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
NYS Music had the chance to sit down and interview with Oliver Wood of The Wood Brothers just days before they embarked on their 2017 Winter Tour, which is currently under way. Due to their familial connection, the Woods come from the same musical roots, but their talents grew in all different directions over the years prior to forming the soulful folk band that now has a worldwide following. Some dates on this tour are already sold out, so if the spirit of their music moves you, purchase your tickets today!
Ben Boivin: Let’s start from the very beginning…The Wood Brothers connection with the state of New York. Your first ever show was at Tonic in NYC and two of the first five shows were at Savannah’s in Albany. How did the Capital District wind up as your first stomping grounds?
Oliver Wood: Well, part of it was a matter of convenience because my brother [Chris Wood] used to live in Saugerties and in the early days of The Wood Brothers we were trying to find little gigs and do things that were realistic and convenient. I was living in Atlanta at the time so I would just go up there and hang out for a few days and work on music and then get a few gigs in the area. We played gigs nearby Atlanta for the same reason. My brother would come down and that just made the most sense. Sort of how we cut out teeth and started to figure out what The Wood Brothers was all about.
BB: What do you feel is different about playing in New York State compared to other parts of the country?
OW: Every region has its own unique vibe and certainly New York State has that. The first thing that comes to mind for me is obviously New York City. That’s where we got our record deal and where our management company is located and where we played our first gig. There’s a sentimental connection to it. Also, we played several times at Levon’s [Helm] barn, his rambles, while he was still alive. Besides Chris living in that part of the country, it certainly has some sentimental value to me as well. There is such a rich tradition there.
BB: Is there one band member that chooses the set lists or is it a group effort?
OW: We definitely tweak it as a group, but I would say Chris is the master set writer. He is the guy that masterminds it and really thinks it through. I don’t know why, it is just something he started doing and was really good at. I guess he is a better decision maker than me? We certainly consult each other and as a group make a list of songs, but Chris is really good at putting them all together.
BB: Do you ever consider cutting songs based on the crowd?
OW: Oh, absolutely. If the crowd is rowdy, we add some rowdier songs. Sometimes we try to tone it down for people and they might be rowdy, but what they don’t know is that they actually want to shut up for a minute and really be in the moment and that’s cool too because it brings them in. It gives them something they didn’t expect.
BB: I read something you said about touring with the Zac Brown Band in front of 20,000 people and how that is a much different level than the normal tours you do as a trio. What makes that different from the theaters and bars where you primarily play?
OW: In a large venue, it is more consistent, there is this one gear. But, I like the variety of small and medium places because they are all unique and you can play them in different ways. It is very satisfying to not just do the same thing every night.
BB: How does playing music with your brother help or hurt what it is you are trying to do?
OW: It is definitely a different dynamic. I mean when you play in a band for years and years with people they become brothers. It’s like a family. It’s like a marriage even. There are those kind of brothers and then something different and deeper with a real brother because you’re family and because you have a more shared experience. Your childhood and your growing up and your parents are all formidable things that you both have. I think also, there is that innate, intangible, yet genetic thing that Chris and I noticed right away. After years apart, being able to comfortably play together and have this telepathy that usually takes years to develop, we were kind of like,“Wow, we have it built in!”
BB: In recent tours you guys have been taking different versions of the same songs on the road. Does Jano Rix help you dissect and resurrect new versions of the same song?
OW: It’s very much a group effort. Part of that is for us. By rethinking a song it is keeping it fresh for us. If we have been playing a song for a couple of years, we may think people love this song but maybe we are getting kind of tired of it. Let’s do something different with it. There is a big rocking number, like the song “Shoefly Pie,” that’s a full electric one, but we made it more porch-y the next time around. We made it all acoustic and Jano was on percussion instead of drum kit, and that’s an example of how we can deconstruct a tune and put it back together in a completely different way. It keeps it fresh for us and for the audience too. We have had a lot of comments where people appreciate and enjoy that.
BB: I have seen you guys a lot and must have heard “Luckiest Man” about 100 times.
OW: Yeah me too, tell me about it.
BB: In the Winter 2016 tour, Jano came out and did a long piano intro before a very jazzy version of “Luckiest Man” and it was really special to hear a familiar song played differently for the first time.
OW: I think people like to get surprised and challenged a little bit and there’s nothing wrong with that on either side.
BB: Going back to the topic of New York, your most recent release, Live from the Barn, was recorded right in the heart of the Catskill music scene in Woodstock, NY. Why did you choose that spot and why is it so special to you?
OW: It’s a very sentimental place for us and Levon is a serious influence and indirectly like a mentor to us. We hadn’t been there in years. Since he passed away we have done stuff with Amy, his daughter, and felt that family connection with their family. When we made the plan to go back there to play, it felt like a special occasion and we wanted to record it all. You never know how it will turn out. Maybe that was okay or that was horrible, but as it turned out, if felt like a real special night. We were really happy and excited that we captured it. We were sort of tripping on being there. It was magical and brought back all these memories. I mean, we were there watching Levon play and standing two feet from his drum set. By the end of the night, we were singing songs with him and sitting around in his kitchen after the show. There are spirits there that you just don’t get anywhere else.
BB: What is the best piece of advice Levon gave you?
OW: He never really gave us any specific advice. I think we just learned by example. I will tell you the thing I get from him is to just be yourself. Just be real and be yourself. That’s what he was and sometimes it is hard to do that and remember that in this business. Sometimes you think, what can we do to survive and to sell more tickets? It’s not about that. If you can be yourself, that’s going to be the best art you can make.
BB: I am sure you are aware that “Big Pink,” the house that The Band rented to create their debut album, is located about 10 minutes outside of Woodstock. Do you, Chris and Jano have your own “Big Pink”? Is there a place that makes writing and creating music easier for you as a group?
OW: Not necessarily. We’ve had several spots, but it has been a challenge since Chris and I lived in different parts of the country for the first six or seven years of The Wood Brothers. I would go up to him and we would write and then he would come down to my place. We would write on the road, backstage, in dressing rooms and at sound checks. He would send me e-mails and we would go back and forth. I will say, since we all moved to Nashville a few years ago, it has been awesomeness because we have been able to hole up in someone’s basement or living room or even rehearsal space. Nashville has been a good place to gel in that regard and relax with our writing. It makes it fun.
BB: What was it about Nashville that drove you guys there?
OW: It was a combination of things. For one, it was somewhat in between New York and Atlanta. We wanted to stay on the east side of the country and I was in the South so long and I like the South, a lot! Part of it too is that we had a lot of great experiences before we lived here. Really cool times where we came to town and recorded with people and collaborated with people and had some shows we really enjoyed. At random, we got to know some good friends and we had kids in school and Nashville is a nice place to raise a family. The music industry here has a stigma that it is just a country music town but there is all sorts of stuff happening with great writers and great music. It is really inspiring just to be here. You can sit in your house and think, “Maybe my neighbors are writing great songs and making great music.” I love that part too.
BB: You will be returning to the Empire State this summer, hitting SPAC in Saratoga and the Highland Bowl in Rochester as well as over a dozen other cities with the Tedeschi Trucks Band & Hot Tuna for the 2017 “Wheels Of Soul” Tour. What’s it like touring with other well-known bands compared to being on the road as a trio?
OW: It’s real special because usually when you’re on the road alone you are crossing like ships in the night and you don’t get to hang out with your contemporaries and they’re all playing at the same time as you are in some other city or state. It is a real treat even at summer festivals to get to cross paths with some of our friends and to get to hang out for a few minutes if we’re lucky. To do a tour with Tedeschi Trucks and be with them every day for a month or two is a real privilege because not only do we get to hear them play every night, but we also get to play with them, eat meals with them and be close.
BB: Well, we are definitely looking forward to that tour.
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.
A 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
Grounded with combined elements of soft grooves, grit, guitar heavy tunes, seventies rock and Motown soul, Wild Adriatic will bring a stacked show to Putnam Den on Saturday, Feb. 4, just one day after their latest album, Feel, drops. Having only released 3 EPs prior, the power trio consisting of Travis Gray, Rich Derbyshire and Mateo Vosganian will celebrate their fresh release for a Saratoga Springs home crowd, the very place in which the group first convened.
Wild Adriatic have already notched three EPs and one live album — leaving 2017’s Feel highly anticipated by fans and band members alike. During the growth process of Feel, the trio decided to focus on their raw, live performance as opposed to the craftiness that can be conjured up in the studio through samples, digital instruments and the like. This time around, the goal was to emphasize organic talents in Gray’s powerful, soul-grabbing vocals and lead guitar riffs, Derbyshire’s bass slaps and Vosganian’s heavy-hitting drums, bringing their natural creativity and emotions to the forefront of the music.
Promotion of the sophomore full-length release has not seen a lull. The group has shown triumphant efforts to push the album recorded in Austin, Texas with Grammy-nominated producer Frenchie Smith. Fans have been delighted with various album teasers, acoustic video sessions and snippets of mock reality show footage featuring members of the band in Ghost Hunters, Dancing with the Stars and Naked and Afraid. Sure, playing the bass in a band is rewarding but check out Rich as he takes on new moves for Dancing with the Stars. You can also check out Mateo’s fearless ghost hunting video and Travis’ video on Facebook, where he took on a different area of exploration–he is most certainly naked, but is he afraid?
2017’s Feel reaches new depths with 11 tracks of emotion, dipping into realms of politics, modern relationships, friendships and soul crushing break ups, adding nods to new genres into their personal melting pot of sound.
Don’t miss a wild album release party at Putnam Den on Feb. 4 with openers Let’s Be Leonard and Bathrobe Robots–available to those 18+, with a surcharge of $5 for those under 21. Tickets cost $10 in advance or $15 the day of the show but WA fans can also get their hands on a few combo deals, like an advance ticket and CD for $20, advance ticket and tee shirt for $25 and all three in a bundle for $35! Doors open at 8 with the show to follow at 9.
Q&A with Mateo Vosganian of Wild Adriatic:
Alyssa Ladzinski: It’s obvious that the message of Feel is to be in touch with your emotions. Can you elaborate on the occurrences that made each one of you come to terms with accepting your own feelings and using them as inspiration for your second full length release?
Mateo Vosganian: This record was written and recorded during a pretty tumultuous few years in our personal lives. A lot of the songs are about a specific old relationship of Travis’ that was the source of a lot of stress and craziness in his life. Writing more specifically and personally to our lives seemed to be a natural progression for us with this record. We go into each new recording process with hopes to open some more doors and explore our abilities a bit. I turned 30 in 2016 and we’ve all grown up together a lot in the last five years we’ve been doing this band. Personally, I feel like a big part of growing up is getting in touch with your feelings and who you are as a person. Finding what makes us tick and being honest about it. This record is another step down that path.
AL: Favorite track off of the new album and why?
MV: I think my favorite track is “Chasing A Ghost.” It’s the song that took on the most influence from our surroundings and producer down in Austin and we were sort of able to get in touch with our more cosmic & space-y yet still soulful sides.
AL: I know you guys wanted to focus on your raw talents other than the effects that can be placed on music in the studio. Are there any new avenues you explored on this album in lieu of recording studio magic and finishing touches?
MV: We recorded the basic tracks for the album live in a room together and I think that really added more of our vibe to the recording than we’ve been able to capture in the past. We’ve self-produced all of our old records and this time we worked with a very talented and inspiring dude named Chris “Frenchie” Smith down in Austin. He helped us tap into some very expressive areas in our playing and inspired searches for new sounds and lots of risk taking in the studio.
AL: You and Travis were once involved in a pop punk group called Horse in A Box. Can you recall some of your favorite memories playing in this band and how it lead you to where you are today?
MV: Travis and I have been making records and playing shows together since we were teenagers. My favorite memories of that band came from absolutely ridiculous road trips in my mothers mini van to go play shows all over NY state. We were 4 of the weirdest, dumbest kids you could find and it was an absolute blast. We took it pretty seriously even as kids so we were on the road most weekends. I think that led to interesting school lives where we weren’t really around a lot on the weekends and the band was our family. We learned a lot about performing live, recording and the business side of making music at a young age. That has helped so much now, along with a hell of a lot of growing up.
AL: What are your favorite current pop punk acts– favorite while you were in Horse in A Box?
MV: Honestly I haven’t been paying too much attention to pop punk these days but the one record I heard last year that i really loved was State Champs’ album. They’re a band from Albany who has slowly but surely been taking over the world and it’s been a delight to see and hear.
AL: You guys originated in Saratoga Springs and attended school extremely close to the area in Queensbury. What are some of your favorite Saratoga Springs businesses/restaurants?
MV: My absolute favorite restaurant in Saratoga is the Park Side Eatery on Phila St. It’s got a super diverse and delicious menu, wonderful staff and just an overall great vibe similar to places we’ve run into on the road. Oh and the baked goods. OH the baked goods. Homemade donuts, cinnamon buns, the works. It’s ridiculous. And we have to mention Esperanto because doughboys are a way of life when we play in town.
AL:How does it feel to have an album release show in a place you can refer to as home?
MV: Well the tour starts on 2/1 in Virginia so it’s kinda nice to play a few shows (in VA, NYC and Pennsylvania) before we come home and celebrate with our amazing home area. It’s about to be a big year on the road and we’re grateful to be able to do a show at home before taking off for a few months!
AL: Does this pose extreme levels of comfort and/or pressure to do something huge?
MV: At this point we feel very comfortable in our lives as working musicians and these kinds of shows and tours end up being so rewarding if we can stay present and keep a good mindset. It helps to remember how little control we have over anything but ourselves and just go out there and be with the audience.
AL: So on FaceBook, it says you enjoy voodoo. Are you putting hexes on those who don’t feel your music?
MV: I’m amazed you read that. Sometimes, me from three years ago writes shit on Facebook that even I don’t understand anymore.
AL: You’re playing this show with fellow Saratogians Let’s Be Leonard– what do you want fans who’ve never listened to them to know?
MV: They’re one of our favorite bands; they write great songs and perform them with tons of heart and open minds live. No two shows are the same from Leonard and that’s one of my favorite parts about seeing them. Also, they have a new record coming out this year at some point!
AL:Your TV parody commercials were brilliant. Where did you get the idea to place yourselves in the midst of reality TV in order to promote your latest album? Are you actually hardcore fans of each show you “participated” in?
MV: Honestly, Travis was telling us about some really super ridiculous episode of Naked and Afraid that he had seen where the guy wouldn’t stop talking about how a Sasquatch laid on him one time. No joke, this happened on TV. We thought it was so funny and I had been toying around with ideas for ways to help promote that weren’t your traditional live videos and studio videos and such. It just sort of happened that we needed three solid concepts and we knew to start with Naked and Afraid. Rich is actually a great dancer so we knew that would be fun too. It all worked out really well and, with our ideas, that’s not always the case haha. We really love comedy, love being ridiculous and have some extremely talented friends in Jamie, Nick and Zach at Chromoscope Pictures. They spent a whole day running around with us to shoot those 3 commercials and then edited them beautifully. We’re psyched people think they’re as fun as we do!
AL:You start touring Feel in the beginning of February. Any locations or venues on the bill that you’re looking forward to hitting the most? Why?
MV: Oh man, pretty much all of the venues are favorites we’ve hit before. We’re doing some new spots in the southeast with our good friends Welshly Arms before we join up with the Rock Boat down in Tampa, FL. That’s going to be an absolutely insane week at sea, we’ll be sailing with around 30 bands and 2200 music fans, and we’ve got a late night 70s themed set prepared that has been SO much fun to work on. The Rock Boat is definitely one of the most exciting things in our lives and we love being a part of that family.
AL: After spending massive amounts of time on the road and gearing up to do it again, have you come into any “road habits,” games or activities to help pass long hours on monotonous drives?
MV: We listen to a ton of new music and lots of podcasts. We love good comedy podcasts like You Made It Weird and The Boogie Monster. My Dad has a pretty vast knowledge of music and is always showing me new bands to dig into, so that’s been fun to just have so much time to listen to entire records and really get into bands.
AL: Which groups are you hoping to hear more from in 2017?
MV: Always White Denim. Northern Faces. Welshly Arms. Marcus King Band. Eric Krasno Band. West End Blend. Swear and Shake.
John Prine, the “songwriter’s songwriter,” is busy touring. He makes a stop in Albany in July to share his classic tunes.Prine 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.
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.
“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.
Coheed and Cambria have announced a U.S. tour for their monumental third album, Good Apollo, I’m Burning Star IV: From Fear Through The Eyes Of Madness for this spring.
After releasing a mysterious video on their YouTube channel, the band announced the tour for the album the day after. The tour, entitled the NEVERENDER GAIBSIV tour, will visit North America from April to May with the progressive rock band performing the concept album from 2005 in its entirety. The Dear Hunter will be direct support for the tour on non-festival dates.
Good Apollo, which features the most popular works by Coheed and Cambria including “Welcome Home” and “The Suffering”, has sold over a million records worldwide.
The name “NEVERENDER” for the tour comes from Coheed and Cambria’s performances of the album originating in 2008, where they performed their first four albums over the span of four nights.
Stops on the tour include Terminal 5 in New York, Hollywood Palladium in Los Angeles, CA and the “Welcome To Rockville” festival in Jacksonville, FL.
Tickets are on sale today via Ticketmaster and you can visit the band’s website for more details.
NEVERENDER GAIBSIV Tour dates:
April 11 – Seattle, WA – The Showbox
April 13 – Portland, OR – Roseland Theater
April 14 – Oakland, CA – Fox Theater
April 15 – Los Angeles, CA – Hollywood Palladium
April 18 – San Diego, CA – Observatory North Park
April 19 – Tempe, AZ – The Marquee
April 22 – Salt Lake City, UT – The Complex
April 22 – Denver, CO – Fillmore Auditorium
April 25 – Austin, TX – Stubb’s Waller Creek Amphitheater
April 26 – Dallas, TX – House of Blues
April 27 – Houston, TX – House of Blues
April 29 – Jacksonville, FL – Welcome to Rockville*
April 30 – Saint Petersburg, FL – Jannus Live
May 2 – Atlanta, GA – Tabernacle
May 3 – Nashville, TN – Marathon Music Works May 5 – New York, NY – Terminal 5
May 6 – Silver Spring, MD – The Fillmore Silver Spring
May 7 – Concord, NC – Carolina Rebellion*
May 9 – Boston, MA – Blue Hills Bank Pavilion
May 10 – Philadelphia, PA – The Fillmore
May 11 – Royal Oak, MI – Royal Oak Music Theatre
May 13 – Minneapolis, MN – First Avenue
May 15 – Saint Louis, MO – The Pageant
May 16 – Kansas City, MO – Arvest Bank Theatre at The Midland
May 18 – Pittsburgh, PA – Stage AE – Indoor
May 19 – Chicago, IL – Aragon Ballroom
May 20 – Columbus, OH – Rock on the Range Festival*
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.
Ben 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.
Since Ginuwine came out with his would-be classic “Pony” in 1996, you’d be hard pressed to find someone who couldn’t at least sing the chorus back to you. His career continued strong through the early 2000’s with songs like “Differences,” “In Those Jeans,” and collaborations with people like P.Diddy, Missy Elliot, Nas, and more.
Flash forward to 2017 and he is still beloved by his fans and actively proving to his critics that he has had the staying power over his more than 20 year career, to sell out shows and set the crowds ablaze. He is the real MVP; Most Valuable ‘Pony’, and a King of R&B.
While covering his sold out January 26 show at Vapor Nightclub in Saratoga Springs, one major thing struck me; the energy. Ginuwine’s live show was not the watered down nostalgia that you tend to expect from an artist in the 3rd decade of their career. It was electric, upbeat, relevant and above all, entertaining.
Playing about 90 minutes with a 7 piece live band, who were fantastic in their own right, Ginuwine was warm and giving to his fans. He frequently hopped into the crowd, grabbing hands, giving hugs, and dancing. Vocally, Ginuwine is still rich with strength and tone, a true feat after so many years in the business. The buzz in the crowd was that he thoroughly impressed everyone in attendance including those who showed up not expecting much.
After watching him own the sold out crowd from the beginning to the end of his performance, I don’t doubt that he will continue to sell out shows as his come back progresses. It was a surefire reminder that the real OG’s are never to be counted out. Upstate NY made it clear, they still love Ginuwine.
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
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.
A 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.”
Ben Landsman: You just played the first Duo shows with Joe Russo in years. What was it like reviving the Duo sound?
While covering his sold out January 26 show at