NYS Music 20​17

Category: NYC Metro

  • Sitting down with Matisyahu

    Walking into the green room of the Bearsville Theater after the evening’s performance, I couldn’t tell who was more in a haze, myself or the room I was about to enter. A small group formed, celebrating the night’s incredible performance when I met up with Matisyahu and we headed toward the couch at the back of the party for our interview. A very chill presence, it was probably the most calm and existential conversation I remember having. Matisyahu’s stage persona is reflective of the man he is behind the scene as well. We discussed his upcoming album, collaboration in the jam scene and how his evolving faith influences him and his music.

    NYS Music: The New Year’s coming up, and what I wanted to talk about was your evolution ya know, everybody talks about how they’re going to change in the new year… what they’re going to do in the new year. Over your career you’ve done quite a bit of evolving, and I wanted to kinda get a feel for why you made the changes you did, how they’ve affected you, how they’ve affected your music. How have you evolved over your career?

    Matisyahu: I would say that like when I started out, there was more just my understanding of music and what it is, my voice, and my sound, and what it is I do, it was just new. It was like when you first start learning something or first getting to know something or someone and it’s fresh and it’s a certain kinda excitement, energy, passion love… Also sort of like unfamiliarity, or a little bit of an uncomfortability with it. And over the years, being able to be on the road, make music, play music, write music, just become much more solidified in terms of my understanding of what music is and what it is that I do. So I think there’s a lot more dimensions to what I do now, in terms of my evolution. When I first started out, it was more like there was one kind of dynamic to what I did. And now there’s a lot of different dynamics and colors that I use in order to create music.

    NYS Music: When you started out, who would you say your influences were? It’s a unique blend, so who did you look at and go I want to be like them? Or did you just want to do your own thing?

    M: No, I was influenced and continued to be influenced over the years.

    NYS Music: So, the change in your appearance over the course of the last couple of years, you’ve changed look and feel. Was there a reason for that?

    M: Well, my look has always been a direct reflection of what’s going on in terms of my expression of my inner world, so absolutely. My look is kind of defining what’s going on.

    NYS Music: And that’s coming out in the music as well?

    Matisyahu: Exactly. The music is like the main place for me to express it intellectually, emotionally, and even intuitively and style, fashion and like the way that I look I guess, is sort of the outgrowth of where my existential self is.

    NYS Music: I see you evolving into more and more integration into the jam world. And tonight you guys went on it was beautiful, you let some of those things just go and evolve on stage. What kind of direction are you seeing yourself in that world, the jam world?  You’ve been on stage with Umphrey’s McGee quite a few years ago and you’ve got a tie with Twiddle too, right?

    M: Yeah, I think in terms of the jam thing, basically, I really wanted to go with them in terms of the music that they make. Like, me, I’ve been doing this for over 10 years and playing a lot of shows a year in order to to support myself and my people and my family. It’s mandatory to be keeping the music interesting, and I find that there’s sort of like, a person’s brain is sort of split in terms of life and the times that we feel the most like free are when we do something new. For example, like a person that has a habit, and when they break that happen and do something differently, even in the smallest little thing, it’s a big deal. It creates a wave inside them and inside the world, of basically moving towards freedom. And in music, there’s the same thing. So like when you rely on your songs, which are great, you know it’s great to have songs, it’s great to write songs, record songs, it’s even great to play songs. But when you rely on what you already know, your muscle memory in your body automatically goes on autopilot. However, when you improvise and you’re making music, unique music in the moment, your other side of your brain, your creative part of your brain automatically turns on. That’s really what I’m interested in, in terms of the music that we’re making. Is those unique moments and creating basically a certain vibe to bring everyone including the band and the people watching the music so that there’s no more real line. Like, you’re not coming to watch the show or watch the performer, but everyone is kinda together in the room, going through the same feelings, the same emotions, going in the same zone. And uh that kinda ties into what you’re saying about jam. That’s for sure the type of music that I’m interested in and making in that sense.

    NYS Music: What do you have in store for us for 2017?

    Matisyahu Well we’ve made a record along those same lines, where, as a band, we were on tour for a while kind of figuring out what our sound was and how to bring together a lot of these different elements of genres that we like to dip into. Basically, we went into the studio, wrote, recorded, and have a new record coming out with 8-10 min. songs on it. It’s not the typical 3.5-4 minute radio songs, but it’s a band record. And that’ll be out Spring 2017 and we’ll continue to be out on the road playing our music and hopefully people will be listening.

    NYS Music: Do you do a little bit of everything you’ve done over your career?

    M: It’s pretty progressive. It’s hard to say what the core of this record is. It’s very soulful, it has sort of a classic almost like a throwback sound to some extent because it’s all done live, it’s not done digitally. It’s not beats that are made on the computer, but uh, it’s all the band live playing in the studio.

    NYS Music: Band you had on stage?

    Matisyahu: Yes. Pretty much, it’s the band on stage.

    NYS Music: How does religion fit in with where you’re going?

    M: I think that, you know, I think that with certain songs that I’ve written that are out that really mean a lot to a lot of people. Those songs will be there forever and will continue to have meaning for people.  In terms of the religious and the Jewish fanbase, there are certain songs that I think… I really believe that my existential search and process in being sort of a young teenager on a quest for understanding of my world and where being Jewish and God and spirituality and music, all those things fit in. And becoming religious, and exploring Judaism, and a lot of different facets of Judaism in particularly within the Hasidic world and writing songs based on a lot of what I explored there. And my process of going through it and in my process coming out of it I think has a lot of meaning for a lot of people on a lot of levels at different times in their lives. So for young Jewish people who may or may not be religious, I think that different albums and lyrics and songs will connect with them at different points of their lives for the person becoming religious to the person sort of moving beyond it, to the person tapping into their own identity as a Jew.

    NYS Music: All different themes in the new album?

    Matisyahu: No, this is all one theme, all the lyrics and songs and the records are connected. This is definitely the continuation of my process of in terms of my understanding of myself, and the religion, and God, and Judaism.

  • A New York City St. Patrick’s Day with Larry Kirwan and Friends

    Every St. Patrick’s Day, the New York City streets and subways flood with green from onlookers of the 5th Avenue parade and thirsty pub-goers. With many options for a good St. Pat’s show or party from uptown to down and across to Brooklyn, one might almost need to throw a dart at a subway map to plan their night. But near Times Square a staple of the New York Irish scene returned to BB King’s to put on the perfect show for the occasion. For a second St. Patrick’s Day in a row, Larry Kirwan brought his songwriting and music from the retired Black 47 to the midtown blues club along with entertainment from some friends.

    The evening started right on time with the dinner crowd being treated to a set from the Lia Fail Pipes and Drums from Mercer County, NJ performing traditional Irish and Scottish tunes including the 1916 Easter Uprising inspired “Foggy Dew.” Singer-songwriter Pat McGuire, a native New Yorker who calls Galway home, was greeted with admiration from the crowd starting to gather near the stage. As a pleasant surprise to many in the room, former Black 47 member Geoff Blythe joined McGuire for most of the set on soprano/tenor sax. The two complimented each other very well, especially on McGuire’s new songs. His set included a nod to his hometown, “A Song for New York,” in tribute to the Hurricane Sandy victims and storm cleanup efforts.

    Returning to the BB King’s stage following McGuire’s set was Rory K, an independent hip-hop artist from the city, with a short set from a genre that was certainly the odd one out from the other acts yet fit in well. This year Rory drew more folks into his self-written lyrics with a high-energy and charismatic stage presence, debuting within the set a brand new song, “Talkin’ that Talk.”

    With just the blink of an eye between sets, we arrived at the main act of the evening, Larry Kirwan & Friends. With the retirement of Black 47 two and a half years prior on the same stage, Kirwan’s band for the night returned from the previous St. Patrick’s Day show –  Coty Cockrell (keys), Deni Bonet (violin), Rene Hart (double bass) and former Black 47 bandmate Thomas Hamlin (drums). The band had a tighter sound this time around giving a different take on the arrangements of the Black 47 songs in the set.

    The band’s instrumentation was that of a typical rock setup but with upright bass, keys, and violin – a bit of a contrast to Black 47’s horn and uilleann pipe section, so the feel of the performance was inherently different from what longtime fans of the band had been used to. But that’s not to say anything about the quality of the show. The tunes in their different arrangement stood in their own right for a perfect show, with Cockrell’s keyboard lines and the pretty sounds of Bonet’s violin complimenting the original songrwriting well.

    Concurrent with giving a performance with plenty of dancing to be had, Kirwan brought one of his former band’s recognizable elements to the show – politics in the form of song. A number of songs in the set came from Kirwan’s fervor for the history and stories of his home country of Ireland. Just like in the Black 47 days, these songs engaged a passionate audience, particularly the anthem to the Irish labor activist James Connolly. In more current affairs, Kirwan debuted a new single, “Second Coming Blues,” fueled by the recent election season and inspired by William Butler Yeats’ 1919 poem similarly titled “The Second Coming.”

    The show also featured a few surprises mixed throughout. The first was an appearance received with much applause by Cait O’Riordan (from The Pogues), who Kirwan introduced with a fun little story about when he attended that band’s first gig in NYC. Right after a rendition of The Pogues’ “I’m A Man You Don’t Meet Everyday,” the band paid tribute to David Bowie with a cover of “Heroes” to which Kirwan had penned an extra verse about Belfast. Rory K stepped back out on stage for a father-son moment during a section of “Fire of Freedom,” and perhaps one of the most exciting moments for long-time fans was the reunion of Kirwan and Black 47 co-founder Chris Byrne for “Walk All The Days.”

    Before the night was over, the Kirwan treated BB King’s to one of Black 47’s MTV hits “Funky Ceili,” a song that for some intangible reason does not seem to get worn out with time, and the night closed with a large sing-along on the choruses of Dylan’s “Like A Rolling Stone.”

    The evening was by no means low key but was rather a fun-filled, laid back way to celebrate St. Patrick’s Day and a show well worth checking out next time it rolls around on the calendar. Until then, Kirwan has some solo gigs/talks popping up which can be found between Facebook and the Black 47 website.

    Setlist: Livin’ In America, Bas In Eirann, Five Points, Camptown Races/Hard Times, Big Fellah, I’m A Man You Don’t Meet Everyday (w/ Cait O’Riordan), Heroes (David Bowie), Fanatic Heart, Sean MacDiarmada, Redemption Song -> Fire of Freedom, Second Coming Blues, Walk All The Days (w/ Chris Byrne), James Connolly, Funky Ceili

    Encore: Like A Rolling Stone

  • Moe. Tour Springs Up in the Northeast

    One of New York’s most popular homegrown jam bands will embark on their 2017 Spring Tour with a brief Northeastern run this week.  moe. hits the road on Thursday, March 30th at The Wellmont Theatre in New Jersey for the first time since 2012.  The 5-piece will close out the month on Friday the 31st at the College Street Music Hall in New Haven, CT before celebrating April Fool’s Day at The Paramount in Huntington, NY on Saturday.

    All three of these venues are easily drivable or trainable from NYC, where fans have been clustered since the band’s origin over 20 years ago.  Speaking of cities where moe.ron’s like to dance, the short and sweet Northeast run will end with a four-night residency at The Sinclair in Cambridge, MA. The max capacity at this Harvard Square establishment is only 525 people making it a space normally reserved for up-and-coming bands, not veteran acts capable of packing much larger venues. If you were lucky enough to score tickets to one of these four sold-out shows from April 5th-April 8th, you are in for a real treat!

    Moe. will head south in April for a handful of shows before they kick off their annual festival season with headlining performances at Summer Camp in May and the return of Moe.Down at the end of June.  Another well-known jam band from the Northeast will host a “Baker’s Dozen” run in July at Madison Square Garden and Moe. already has extra special plans for a late-night celebration on the opening night.  They are “coming home again” to New York City on July 21st for an after party at the PlayStation Theater that is not to be missed.

    “Spring is nature’s way of saying, ‘Let’s Party!’” -Robin Williams

  • Dopapod Wraps 3-Night Run at Brooklyn Bowl Leaving Fans Happily Ever After

    Capping off back-to-back explosive nights at Brooklyn Bowl, Saturday, March 25, brought the third and final Dopapod show of the run, closing one chapter and marking the beginning stages of their 26-date Spring 2017 tour.

    The last gig of the trifecta came in hot, feeding off of the energy from their two previous performances which broke out Chuck Berry tribute covers, birthday celebrations and fresh, unheard material from the prog-jam quartet, who recently reunited with their original drummer, Neal “Fro” Evans. As if an original lineup, a newly mapped out tour and debuting fresh grooves to their fans wasn’t enough of a natural high, a smiley Rob Compa, guitarist of Dopapod, dropped the news that he got engaged that very same day—giving a tight-knit Brooklyn Bowl crowd a handful of reasons to celebrate.

    Paris_monster opened up the show for Dopapod faithfuls and while they seemed to be an alternative indie group to the naked eye, it became apparent the Brooklyn-based duo thrives in the midst of synth-pop, garage genres.

    From the second the music began, all eyes were drawn to the pig-tailed singer who exemplified an arsenal of talents by singing, playing the keys with one hand and impressively, the drums with the other. The two took the stage and while the bassist seemed mainly focused on the tunes, the singer’s vocals took command of the entire room, assumingly well-trained and practiced. The vocals shaped up to be that of a hypnotic and spiritual performance with a voice to be heard, climbing to the loudest crescendos and back down to minute whispers.

    Their sound in its entirety had the capability of transforming and layering the noises of two men, into what sounded like a room of beaming musicians. Their experimental ties definitely drew to the Dopafans through their naturally unique tastes, although remaining incomparable to the headliner—something the crowd was more than willing to embrace. Once you get past the initial shock value of their arena-like sound and switchboard of genres, you come to realize the extreme talent and precision it must take to juggle vocals and keys while playing the drum with one hand, all while doing so with a picture of ease. Even if the music isn’t your style, you can appreciate the theatrical, confident and encapsulating performance the duo let loose.

    Setlist: The Unclean, Hot Canyon Air, Moles, The Cause of it All, Ape, Important, Malcolm Hart, Had Damon Caught His Sloane, I Wanna Know If It’s Good To You, Baby*, A Vision Complete, Grandma, Water to the Well

    *Funkadelic cover

    Ready to close out a glorified 3-night run at Brooklyn Bowl, Eli, Rob, Chuck and Neal walked to their respective instruments and while most were taken by the lingering moment ahead of hearing their favorite tunes, my eyes couldn’t be peeled away from analyzing and chuckling over Chuck’s Led Zeppelin t-shirt, which most certainly was adorned with the members of KISS—a solid wardrobe choice with a clear indication the Boston-born group was ready to rock. The first set rolled out with fan-favorite hits like 2014’s Never Odd or Even tracks,“Picture in a Picture” and “Hey Zues! (Que Tal?)” with an abundance of covers and teases peppered throughout the introductory set. The first tease came upon Rob’s elated engagement announcement. While some heard the news via Facebook, others were delighted with the announcement from the beginning notes of “Here Comes the Bride.”

    Shortly after sharing the joyous milestone, the group delivered treat number two, which came in the form of a brand new song titled “Mucho.” Bringing their rock roots to the forefront of the famed Brooklyn venue, the group launched into a gratifying cover of Black Sabbath’s “The Wizard” with help from Paris_monster’s vocalist Josh and Jackson from Sister Sparrow and the Dirty Birds on harmonica before closing set 1 with “Blast.” High energy was maintained throughout, as both the band and audience were able to feed off of one another’s positive energy and uncontrollable excitement. Compa specifically had an extra spring in his step, demonstrating impressive vocals throughout the night and absolutely manhandling his guitar. Who can say if it can be attributed to his engagement, raw talent or both- but Compa’s performance easily soared high over a Brooklyn audience.

    https://www.instagram.com/p/BSFrTzcjxpj/?taken-by=nystatemusic

    The second set welcomed an enticing Chuck and Fro jam session and although some may be torn about the decision to replace Scotty Zwang with their original drummer,  it was evident his skill on the drum kit was appreciated by most. Next came “Weird Charlie,” taking things back a few years to their Redivider days with “Bubblebrain,” complete with FABA teases, and “Vol. 3 #86” paired with top-notch technicolor lighting and teases of The White Stripes’ “Seven Nation Army” and Nirvana anthem “Smells Like Teen Spirit” (which it most certainly did, with appropriately described, stagnant air in a venue that offers live music, bowling, plentiful food and drinks).

    Dopapod’s lighting designer Luke Stratton never fails to disappoint—even when Fro manages leaves his haze fluid in Colorado. Eli grabbed the reigns during “Vol. 3 #86, ” as abundantly enthusiastic and rhythmic head nods ensued from his seat as his hands flew back and forth across the keys. “Indian Grits” unwrapped gifts like a “Watermelon Man” tease and “Stand By Me” jam—one that was unexpected. The 3-night stint came to a close with a “Psycho Nature” encore which left all in attendance chanting “eat, drink, breathe, sleep,” four essentials every fan must remember when left in amazement from Dopapod performances.

    The quartet will continue to embark on their 2017 tour just ahead of the anticipated festival season. Compa and company will be riding the wave of excitement this year will continue to bring them—engagements, new music and touring, oh my!

    Set 1: Plaese Halp!, Picture in Picture, November &, Here Come the Bride Engagement Announcement*, Hey Zeus! (Que Tal?), Mucho^ , The Wizard #, Blast

    Set 2: Chuck and Fro jam, Weird Charlie > Bubble Brain •, Indian Grits %, Vol. 3 #86 +, Bahbi, Super Bowl

    Encore: Psycho Nature

    & Spottieoppiedopalicuous tease
    * announcement of Rob and Becky’s engagement!
    ^ new song; debut
    # Black Sabbath cover; w/ Josh from Paris Monster on vocal and Jackson from Sister Sparrow and the Dirty Birds on harmonica
    • FABA teases
    % Watermelon man teases; Stand By Me jam
    + 7 nation army jam, smells like teen spirit teases

  • 2017 Vans Warped Tour Lineup Confirmed

    Vans apparel company has confirmed the lineup for the annual Warped Tour. Festival creator and organizer, Kevin Lyman, announced the lineup at the Warped Tour’s artist announcement party live from Full Sail University in Winter Park, Florida.

    Before getting into video packages unveiling which artist will play on which one of Warped Tour’s several stages, Lyman touched on some of the negative social media post that started to circulated once the lineup leaked. Lyman said that they found who leaked the lineup, and asked, if you’re a professional in this line of work, respect the privacy and what so many have worked hard on since the conclusion of the previous year’s tour, and let the news come out naturally.

    Set to appear at the 2017 installment of the tour is:  Andy Black, Gwar, Hatebreed, Our Last Night, American Authors, Bad Omens, Sylar, Beartooth, Hands Like Houses, Bad Seed Rising, I Prevail, Blessthefall, New Years Day, Separations, Dance Gavin Dance, Sick Of It All, Memphis May Fire, CKY, Emmure, Fire From The Gods, Silverstein, William Control, and on limited dates, Bowling For Soup.

    Warped Tour kicks off June 16, at the Century Link Stadium’s North Lot in Seattle, WA, and closes on Aug, 6, at the Fairplex in Pomona, CA. Warped Tour will make stops in New York on July 8, at Northwell Health at Jones Beach Theater in Wantagh and July 13 at the Darien Lake Performing Arts Center in Darien Center. Surrounding areas that would make an easy road trip for New Yorkers include July 7 at the BB&T Pavilion in Camden, N.J. July 9 at the Xfinity Theatre in Hartford, CT and July 15 at the PNC Bank Arts Center in Holmdel, N.J.

  • JRAD Tears Up Brooklyn Bowl Board by Board in March RADness Finale

    It’s not every weekend that a Grateful Dead cover band sells out a three-night run at the Brooklyn Bowl. Two weekends in a row?  Unheard of.  Fantastical as it may seem, Joe Russo’s Almost Dead (JRAD) achieved this feat within mere seconds of ticket release; not to mention the opening night, March 9, was only their 100th show.  It all began with a “Beat It On Down the Line” that featured a 100 beat introduction to celebrate the occasion; and that’s exactly what Russo and the boys did that night and the next five.  Slapped it silly.  Beat it (forgive the pun) like a drum, all the way up and down those bowling lanes.  There was true magic in the air, that connective energy that comes once in a great while when everyone in the room is whisked away to somewhere undefinable.  The first five nights showcased some of the band’s favorites, including “Help on the Way,” “Music Never Stopped,” “Terrapin Station,” “Dark Star,” “St. Stephen,” “Playing in the Band,” and the list goes on.  Their first original, “Keeping it Simple,” was also debuted on the opening night, dispelling any such notion that JRAD is just a cover band.  Staying true to crescendo, the pinnacle of these almost equally spectacular evenings was the last night of the run, Saturday, March 18.  But hey, enough of my yakkin’.  Whaddayasay?  Let’s boogie!

    The 18th began with the same vim and vigor as any other night of the run, blasting straight into an impromptu “Promised Land” in salute to the late great Chuck Berry, who passed earlier that day.  California clearly on their minds, “Golden Road to Unlimited Devotion” joined the party to begin the segment that would play right out to the end of the set.  “Hell In a Bucket” took us on an enjoyable ride, with a dripping, melting psychedelic jam; quite uncharacteristic for the tune, but it seemed exactly in its place.  Guitarist/vocalist Tom Hamilton belted out an immaculate “Here Comes Sunshine,” which transitioned seamlessly into a downright dirty version of the Allman Brothers’ “In Memory of Elizabeth Reed.”  A gut busting solo from none other than Joe “Bombs” Russo brought us in for the landing of “Here Comes Sunshine,” as saxophonist Stuart Bogie rejoined the boys for a quick jam into “Ruben & Cherise.”  The horn added quite a nice depth to the ballad, and stayed on through a tricky segue into “Viola Lee Blues,” which flirted back and forth with a “China Cat Sunflower” fakeout that slammed right back into “Viola.”  It isn’t a sad song, by any means; but the peak sound that only JRAD can achieve brought more than a few tears to this grown man’s eye.

    The second set began with a spaciously comfortable jam that ran out into a smokin’ “Casey Jones” that melted more than a few dome glaciers, followed swiftly by a sultry bass solo from one Oteil Burbridge.  You may recognize the name from last summer’s Dead & Company lineup, but make no mistakes; this was no haphazard supergroup cameo.  Oteil didn’t only hold his own throughout the weekend, he stood out as a uniquely exuberant personality in the RAD’s stage presence.  His vocals offered a fresh flavor, and I for one was near jealousy of that old school wood grain Gibson SG bass as he plucked and caressed it with expertise unmatched.

    Guitarist/vocalist Scott Metzger and keyboardist (and the mind behind the Marcorita) Marco Benevento soloed off of each other in some engaging call and response that transitioned into a rigid “Jack A Roe.”  Stuart came back out for a nearly 20-minute “Dancin’ In the Streets,” in a rendition of the classic that left listeners slackjawed in a stupefied awe.  The music began to deliver that tangible feeling mentioned earlier during this point, that glow in the pit of your stomach that only rears its head when something extraordinary is around the corner.  The segment concluded with an absolutely inspiring “Franklin’s Tower,” as shouts of ‘Hey brother, woah brother!’ were greeted with hugs and big-eyed smiles all around.  One of the standout stand alones of the run began with a tease of Led Zeppelin’s “That’s the Way,” with an almost malicious turn into “Let It Grow.”  Scott Metzger’s vocals offered an eerily perfect replication of old Bob’s ballad, with boilin’ hot licks to match.  Several Talking Heads teases sneaked their way into the jam, including but not limited to “Psycho Killer” and “Girlfriend is Better” before “Let it Grow” drew to a close.

    “I Know You Rider” is one of the most frequented Dead covers, but this rendition was anything but cliche.  It was the culmination of the entire weekend, one last pinnacle of raw rock and roll.  Before the last chords were strummed T Hammy let loose on one of those signature squealing bends and the whole place just went ballistic; a sound reminiscent of the shrieks later heard from the mouths of teen-aged babes that he so competently slays post show.  After a few warm words from Pete Shapiro wishing one of his longtime managers at the Bowl farewell, the boys returned for the final encore of the weekend.  Closing in on 1AM, a breathtaking “Brokedown Palace” had the entire place feeling beyond sentimental, as wishes of fare you well lofted above quiet, attentive listeners.  The a cappella “We Bid You Goodnight” had the place even quieter; the least crowd volume I’ve ever heard in a venue by far, never mind on a Saturday night.  Having played it last in October of 2015, it was an unimaginably beautiful moment for those who stayed the entire run.

    JRAD seems to have this stigma attached to them throughout most of the jam scene; too fast technical for the old heads, too much Dead for a lot of youngsters.  This weekend seemed a little different, a bit more like a “typical Dead show.”  Fans by the dozens hopelessly searching for sold out tickets as you walk in, folks from all ages and walks of life inside instead of a specific demographic, drunk old dudes hitting on our uncomfortable girlfriends..it really had the whole 9, as it were, and dare I say the whole 10!  Regardless of what you may have heard, just remember that this group of musicians is doing what they do live better than any other group on the current “jam” circuit.  Period.

  • Hearing Aide: Morricone Youth ‘Mad Max’

    Morricone Youth is an odd music collective no matter which way you look at them. Formed in Brooklyn and having been performing together since 1999, the group focuses mainly on writing soundtracks for already existing silent and midnight movies. A total of 15 have been done so far, includeing Eraserhead, The Battleship Potemkin, Enter the Dragon, Foxy Brown, the original Nosferatu, Fantastic Planet, The Lodger: A Story of the London Fog, Night of the Living Dead, and the work I’ll be reviewing here, the original 1979 Mad Max.

    How Morricone Youth’s shows usually work is the movie the soundtrack’s for will play, without sound of course, as the band plays their music over it instead. The only image I could find of the band playing live, one in granulated black and white, had the members in the frame wearing Michael Myers type masks. Now, aside from playing live, Morricone Youth is recording all the soundtracks they’ve composed so far, with Mad Max being their latest release.

    The first thing you need to get out of your mind, and I reiterate, is no, this is not a direct recreation of the original Mad Max score. This is their own interpretation based on their varying styles. I myself have only seen this film once, so my knowledge of events the music is supposed to correspond to is limited.

    The opening number, “Halls of Justice,” begins with a somber violin with electronic bleeps and blorps, along with distorted vocals where the only lines I could make out for sure had to do with the Interceptor, Max’s car. So when it flows into “Mad Goose,” after another synth buildup, the chase from the beginning of the movie is in full swing, complimented with surf guitar and clanking keyboards. You certainly feel like you’ve been taken along for a ride.

    Much like a soundtrack should do, it weaves in and out with your emotions. “Clunes Town,” “Jessie,” and “Johnny the Boy” are supposed to the down points, where the audience is meant to catch their breath and catch up with the side characters, like Max’s wife and child. There are also bits of cheesy saxophone and trumpet in there to make this feel authentically from the late 70’s, early 80’s (though not as cheesy as in “Beyond Thunderdome”). Meanwhile, tracks like “Revenge of the MFP,” “Nightrider,” and “Toecutter,” are downright villain songs. Which makes sense since they’re named after the various villains in the movie, with loud blaring instruments and melodies filled with tragedy, mayhem, and the urge to fight the nearest person to you.

    When the last song, “Bad Max (End Credits)” finally comes around, with a general melancholy sound from all the instruments, you feel as worn out as Max at this point, where he finally gets his revenge and leaves civilization behind for the outback. You feel just as worn out as Max at this point, longing for peace. If this album taught me anything, it’s that I should really re-watch the Mad Max movies. I remember enjoying all of them and I haven’t gone back to them since I saw Fury Road in theaters. Then I can determine for myself if this music actually does fit the parts they’re supposed to.

    Key Tracks: Mad Goose, Nightrider, Bad Max (End Credits)

  • Eric Clapton Keeps the Blues Alive at Madison Square Garden

    With the spirit of Chuck Berry present, church was assembled on Sunday, March 19 at Madison Square Garden, with the legendary Eric Clapton presiding. Over three and a half hours, Clapton performed songs from across his 50 year catalog, particularly the covers he popularized that brought him fame over his career which served as a tribute to legends he has admired, called a friend or, in many cases, both.

    Opening the show was Jimmy Vaughn, brother of Stevie Ray, who performed a 30 minute set that began with Wilson Pickett’s “Midnight Hour” and was capped off by “Tra La La.” Gary Clark, Jr. followed, and shortly after “Travis County” he noted, “That last one would not have been possible without the influence of Chuck Berry,” the founder of rock n roll who passed away a day earlier. Highlights included “Our Love” off Clark Jr.’s The Story of Sonny Boy Slim, which had a painful yearning that only the blues can alleviate, and his signature “Bright Lights Big City.”

    Gary Clark Jr @thegarden. Next up Eric Clapton! #slowhand #msg #nysmusic #legends

    A post shared by pete mason (@phanart) on

    As Eric Clapton arrived to the stage, the room illuminated with projections behind him. “Key to the Highway” and “Badge” kicked off the night with Sharon White and Michelle John on backing vocals. Clapton wore a blue shirt and black vest as he led the band through nearly two hours of surefire rock n’ roll, including “I Shot the Sheriff,” his cover that skyrocketed Bob Marley to fame in 1974.

    eric clapton madison square gardenClapton took a seat for a handful of acoustic songs, including “Driftin’ Blues,” “Nobody Knows You When You’re Down and Out,” “Tears in Heaven” and “Layla,” all the while exhibiting that pained look singing the blues requires you to have. After each song, Clapton gave that short, quick “Thank You” to the audience, a truncated comment that has almost never changed in cadence or elocution and was the extent of his banter with the audience this evening.

    A beautiful “Wonderful Tonight” preceded “Crossroads” and “Queen of Spades,” both tunes by Robert Johnson, the eldest of blues legends, the latter of which found Clapton the most dialed in of the night. Longtime friend and guitarist JJ Cale’s “Cocaine” closed the set with Chris Stainton going to town on the piano. The two song encore featured “Sunshine of Your Love,” the lone Cream song of the night which was as powerful as ever, and “Before You Accuse Me,” with Vaughn and Clark, Jr. each taking solos and rousing the sell out crowd once again.

    Be thankful that bluesmen live long lives, for we have a combined century of living legends in Eric Clapton and Jimmy Vaughn and many more years of Gary Clark, Jr. keeping the tradition of the blues alive.

    Setlist: Key to the Highway, Badge, I’m Your Hoochie Coochie Man, I Shot the Sheriff, Driftin’ Blues*, Nobody Knows You When You’re Down and Out*, Tears in Heaven*, Layla*, Somebody’s Knocking, Wonderful Tonight, Crossroads, Little Queen of Spades, Cocaine
    Encore: Sunshine of Your Love, Before You Accuse Me^
    * acoustic
    ^with Gary Clark, Jr. and Jimmy Vaughn

  • Taking Back Sunday to Tour with Every Time I Die

    Taking Back Sunday announced a summer tour with Every Time I Die that will be book ended by dates in New York, opening in New York City and closing out in Utica and Buffalo.

    taking back sundayLong Island’s Taking Back Sunday will head out on tour this summer with Buffalo metalcore act Every Time I Die. The 28 night tour takes them across the country and back, kicking off at New York City’s Webster Hall on July 14 and closing out on Aug. 19 with a hometown show for Every Time I Die at the Waiting Room Summer Stage in Buffalo. They make one other New York stop on Aug. 18 at the Saranac Brewery in Utica. The only other Northeast dates are July 16 at the House of Blues in Boston and Aug. 16 at Stage AE in Pittsburgh.

    Joining Taking Back Sunday and Every Time I Die are New Jersey’s Modern Chemistry for the first half of the tour and South Carolina’s All Get Out for the second half. Every Time I Die will be absent from the shows on July 20 and 22 in Orlando and Jacksonville, Florida, respectively.

    Prior to the start of the tour with Every Time I Die, Taking Back Sunday will perform at the Great South Bay Music Festival in Patchogue. New Found Glory, 311 and Saves the Day also play the festival.

    As part of the summer tour, the band is offering VIP passes that give fans early entrance into the shows, a VIP laminate and lanyard, an embossed journal and bookmark and access to an acoustic set. The VIP tickets are on sale now through the band’s website. General tickets for the summer tour go on sale Friday, March 24 at 10 a.m.

    Taking Back Sunday Summer Tour Dates
    July 14 – Webster Hall – New York, NY *
    July 16 – House of Blues – Boston, MA *
    July 19 – Masquerade – Heaven Stage – Atlanta, GA *
    July 20 – House of Blues – Orlando * #
    July 21 – Jannus Live – St. Petersburg, FL *
    July 22 – Mavericks – Jacksonville, FL * #
    July 24 – Gas Monkey Live! – Dallas, TX *
    July 25 – Tricky Falls – El Paso, TX *
    July 26 – Rialto Theatre – Tucson, AZ *
    July 27 – Hard Rock at the Pool – Las Vegas, NV *
    July 28 – Obervatory North Park – San Diego, CA *
    July 29 – The Wiltern – Los Angeles, CA *
    July 31 – The Catalyst – Santa Cruz, CA *
    Aug. 1 – Ace of Spades – Sacramento, CA *
    Aug. 3 – Crystal Ballroom – Portland, OR ^
    Aug. 4 – The Showbox – Seattle, WA ^
    Aug. 6 – Knitting Factory – Boise, ID ^
    Aug. 7 – The Complex – Salt Lake City, UT ^
    Aug. 8 – Summit Music Hall – Denver, CO ^
    Aug. 9 – Bourbon Theatre – Lincoln, NE ^
    Aug. 10 – First Avenue – Minneapolis, MN ^
    Aug. 12 – The Intersection – Grand Rapids, MI ^
    Aug. 13 – Crofoot Ballroom – Pontiac, MI ^
    Aug. 14 – Bogart’s – Cincinnati, OH ^
    Aug. 15 – House of Blues – Cleveland, OH ^
    Aug. 16 – Stage AE – Pittsburgh, PA ^
    Aug. 18 – Saranac Brewery – Utica, NY ^
    Aug. 19 – Waiting Room Summer Stage – Buffalo, NY ^

    * with Modern Chemistry
    # without Every Time I Die
    ^ with All Get Out

  • Round 4 of NYS Music’s 2017 March Madness

    And then there were 8…

    Last Monday, we started with an field of 64 original bands from across New York State – some you’ve heard of, and some you might not know about. These bands were recommended for inclusion in our field of 64 by NYS Music staff, contributors and readers and we brought in bands from every corner of New York State, from Long Island to Buffalo, The Catskills to the North Country and all points in between.

    NYS Music March Madness 2017 is a great way to discover a new and upcoming band in your area and show your support and love for bands you see often. We focus once again this year on the bands who are on the cusp of greatness. There was only room for 64 but we made some great choices and picked a wide array of genres to bring to you this year. Here are the elite bands that have made it through to Round 4:

    Funktional Flow (funk n jam) vs Raibred (Progadelic)
    Intrepid Travelers (improv/jam) vs Ampevene (prog rock)
    Root Shock (reggae) vs Barroom Philosophers (reggae rock)
    Boogie Low (acid rock) vs Big Mean Sound Machine (funk)

    Voting begins at Noon on Thursday, March 23 and ends at Midnight on Saturday, March 25. The Final Four begins next Monday!

    We’d like to thank our regional sponsors The Hollow Bar and Kitchen, Nietzsche’s Buffalo, The Downtown Barn and Castle Studio. These small businesses represent the best of what New York State has to offer and celebrate music while inviting local and touring bands to perform for growing local scenes across the state.

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