Yes Darling, a duo featuring Hayley Jane and Ryan Montbleau opened the show playing for about an hour. This version of Everyone Orchestra played a number of improvisational jams “inciting love” throughout the crowd. The show filled the venue to almost its full capacity. The Putnam Den recently went through renovations updating the interior of the venue. With the soundboard now being located in the back, there was more room for people to dance and have a good time.
Everyone Orchestra continues its fun with dates at Electric Haze in Worcester, MA November 9, Brooklyn Bowl in Brooklyn, NY November 10 and Gypsy Sally’s in Washington D.C. on November 11.
The Security Project brings together seasoned musicians to pay homage to the early works of Peter Gabriel. The band’s current lineup includes Jerry Marotta (former drummer for Peter Gabriel), Trey Gunn (King Crimson), Michael Cozzi (Shriekback), keyboardist David Jameson from New York, and on vocals female singer/songwriter Happy Rhodes. Their new live album Contact is out this month, and they are touring to promote it. Tickets are on sale now for shows in and around New York, including Pawling, Schenectady, and Syracuse.
Mid-West/East Coast US Fall Tour Dates:
Nov. 7 – Northampton, MA – The Iron Horse Nov. 8 – Pawling, NY – Daryl’s House
Nov. 10 – Boston, MA – Regent Theater Nov. 11 – Schenectady, NY – Van Dyke Lounge Nov. 12 – Syracuse, NY – The Lost Horizon
Nov. 14 – Cleveland, OH – Beachland
Nov. 15 – Louisville, KY – Headliners Music Hall
Nov. 17 – Indianapolis, IN – The Irving Theater
Nov. 18 – Auburn Hill, MI – Callahan’s
Nov. 19 – Jerry Marotta drum clinic Chicago – Martyr’s (3:00 p.m.)
Nov. 20 – Milwaukee, WI – Shank Hall
Nov. 21 – Chicago, IL – Reggie’s
The 2017 Halloween season got off to a frighteningly good start last weekend courtesy of a small and intimate party in The Berkshires that featured some of the region’s burgeoning musical acts. Bands from Upstate NY and Western MA, along with an intimate collection of 200 some-odd live music lovers, assembled at the rustic H.A. Moses Scout Reservation in Russell, MA for a brief, yet utterly enjoyable, festival of nostalgic music and musical costumes and the third rendition of its Halloween Horror Camp. With each band playing a predesignated set of covers from other artists, the opportunities to “dress up” both in costume and musically ran rampant this cool October evening.
Normally used for Boy Scout camping purposes, the main lodge was transformed into a dance hall of sorts and nearby cabins were available for additional purchase as well for those that preferred bunk beds instead of roughing it outdoors. In fact, in a really unique twist, “campers” weren’t even informed of the event’s location until about 48 hours beforehand when an e-mail was sent to ticket holders. All that was known was that it would be somewhere in the 413 area code of MA. Those that were willing to put their faith in a party with no address were rewarded with a night of music that spanned multiple eras and genres.
One of the earlier acts of the day of Halloween Horror Camp 3 was Creamery Station who performed a “Watkins Glen” themed set of Dead and Allman Brothers tunes. With band members feeding into the holiday spirit and adorned in full body cow costumes, classic tunes like “Deal” and “Statesboro Blues” greeted still arriving guests and those still setting up tents and camps. A cover of The Band’s signature hit “The Weight” was also included in this engaging early set of music.
Shifting courses a bit, a set of Daft Punk covers followed, delivered by Northampton’s own Mammal Dap with assistance from Mary Corson on vocals. Together, they did justice to Daft Punk’s seminal album Discovery in a performance that covered nearly the entire recording. Songs like “One More Time,” “Voyager” and “Too Long” seemed to get the dance floor moving a little steadier and served as a great precursor for things to come.
Albany’s own Formula 5 then delivered one of the more anticipated sets of the evening with a blistering set of Phish covers. Beginning with a well jammed “AC/DC Bag” that fed directly into “Story of the Ghost,” the Upstate NY jam outfit did not disappoint with its cover set of one of their inspirations. A crisp “2001” kept the rave vibe alive and well in the main lodge but one of the true gems of the set was “Reba” and a corresponding jam that was melodious and powerful all at once. The same could be said for the rousing rendition of “Harry Hood” that followed later in the set before a customary “Cavern” set closer.
Cosmic Dust Bunnies then turned back the clock and took everyone on a musical romp through the 80s with a long set of covers from the era of hair spray and cassette tapes. Songs like “Superfreak” and “Word Up” gave the start of their set a retro dance vibe before the New Haven rockers settled into more pop hits like “Everybody Wants To Rule the World” and the ever present Rick Astley classic “Never Gonna Give You Up.” The Bunnies continued to impress and up the ante with standout takes of “Dirty Diana,” “Love Is a Battlefield” and “Panama.” The selection and variety of artists that were covered in this set was really impressive and a fun take of Lionel Richie’s “All Night Long” helped bring a close to it.
Strange Machines, a Boston-based rock fusion act, then threw it back even further with a standout set of songs by The Doors. A full throttle version of “L.A. Woman” kicked things off and a fun “Love Me Two Times” > “Higher Ground” > “Love Me Two Times” sequence showcased the band’s ability to stylistically bob and weave. The “Riders on the Storm” and “Strange Days” that came towards the end of the set offered a true psychedelic tone to the evening that proved not all the music tonight had to be upbeat and poppy in order to be enjoyed.
The party kept going well into the hours of Sunday morning courtesy of a Bassnectar themed DJ set from Uncle Bob and a stellar set from lespecial chock full of Primus covers, a sound the band has really honed of late. The final set from Roots of Creation featured Grateful Dead and Rage Against the Machine songs intertwined and throwing the crowd into a final frenzy of the night, while Kerry Quirk gave the fans what everyone wants late at night, a healthy dose of Madonna. Those that stayed and camped overnight were welcomed with a community breakfast in the morning to help recharge before leaving the wilderness and returning to civilization. Halloween Horror Camp has all the feel of a remote festival with a powerhouse music lineup combined with a backwoods campfire among friends.
“FUSION LIVES!” This was the mantra repeated by an enthused patron during breaks between songs at The Egg on Thursday, November 2nd. Few would disagree with her this evening, one that included the legendary and inspired sounds of Mahavishnu Orchestra great John McLaughlin and the 4th Dimension, with Jimmy Herring and the Invisible Whip opening the night on the Meeting of the Spirits Tour.
Herring’s new group includes former Aquarium Rescue Unit bandmate Jeff Sipe on drums, Matt Slocum on B3 organ and clavinet, Kevin Scott on bass and Jason Crosby on keyboards and violin – and they were just the opening act. Groovy funk lines from Scott laid the foundation for flowing instrumentals, with hints of the Flecktones heard in spots throughout the set. Crosby and Slocum blended together perfectly, and Sipe sat masterfully behind the kit. “Les Brers in A Minor” was a delight to all, nodding to Herring’s time with Allman Brothers Band and respect to the late Gregg Allman.
As John McLaughlin took the stage with the 4th Dimension, the audience was ecstatic, with chirps of excitement coming out of the crowd in a raucous ovation. This being McLaughlin’s final tour, he played little new material, “El Hombre Que Sabia” in tribute to Paco Lucia, and made the music of Mahavishnu Orchestra come alive once again.
There were instances where the foursome onstage – Mclaughlin, Gary Husband (drums/vocals), Etienne Mbappe (bass) and Ranjit Barot (percussion) – sounded like they were recreating Frank Zappa songs, but with fewer personnel needed to build compositions to a frenzied state before returning to earth. Mbappe’s tone on bass was like an Altoid – curious strong, for he was wearing gloves the entire night. Jazz musicians gonna jazz I guess. Husband’s vocal effects on the kit and his superb double team with Barot (and later, with Sipe) drove the set towards a triumphant close.
The Invisible Whip joined the 4th Dimension for Mahavishnu Orchestra compositions, and altogether with nine musicians on stage, Jimmy’s jazz rock and John’s jazz fusion took alternating turns leading the way, with McLaughlin stepping to the side at times to let Jimmy and the rest do their thing. When McLaughlin broke out the two-necked guitar, the audience was captivated. When he wailed on the whammy bar of his Paul Reed Smith ‘PRS,’ it created a most unique and melodic tone, not a wank on a note for show. Combined together, these two legendary guitarists, John Mclaughlin and Jimmy Herring, along with two powerhouse drummers, brought to mind influences that could be found among the music of Col. Bruce Hampton and Aquarium Rescue Unit, Phish, Frank Zappa, and all the rest who take a ride on the spacious musical journey that is improvisation.
Looking ahead just a few months from now, the year 2018 will be Dopapod-less, which means fans have flocked from inner cities, out of town and hours away just to catch what will be their remaining shows ahead of hiatus. Bringing the heat during each gig on fall tour so far, word traveled fast that their Halloween bash at Saratoga Springs’ newly renovated Putnam Den wasn’t one to be missed, a Grateful Sabbath if you will.
Adorned in an astronaut suit, Eli Winderman and company would eventually sit behind the keys and prepare to launch the outrageously dressed and over-excited crowd into outer space for the remaining hours of All Hallow’s Eve.
Kicking off the night for the quartet was rising Burlington outfit, Swimmer, who previously took the reigns of opening for Dopapod in the past. Walking on stage in an assortment of costumes from a bassist puppy dog (Jack Vignone), a guitar wielding, “all you can eat Jimmy Buffet” pun (Paul Klein), a keys/sax playing Santa Clause (Matt Dolliver) and Alladin’s Abu on drums and vocals (Cotter Ellis) the prog rock 5-piece swiftly grabbed attention of Den dwellers as the room began to fill over the course of their set. The crowd quickly realized why these guys have been able to snag opening gigs and musical praises from Dopapod–their sound can be sentient and groovy and in seconds build to heavier territories, never executing boring composition.
The “No Shape” musicians warmed up the crowd with “Turko,” “Murphy’s” Song,” “J.I.G.” and an enchanting, jammed out “Sea Cerebral” as well as an appropriately placed HalloWeen cover of “Put The Coke on my Dick” with Ellis nailing the familiar vocal outcries. Taking full command of the exponentially growing audience, a masked and shirtless Joe Agnello (guitar/vocals) corralled the colorful crowd and had them dancin’ into set break with Prince’s party anthem “1999.”
Trick of the night: Ellis cracked his snare mid jam in true rock and roll fashion, although his relentless and professional playing fully disguised it. Both relying on lip reading and hand gestures, Dopapod’s Neal “Fro” Evans saved the day by hand-delivering his own snare to a fellow drummer in need.
Astronaut Winderman, a monkey headed Chuck Jones, a low key Rob Compa and Evans were greeted on stage with a “This Is Halloween” introduction before a stacked set one of continuous, hard-hitting originals came into orbit–exactly what fans needed to submerge themselves in during the concluding gigs of 2017. Offering up fired-up favorites with an opener of “Black and White” paired with color coordinated lighting, each studio album was given a taste with as Never Odd or Even’s “Present Ghosts” trailed right behind. Serving up “Sonic,” “Bubblebrain” and a fix of the latest efforts on Megagem, a fun delivery of “Mucho” found extensive live twists creatively altered from the studio version, giving those already familiar with the tune a fresh way to remember its live adaptation. Somehow managing to find time to squeeze in a sit in with Moe’s Vinnie Amico on drums for a gratifying and turbulent “8 Year’s Ended,” Redivder’s funky “Blast” closed out the powerhouse set which was ultimately a lengthy, indulgent Saratoga Springs get down.
Hopping back on the tightly packed stage to settle down a wondering crowd, all eventually found themselves puzzled yet enlivened to be singing along to the words of the Dead’s “Eyes Of the World,” as Dopapod’s imaginative flair inventively took on the American rock classic. Hinting at a full cover set, a fierce and expressive Black Sabbath cover of “War Pigs” came next as it completely paralleled the carefree feel of it’s predecessor. The third song took some time to gain recognition as eventually the lyricism from Scarlet Begonias and intense anatomy of Sabbath songs magically fused together to create the ultimate Halloween treat.
Looking back at the group’s latest moves on social media, they teased the second set themeby uploading two photos of frontmen Ozzy Osbourne and the late Jerry Garcia with the caption “milk,” to their Instagram feed. Each song execution conjured stupefied giggles and pure astonishment as Dopapod managed to fully rework well-known songs into interchanged genres, pulling off Sabbath’s “N.I.B.” with a laid-back Californian twist.
Inspiration behind the set came to fruition years ago when Fro realized that Black Sabbath is “just the Grateful Dead playing minor instead of major,” as divulged on a recent Facebook post. So for those who never thought they’d get to see “Friend of the Devil” and “Sweet Leaf” performed in the same set, anything can transpire during a Dopapod Halloween gig. Adopting the Drums>Space routine of the Grateful Dead, Fro as well as wildly talented light/sound engineer and friend Luke Stratton were given time to shine as eye-catching shapes and colors rapidly twisted and whirled across the blank canvas of the Den walls.
Adding to the themed mash-up, Sabbath lyrics were placed mainly to the tune of “Terrapin Station” and introduced a long-haired “Jerry Osborne,” aka Stratton, to the stage for electrifying assistance on guitar and costume hilarity. A rebellious “Fire on the Mountain” making nods to the tunes of “Paranoid” and “Iron Man” closed out the eclectic bust out set with vigor. Quickly returning for encore, the four approvingly spliced together a tight delivery of 2009’s “Indian Grits” with the Dead’s groovy “Shakedown Street.”
Everyone already had the seed planted in their minds to scurry to the remaining Dopapod gigs of the year but when you’re told not to miss a show, there’s probably good reasoning. In a matter of hours fans were scavenging on the Internet for Grateful Sabbath sound boards and video clips, surely face-palming envy deep into their hands. With just 28 gigs standing between the Boston-born band and a touring recess, catch the duo of Swimmer and Dopapod again at Providence’s Fete Music Hall for a Dec. 30th gig in Rhode Island with Hayley Jane and the Primates.
Putnam Den 10/31/17 Setlists:
Swimmer: Turko, Murphy’s Law, Put the Coke on my Dick* > J.I.G > Sea Cerebral, 1999^
*Ween ^Prince
Dopapod: This Is Halloween* (Walk out music), Black and White^, Ghosts ->, Sonic ->, Braindead, Mucho, 8 Years+, Blast
Set II: Eyes Of The World$ >, War Pigs& ->, Sabbath Begonias@, N.I.B.**, Friend of the Devil^^, Sweet Leaf++ >, Drums >, Space >, SweetLeaf++, Black Sabbath$$, Fire on the Mountain&&
Encore: Grits@@, *From Nightmare Before Christmas, walk-out music
^This Is Halloween tease +with Vinnie Amico of moe. sit-in on drums $Grateful Dead cover &Black Sabbath cover @Scarlet Begonias (Grateful Dead) lyrics in a Black Sabbath style **N.I.B. (Black Sabbath) in a Grateful Dead style ^^Friend of the Devil (Grateful Dead) lyrics in a Sabbath style ++Sweet Leaf (Sabbath) lyrics in a Grateful Dead style $$Black Sabbath (Black Sabbath) lyrics in a Grateful Dead style (mainly Terrapin Station), Jerry Osbourne (Luke Stratton) sit-in &&Fire on the Mountain (Grateful Dead) lyrics in a Black Sabbath style (mainly Paranoid and Iron Man), Scarlet Begonias tease @@Elements of Shakedown Street (Grateful Dead), Trapper Keeper teases
THE VOICE — Season:13 — Pictured: Moriah Formica — (Photo by: Paul Drinkwater/NBC)
While her talent was called “unfair” by Blake Shelton and she’s currently being mentored by Miley Cyrus on NBC’s “The Voice,” her fifth grade music teacher, Camille Wing remembers Moriah Formica before she became the rock star she is today.
“She was very quiet,” Wing said.
Her talents on guitar were a secret until the chorus was preparing for a concert. Some of Formica’s friends mentioned to Wing that Formica could play “Eye of the Tiger,” a song they were rehearsing, on the guitar.
“I asked her if she would be willing to bring her guitar in and play it for us,” Wing said. “Her dad brought it in before school and she played it perfectly. She definitely knew what she was doing.”
Wing asked Formica to lend her ability at many points after that. Formica accompanied her sixth grade chorus in “Stray Cat Strut,” and then sang a “beautiful” rendition of Alicia Keys’ “Fallin’.” Formica was even asked to sing a solo at her eighth grade graduation.
“I haven’t asked many people to [sing solos],” Wing said.
Fast forward to now, and Formica is a strong contender on season 13 of “The Voice.” Her blind audition performance of “Crazy on You” by Heart got the attention of all four judges, ultimately earning her a coveted spot on Team Miley Cyrus.
“I chose to play Heart because it is classic rock,” Formica said. “One of the reasons why I decided to go on to ‘The Voice’ is because of the lack of true rock singers. Ann Wilson is one of my favorite vocalists.”
Formica has powered through each week of “The Voice” so far, impressing the judges with her range and vocal control. Despite the success, she’s still at Shaker High School, taking classes and moving on with her education.
“I’m truly enjoying all of this, but it’s so much work,” she said. “I have school all day, but then I come home and there are so many opportunities that I have to address. I don’t like ignoring anyone.”
Her father and manager, Josh Formica, agrees with her.
“Sometimes it’s hard for her. She gets home from school and I have to ask the typical dad questions—‘how was your day,’ ‘did you learn anything,’” he said. “But then I have to follow up with things like ‘you have 120 really nice comments that you should probably check out,’ or ‘we have received an opportunity from here, what would you like to do?’ I then have to transition back into dad mode and make sure she’s getting her homework done and keeping up with school stuff.”
Luckily, Formica said that the school has been supportive of this journey since the beginning. They have helped the tutors get whatever material they needed and made sure that Formica’s education stays as steady as possible.
“School definitely gets in the way sometimes, but I could not be more grateful for the support of Shaker and what they’ve done for me since the beginning,” she said.
North Colonie Central School District Superintendent Joseph Corr said Formica’s work ethic is indicative of what the district hopes to instill in its students.
“While Moriah has such tremendous natural talent, I don’t think people realize the amount of time and work that goes on behind the scenes. She works so hard and we are very proud of her,” Corr said. “We watch ‘The Voice’ every week and root her on. She’s our hometown hero. Watching her perform with such power at only 16-years-old is so inspiring.”
Shaker High School Principal Richard Murphy said Shaker has felt the craze around Formica’s newfound fame.
“Moriah has always been known for her voice, so it wasn’t a surprise to see this happen,” Murphy said. “She is a humble, polite young lady and it’s nice to see her get attention. It’s created a buzz in our school and it’s wonderful.”
Formica said her musical influences include Aerosmith, Evanescence, Halestorm and In This Moment. She has met Lzzy Hale from Halestorm, who Formica said was supportive. While she’s met a few members of Evanescence, she has yet to meet lead singer Amy Lee. She hopes to meet Steven Tyler someday.
“Aerosmith was my first true love,” she said. “My room is called Aeroville because of how many posters I have around.”
Although she won’t know the results of “The Voice” until the rest of the world does in November, Formica said that a loss will not deter her from making music.
“I will continue doing what I’m doing; I want to make music, perform, release albums,” she said. “‘The Voice’ has given me the exposure that I need to keep going.”
And the proudest people of all? The ones who have coached her along the way.
“Moriah comes alive when she performs,” Wing said. “She has that special something that I believe will carry her far and make her dreams come true.I am thoroughly enjoying seeing it happen.”
Her father agrees.
“She’s been performing, and I’ve been managing her, since she was 12,” he said. “Seeing her have this huge stage is incredibly validating and rewarding.”
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.
Primus has never fit the mold of conventional music, so it was only fitting the trio helped kick off Halloween weekend in appropriately eccentric style. Playing to a sold out crowd of not only those who grew up on Primus in the eighties, the packed Palace Theatre housed an audience that ranged from elementary-aged, youthful rockers to unsuspecting parents with college students. Having only performed in Albany three times prior, the fourth run-around brought tricks on stage and treats in unique encores as bodies dressed head to toe in spider webs, sequin dresses and spooky masks trashed around for a three-hour show. Yes, Primus still sucks.
Equipped with video screens behind them, Les Claypool, Larry LaLonde and Tim Alexander began the night with the help of quirky British flash animation series, Saladfingers, as the first set was jam-packed with Primus favorites. Quickly following, “Too Many Puppies” spiked ultimate excitement in the regal downtown Albany venue. While the short, hard-hitting tracks seemed fleeting, “Sgt. Baker” found its way into an energizing “Too Many Puppies” sandwich as technicolor prisms were projected onto the Palace ceiling and Claypool stomped circles around the stage with grit. More classics like “Last Salmon Man,” “Mr. Crinkle” with a Zeppelin “Kashmir” tease and “My Name is Mud” popped up throughout the set with tempo-matching, psychedelic video footage before a fun “Candy Man” called for clips of hypnotizing and colorful candy-like claymation.
LaLonde and Les Claypool left the stage for an anticipated drum solo as a hooded Alexander led the show. Claypool shortly returned while sporting a pig mask and breaking out the Whamola for entrancing sounds. This time, the video projections offered clips of instrument strumming, as it matched up perfectly in sync with the live strums of Claypool’s Whamola. Interacting with the audience every so often with small interjections like “beautiful building you’ve got here,” Les Claypool asked the crowd to guess the ending track of set one with the firm strike of one note. Without a doubt– “Jerry Was A Racecar Driver” would close out the night with clips from the music video displayed symbiotically.
Trading in a pig mask for a ram head, set two unleashed the force behind the Ambushing the Storm tour as Primus shredded through their latest studio effort, The Desaturating Seven, finding applause during every passing silence. Eerie cartoon goblins found their way dancing across the screens in the Palace, the same ones from an Italian children’s book, The Rainbow Goblins. The newest album was heavily influenced on the Ul De Rico-written book, one Les Claypool used to read to his children. Played front to back, the unique seven-track album reminded everyone why Primus still sucks after all these years. On the heels of ending a grimy Halloween weekend performance, the trio ended with a triple-header of an encore with special dedications to the devastating fires in California. “Groundhog’s Day,” “Wynona’s Big Brown Beaver” and one they rarely ever play, “Tommy the Cat,” all welcomed extended guitar solos and wicked improvisation from LaLonde as well as shrieks and rock on symbols from the crowd.
With their last Palace Theatre gig in 2014 and before that 2009, for some this was a short-lived chance to catch the seasoned rockers in person. There are two situations where walking by talking animals and skipping pirates is the norm: during halloween festivities and leaving a Primus show, as a satisfied audience quickly flooded out of the venue and infiltrated an already amped up South Pearl Street crowd.
After taking some time to redevelop themselves and fine-tune their music, it seems like Dark Honey’s got it figured out. Formerly known as One Red Martian, the band of (mostly) brothers picked up shop from the south and reverted to their roots in Upstate NY to record and release their newly calibrated music. The Albany outfit dropped the catchy single “Stinging Nettle” as their new sound takes finally takes shape trailing a five year hiatus.
“Stinging Nettle” is delivered to us by a trio of brothers, Ben, Jimi and Joe Woodul as well as life-long friend Dan DeKalb, with a fun pop-melody that dives into deeper meanings with its playfully vivid syntax, amusing synth and carefully articulated lyrics. In a wave of pure indie-pop-rock, the quartet delivers a blunt track filled with clear cut emotion through personal storytelling and youthful mishaps. With an artistic vision entirely their own, the foursome even direct and produce their own videos, including their other track “Driving Song,” displaying raw emotion and full-on guitar psychedlia.
A band a decade in operation, Dark Honey has molded its unique sound and racked up a larger bank of relatable experiences to creatively share with listeners as Woodul’s vocals have the ability to master a light, airy sound in one breath and raw and gritty in another. They’ve made their way to favorite local downtown Albany venue, The Hollow, for a show back in September and the Alt ranked them third best band in Albany. Since its debut, “Stinging Nettle” was featured on Spotify’s New Music Friday as well as Weekly Buzz and the USA Viral 50 Charts.
Catch Dark Honey at their next gig at Rockwood Music Hall in NYC on Nov. 7.
The curtain is rising on exciting changes for the Palace Theatre, but its top executive is exiting stage left at the end of the month. In a prepared statement released Thursday, Oct. 19, Holly Brown stated she will move on from her position after five years at the helm of the Palace Performing Arts Center. Susan Rosko Fogarty will step in as executive director.
“It has been my privilege and my pleasure to run this beautiful and beloved theatre,” stated Brown, adding praise to the Palace staff. “There is a saying in this industry that you are only as good as ‘what walks on the stage.’ My goal has been to not only increase the number of event nights at the theatre, but to bring in some of the biggest names in the business.”
The Palace has more than doubled its featured events, from 77 in 2009-10 to 170 in 2015-16, during Brown’s five years as executive director. The move comes just months following the PPAC’s acquisition of the 86-year old theatre from the City of Albany, which paved the way for a $65 million expansion and renovation project for the Capital City venue.
PPAC Chairman Alan Goldberg credited Brown for the Palace’s reputation for its “diverse, outstanding and high-caliber programming.”
“Under Holly’s direction, the [PPAC] is known for its diverse, outstanding and high-caliber programming which has translated into financial success.”
Fogarty has already been named as Brown’s replacement. Goldberg cited Fogarty’s 25-plus years of arts and business experience within the same statement. Fogarty previously served in various sales and marketing roles for V2 Records and Sony/BMG. She has also worked as a leader in the financial district, and most recently as senior vice president of the Capital District YMCA.
This article was originally published by The Spot 518 and is the 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.
Jacksonville Florida’s own JJ Grey and Mofro played to an enthusiastic crowd at Clifton Park’s Upstate Concert Hall on Thursday October 19. These seasoned veterans of the road have been playing since the 1990’s and are currently five weeks into their tour spreading the gospel of the electric blues and soul to audiences around the nation. The band has deep roots in the south which is apparent in the nine studio albums that they have created since their inception.
JJ Grey & Mofro getting “Janky” at the Upstate Concert Hall 10/19/17
The current lineup of the band consists of JJ Grey on vocals, harmonica, and electric guitar, Dennis Marion and Marcus Parsley on trumpets, Todd Smallie on bass guitar, Craig Barnetter on drums, Zac gilbert on guitar, and Eric Brigmond on keyboards.
The night kicked off with Pittsburgh PA’s 10 piece soul powerhouse The Commonheart. Led by front-man Clinton Clegg, the energy was palpable with high energy renditions of The Commonheart originals “I Am A Ram “ and “Aloysius” off of their 2016 LP Grown. The Commonheart were a tight knit unit that was exceptionally good at getting the Upstate crowd grooving by offering them up a heaping helping of Electric Soul and RB. The highlight of the opening set was a gritty version of Randy Newman’s soul classic of “You Can Leave Your Hat On” that would have made the Commitments jealous.
Grey thanked the crowd for singing and began reminiscing about his days working at a lumberyard in Jacksonville, Florida adjacent to a tiny church located in a nearby strip mall. He recounted days drinking iced tea and listening to the church’s preacher singing and playing spiritual hymns on guitar, while the ladies in the choir sang along. He went on to say that was one of his inspirations for what he calls his band’s “Rock and Roll Revival Show.”
Grey then switched out guitars and got comfortable sitting down playing electric slide guitar on John Anderson’s Blue Grass classic “Seminole Wind.” The song was a unique and “Janky” interpretation of the song, which was dedicated by Grey to his grandmother. Grey said that she lived in the “good old bad days,” being born in a tent on a tobacco farm in Georgia. It was apparent that her strength in overcoming such a tough and hard scrabble life was a great inspiration to Grey.
The evening ended on a high note with an encore comprised of a rousing rendition of the Beatles classic “Hey Jude” with the audience singing the chorus until the very last note. JJ Grey & Mofro will continue touring the U.S. with dates scheduled into the Spring.
Setlists:
The Commonheart: Show Me The Light, Questions, Cannonball, You Can Leave Your Hat On, Do Right, Save Me, Aloysius
JJ Grey & Mofro: How Junior Got His Head Put In, Light A Candle, Every Minute, Brighter Days, 99 Shades, Gal’ Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Lazy Fo Acre, Ol’ Glory, Shining Down, Hey Jude