high energy and power jumps with one goal in mind: to let loose and be present in the now.

    The five-piece, consisting of Kalmia Traver, Alex Toth, Dandy McDowell, Maddie Rice and Adam Dotson, hit the road for a string of Northeast dates across CT, RI, MA, NY and PA in support of their latest EP, If U C My Enemies, which dropped just a few days ago on January 23. Rubblebucket didn’t fail to deliver their newest tunes with enormous pep. Before they took the stage, Hollow dwellers were hovering over one another, squeezing through layered bodies and backpacks, risking getting long strands of hair and strangers’ sweat in their double IPAs and mixed vodka crans just to make way to the front of the room–or try to, at least.

    Equipped with a talented horns section, Traver initially addressed the crowd with praises of a wonderful turnout and immediately dove into displaying her raw vocal talents and magic on the baritone saxophone. Describing the Albany crowd as vibrant– attendees were just that, swaying side-to-side, dropping low to the floor and swirling along with the pulsing afro-beat stomps, pop-centric choruses and colorful toots of the trumpet and trombone.

    Traver and company offered fans tracks from their latest EP as well as their most recent full-length release, Survival Sounds, performing fan favorite hits both new and old from “Donna” and “If U C My Enemies,” the opening and closing tracks of the EP, as well as “Sound of Erasing” and “On the Ground.”

    A television propped up on the wall across from the bar was muted, yet still running, leading Traver to request to kill the power. Making valid points, she explained concertgoers were there for the show, not to receive a dose of endless commercials or politics banter and that the screen was simply distracting her from performing in the moment. The TV was nixed within seconds and from then on, intensity grew and the grooves never stopped.

    Once the energy reached its highest momentum, Rubblebucket ran with it. Traver became one with the fans, crowd surfing to the back of the venue where she decided to pull a move from King Kong’s book by scaling the side of the balcony just above the bar. With bartenders shouting to her in hopes of it not crumbling down to its foundation, she conquered the excursion and made it atop the venue while Toth manned the mic for the song’s vocals. Later, Dotson, trombone and all, paved way through the crowd inciting a full on dance party and optimal engagement, leading many to make hard ducks in each direction with hopes of avoiding decapitation. Something tells me, however, if it happened, that wouldn’t be the worst way for a fan to go out.

    While the masses were in command, Traver used it to her advantage for ultimate interaction, getting everyone in the room to drop low to the floor, jump up and down and bounce side-to-side before gearing up for a triple header encore of “Shake reprise,” “Triangular Daisies” and “Save Charlie.”

    A cozy Albany venue where locals stop in for quick bites to eat, drinks and live music on the weekends was completely morphed into a tight-quartered, hip, Brooklynite bounce house- if only for one night.

    Set List:

    On The Ground, Donna, Forlornification , Sound of Erasing, My Life, If U C My Enemies , Not Cut Out For This, Silly Fathers, Pain From Love , Lemonade (unreleased new song), Carousel Ride, Came Out of Lady, Shake Me Around
    Encore: Shake reprise, Triangular Daisies, Save Charlie

    https://www.instagram.com/p/BPxeqTwj-B6/

  • Greensky Bluegrass Arrive in the Empire State

    Greensky Bluegrass is making their way north this week, heading for The Westcott Theater in Syracuse on Wednesday the 25. They then make stops at Playstation Theater in NYC on January 28 and The Egg in Albany on January 31. This marks the first time playing each of these venues for Greensky, whose progressive bluegrass style has created an impressive following across the country. Joining Greensky are the Portland, Oregon bluegrass sensation Fruition, a rootsy and eclectic troupe that will easily win over fans on the east coast.

    Since forming 17 years ago, Greensky Bluegrass has created their own version of bluegrass music, mixing the acoustic stomp of a string band with the rule-breaking spirit of rock & roll. The band, comprised of Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin) released Shouted, Written Down & Quoted this past fall, garnering praise in our review:

    Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.

  • Singer Sean Rowe is Going Rogue

    Sean Rowe is no stranger to walking a different path, but he needed help with his latest venture — walking away from his record label and seeking a crowdfunding campaign to produce his next record.

    You can call Sean Rowe a “madman” for his recent, unorthodox approach to his music career, but he is a man with a plan.

    The popular blues singer opted not to resign with his record label, chose to crowdfund his latest project, and got the guts to do it by doing something a little off the wall.

    “This all started when there was a giant fork in the road for me in terms of where I was going to go career-wise,” said Rowe. “I had fulfilled my contract with Anti Records… And, I had to figure out where I was going to go next.”

    For the better part of the last decade, Rowe has made a living off his music. It’s the path he’s chosen to walk since he discovered Otis Redding when he was 17. Not your typical Troy teenager coming of age in the early ‘90s. Instead of Bell Biv Devoe, Guns ‘n’ Roses or Pearl Jam, he spent his money on John Lee Hooker and music out of the Mississippi Delta. Obscure stuff you wouldn’t find playing on FLY 92. He speaks of his love for Laura Lee, a gospel R&B artist out of the ‘60s whose sound he describes by comparing her to the icons of Gladys Knight and Aretha Franklin. “That’s all I wanted to listen to,” said Rowe. “I was pretty strict. I emulated all these people that I love. It taught me how to play guitar. It taught me how to sing.” And, for the 10 years that followed high school, Rowe spent his nights cutting his teeth at the local bars and venues that allowed him to strum his guitar and bellow out that signature baritone singing voice.

    Rowe has five albums to his name, the last three under Anti Records, the same label under which Merle Haggard and Tom Waits are signed under. The terms of Rowe’s contract were met after the 2014 release of Madman. Though he describes the experience with the Los Angeles-based label as “great,” Rowe said he needed to push out into the unknown. So, he decided not to resign, and opted instead to go “rogue.”

    “A part of this was realizing that if I wanted to do the best record I could do — I’ve already been comfortable with the last record. I already did that stuff — I want to do something that’s going to throw me out into the abyss,” said Rowe. “Something that is going to challenge me. So, that’s why I did all this.”

    Last July, Rowe launched a crowdfunding campaign with Kickstarter to collect enough money that would allow him to produce his next album. The concept is not necessarily new. In fact, the trend of artists seeking financial help from fans prompted a 2013 Louie Herr article at digitaltrends.com, suggesting bands target modest amounts instead of the $1.2 million raised by musician Amanda Palmer in 2012. Rowe’s $43,000 target would fall under Herr’s modest range. Nonetheless, Rowe said he felt like that was a lot to ask. “We launched this thing, fully realizing that it was a lot to ask.” said Rowe. “We needed to raise $43,000 in one month. And, we were asking our fans to do that.”

    Rowe’s plan kicked into motion around the 2014 release of Madman, the third and final record under the terms of his contract with Anti Records. Rowe started a side project; a nationwide tour that involved the musician playing to many of his fans from inside their own living rooms.

    “Just to try something different, you know?” said Rowe. “And, quite honestly, I also had to make money between tours. It was a combination of needing to work and wanting to do something different that led me to this house show idea, where I started playing in people’s living rooms — fans of mine, who wanted me to come to their house and play.”

    The tour built momentum and became a success in more ways than one. Rowe was able to support himself financially, but the intimacy of playing to his fans from within their homes created a dynamic that felt “very natural” to him. He described the typical show as being no larger than a handful of people, sitting on sofas. But, something about the shared experience drew an epiphany. He could walk away from the conventional path of producing albums through record labels.

    “From that audience, so many other things came, including this idea, said Rowe. “That was a big factor in starting this whole Kickstarter thing. I don’t think it is something we could have done before we did the house show thing.”

    In two weeks, contributors from as far out as Dublin, Ireland contributed enough to match the $43,000 goal. And, by month’s end, the funding effort reached $53,000.

    “That was very, very telling to me, that I’m on the right path,” said Rowe.

    Plotted on that path was the plan to record tracks at Sam Phillips Studio, the same studio built by famed Sun Records producer Sam Phillips, in Memphis, Tenn. Phillips is credited with discovering Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley, many consider Phillips to be the Father of Rock and Roll. While building up Sun Records, it’s said Phillips was building his dream studios around the corner. For the kid fascinated by the sound of recording artists before his time, the environment could not be more perfect.

    “It’s like walking into 1960,” said Rowe. “Nothing has changed in terms of the aesthetic of that room. I had all these dreams around this recording that I really wanted to accomplish.” Another part of that dream included working with Grammy Award-winning engineer, Matt Ross-Spang, too. And, the end product provides a thousand vinyl records and another thousand CDs. The record is planned for release by the end of March.

    For Rowe, 2016 has been a humbling experience; from seeing fans help support his upcoming album, to hearing an older track of his play along with the closing scenes of Ben Affleck’s feature film The Accountant. There’s a sense of affirmation that the “madman” isn’t so crazy, after all.

    “It’s a lot to ask of people, and it is validation,” said Rowe. “When you see the people willing to pay quite a large sum of money into something they really believe in, it’s not like telling somebody after a show, ‘hey, that was a great show.’ … When someone is willing to pay $1,000 just for the idea of this album, that’s not even made yet, [who] believes in you that much… . For that to happen, that’s a tattoo. That’s a lifelong commitment that someone makes for you.”

    Sean Rowe on “To Leave Something Behind,” featured in Ben Affleck’s The Accountant.

    “I wrote that about six years ago, and where I wrote it was in London, actually. I was walking through a park out there while in the middle of a tour. And, when you’re overseas and you’re touring out there, and you have family back home in the states, the proximity effect is very palpable. Your communication is off. You can’t just connect, like you can. Over there, it’s always been a challenge to maintain that connection with family.

    It came to me at that time. I was already having feelings of disconnectedness — the not-knowing of how it was going to be with my son being born, because he was still in the womb at the time. I was having all these feelings and emotions popping up. You know, how I wanted to be as a father and what it was going to be like to bring a child up in these times. And, that was six years ago. It’s even more relevant to me now then it was back then.

    Speaking from a father’s perspective, but also from a holistic perspective, how to fit into this world view that seems to be opposed to a lot of the things I hold to be sacred. And, trying to find a place in there, where you can have balance. That was just an ongoing theme for a lot of my songs, really.”

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.