NYS Music 20​17

Category: Regions

  • Great Blue Releases New Album, to Play the Java Barn in Canton Thursday

    Connecticut rock power trio, Great Blue have hit the road for the first leg of their tour in support of the band’s new self titled album, Great Blue. The first portion of the tour will see the band travel for two months throughout the eastern U.S., hitting 20 different cities. Great Blue is planning a second leg of the tour and currently working out the details for that run.

    The tour kicked off on Oct. 27 at the Centre Street Pub in Schenectady and will conclude at home, on Nov. 25, at the Arch Street Tavern in Hartford, CT. New Yorkers can catch Great Blue play one more show on the first leg in N.Y. state at the Java Barn in Canton.

    Rocking together for 10 years, Great Blue is made up of Peter Anspach (guitar/bass), Nick Hanna (drums), and Ethan Michael (guitar/bass). The band’s new self titled album was mastered by 13-time Emmy winner, Andy Gundell. The band has recently released the music video for their new song “Seeker.” Great Blue’s style of music has the melodies, grooves, and riffs to keep the energy electrifying and crowds moving.

    Remaining Great Blue Tour Dates:

    Oct. 31 – Zenbarn – Waterbury, VT
    Nov. 2 – The Java Barn – Canton, NY
    Nov. 4 – The Pompei Lounge – Staunton, VA
    Nov. 7 – The Local – Boone, NC
    Nov. 8 – The Nick – Birmingham, AL
    Nov. 9 – Green Bar – Tuscaloosa, AL
    Nov. 10 – Congress Street Social –
    Nov. 11 – Palmetto Brewing Co. – Charleston, SC
    Nov. 13 – Preservation Pub – Knoxville, TN
    Nov. 14 – Nowhere Bar – Athens, GA
    Nov. 16 – Isis Music Hall Lounge – Asheville, NC
    Nov. 17 – The Whiskey – Wilmington, NC
    Nov. 18 – Surf Bar – Folly Beach, SC
    Nov. 19 – Tiki Hut – Hilton Head Island, GA
    Nov. 20 – Cary St. Café – Richmond, VA
    Nov. 24 – La Boca – Middletown, CT
    Nov. 25 – Arch Street Tavern – Hartford, CT

  • Jimkata Says Farewell at American Beauty

    Ten Years, six albums, and hundreds of shows ago, three friends from Oneonta formed the electro-rock band Jimkata. After kicking off in Ithaca and accumulating a dedicated fan base across New York State and beyond over the past decade, Evan Friedell, Packy Lunn, Aaron Gorsch packed up the synths said farewell with a five show/eight night run across New York State. The tour came to an end on Saturday October 28 at American Beauty in Midtown Manhattan.

    Jimkata American Beauty

    The sold out room could barely contain the energy as Halloween costume adorned fans flooded the room. “I knew them back at Ithaca University…” One fan reminisced just before the start of the show. “…I would see them all the time, and when they announced their last show would be in the city I couldn’t miss it.” The conversation was abruptly interrupted when “Jurassic Park Theme” by composer John Williams was played as the band emerged from the green room and took the stage together. With no plans for a return, fans cheered and sang along for what could be the last time.

    Photo Gallery By Chris Capaci/Capacity Images

  • A Prohibition Era NYC Law Close to Repeal

    A Prohibition Era law designed to put the clamps on NYC nightlife has support for a repeal, according to Brooklyn councilman Rafael Espinal. Espinal introduced a bill that will be taken under consideration Tuesday to repeal the near century-old Cabaret Law that makes it illegal to host “musical entertainment, singing, dancing or other form of amusement” without a proper cabaret license.

    The law kept such music luminaries as Billie Holiday and Ray Charles from performing in the “City That Never Sleeps” for decades before being amended to lessen restrictions on performers. The dancing provision of the law, however, has remained in tact, resorting to clubs using speakeasy tactics to warn of crackdowns. The selective enforcement by the Multi-Agency Response to Community Hotspots, otherwise known as MARCH, has led to many establishments being shut down and underground dance clubs taking their place.

    The New York Times reports that Mayor Bill de Blasio supports a repeal, provided the security camera and certified security guard requirements added to the law during the Rudy Guiliani administration, remain in place.

    When the Cabaret Law was enacted in 1926, the expense and restrictions placed on establishments wishing to provide nightlife entertainment made acquiring a license difficult. Many of the night spots that were targeted early on included the jazz clubs of Harlem. During the 1990s, Mayor Guiliani ramped up enforcement of the law as the EDM movement began to take hold. The current administration has issued few citations and with possible repeal on tap for Tuesday, New York will once again be free to dance.

  • Primus Still Sucks, Ambushes Albany’s Palace Theatre

    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.

    Primus Still SucksLaLonde 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.

    Primus Still SucksWith 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.

  • They Fought the Law and the Funk Won: After Funk Debuts Latest Video “Freak”

    After Funk has released the video for “Freak,” the first single off their album set to be released in Spring 2018. Shot in Toronto, Ontario, Canada and Tampa, Florida over last New Years, the video follows two criminals, Donnie and Lou, who flee with their winnings to South Florida, and the detectives who track them down.

    After Funk is currently wrapping up their Fall Tour with shows in Hamilton, Ontario on Saturday 10/28, Boston on Wednesday 11/1, Providence on Thursday 11/2, Bridgeport on Friday 11/3 and wrap things up on Thursday, November 30 at Java Barn in Canton, NY.

  • Hearing Aide: The Ghost of Paul Revere ‘Monarch’

    As autumn sets fire to leafy landscapes, The Ghost of Paul Revere is turning over a new album, Monarch, transitioning through the seasons with an altered lineup, but staying true to their self-proclaimed “holler folk” inclinations.

    ghost of paul revere monarchMonarch emerges Oct. 27, borne from the minds of Ghost’s three mainstays: Griffin Sherry (guitar/vocals), Max Davis (banjo/vocals) and Sean McCarthy (bass/vocals). Though the recent departure of harmonica man Matthew Young has trimmed Ghost to a trio, by no means has their sound been diminished. This album abundantly features a kaleidoscope (also the term for a group of butterflies) of instrumental contributions including drums, cello and piano.

    Thematically the songs hover heavily over heartache, with lyrics written by Sherry and Davis. Sherry’s more straightforward, relatable verses are delivered with a slight gruffness compared to Davis’ more poetically descriptive, obscure language and delicate vocals. The three musicians harmonize beautifully, adding a warmth to even the saddest of songs. Several of the songs pose questions for the introspective: “Little Bird” asks “Do your bones feel hollow? Do you tremble and shake? Do you cry when you’re all alone?” “Kings Road” ponders “What will you tell the dogs of your past? What will you tell the rest of your bloodline pack?” “Montreal” achingly offers “Are we growing apart or are we growing up?”

    Not many songs on this album will induce a stomp and clap barn dance, but the music is gripping. The musicians add weight to their lyrics through beautiful intonation, where seemingly mundane words suddenly become powerful. There is a lot of power in feeling pain. Hardship often leads to metamorphosis.

    Catch The Ghost of Paul Revere as they swing through the southern states into early November before heading up north, where they will play at Rough Trade in NYC on December 2 – be sure to keep an eye out for Monarch, released via Kobalt Music Recordings.

    Key Tracks: Little Bird, Wild Child, Monarch

  • Dark Honey Revamp Their Sound, Drop Single ‘Stinging Nettle’

    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.

    Listen to their newest single here:

  • Interview: Catching Up with 311’s Tim Mahoney

    Next week, reggae rock giants 311 will be making their way through the northeast, in continuation of their currently underway 2017 fall tour. Tomorrow night, the band comes north to Pennsylvania to start at Sands Bethlehem Event Center, and then will hit Lupo’s in Providence on Friday and The Wellmont in New Jersey on Saturday. Sunday, October 30 will take them to none other than Port Chester’s The Capitol Theatre, before Halloween night sees the band play at Huntington’s The Paramount. Earlier this year, the band released their 12th studio album, Mosaic, which has been receiving high praise from longtime fans as one of their most creative albums yet. After a big summer tour (which makes eighteen summers in a row for the band), 311 is feeling more energized than ever. In anticipation of what should be a terrific run of shows next week, lead guitarist Tim Mahoney talked with NYS Music about the new album, practice time, Halloween costumes, and more.

    Miles Hurley: So 311 fall tour is underway with several shows so far. How are things feeling?

    Tim Mahoney: Good! We took a long enough break from summer until now, that you kind of get comfortable being at home. But once you get back out here, though, you realize it hasn’t been that long, so you just get back into it. No real dust or cobwebs, we’ve mostly been trying to get through some of these back catalogue album tracks that we did not play in the summer. You know, to just mix it up from there. This record, Mosaic, I think it was June it came out, we’re getting through a lot of that, too. Right before I called you I was just doing a little bit of homework, going over a handful of songs for soundcheck that we haven’t played for a minute. But it’s going good. Same crew and everything, so it’s like…knock on wood. Probably break both my knees or something tonight now (laughs).

    MH: Which tracks from Mosaic have been your favorite to play, or which ones have been sounding the best live to you so far?

    TM: Well, we’ve been working through most of them, I do like “Face in the Wind,” because there are a couple of guitar solos in there. You know, being the guitar guy (laughs). But they’ve all been fun to play, but it’s a challenge, because there’s a lot of material there. But it seems like most of the kinks are out of them. There’s one we have not played yet, but that might be farther down the pipeline.

    A song like “Too Late” we’ve been doing pretty much every night, and it seems to get people going. I kind of forget that there are some super metal parts, that come up in the songs all of a sudden, and if you’re not ready for them, well….(laughs) We’ve been trying to get a balance of them out there, some of the more mellow ones with the heavier ones. And when we come to the east coast, we’ll try to mix it up.

    MH: I think that’s what I like especially about the new record—it has a nice flow back and forth between the more laid back, groovier songs, and some really heavy stuff. When it comes to the heavier and the more laid back, where would say your taste, or your playing preference, lies these days?

    TM: Ooh, it’s hard for me…well both, definitely. Being a guitar player and listening to, when I was starting, punk rock and more aggressive stuff, I’ve always enjoyed that, the heaviness you can get with the electric guitar. But I also like the grooves, and funk and jam bands, I’m a Jerry Garcia fan. I’ve always enjoyed…you know like all the way back to the Bad Brains, who does reggae and punk rock together. It’s hard for me to choose one or the other, I’ve always enjoyed just playing reggae, and being a part of an ensemble playing reggae.

    But I like to kick it to the high side of the amp, too. It’s nice that on Mosaic, as you mentioned, a lot of the songs, even within the songs, are pretty bipolar, going from super clean to super heavy, I like the contrast of them. It’s fun to get to be able to play both sides with this band.

    MH: I’ve heard many fans feel this is some of the most mature stuff from 311 yet, in how many styles it weaves together.

    TM: That’s good to hear. That’s how we feel, everybody’s on the same page right now, in being inspired to play together, and to go at it like that. That makes me happy to hear that people would say that.

    MH: I also read that 311 has always been diligent when it comes to practice, and I’m sure that’s something the fans truly appreciate—the band nailing the parts in songs when the time calls for it. In terms of, on the one side, practice makes perfect, and on the other side, just going with the flow when things happen on stage, where would you say you are right now?

    TM: Aw man, yeah, that’s a hard thing because…you know, as much as you practice, you’ll never be perfect. You have to put in the time and the work, so that when you get into a situation on stage, you can let it flow, and be in the moment, and have the tools that you’ve worked on sitting there to keep you flowing. So I think it’s both, and you can only really do the work on stage on stage, basically, in front of people.

    We talk about this a lot, about the adjustments. You know, if we rehearse in the studio, it still can’t really prepare you for when you get on stage, in front of people. And there are all these other entities there, the energies and stuff, that come into play. So managing that energy and that excitement and being able to keep focused and have it flow with the music is a big part of it, too. And that just comes from time spent doing it. But to be able to survive and to be comfortable in the on stage situations, you have to spend time working. Even the greatest players that maybe don’t rehearse any more, there was a time when they did, and I still have to work at it, everyday.

    It’s so funny, because the most random things can happen up there, in different parts of the songs. So, you always try and do your best out there, but it’s different every night, and that’s what’s fun, that’s what’s exciting about it. Even the songs we play, they’ll be different from night to night.

    MH: So would you say you are still experiencing unexpected moments on stage from your band members?

    TM: Oh yeah! (Laughs) Just weird funny little things that might make you laugh. Whether it’s a new dance move from SA, or last night Chad had some light up drumsticks that were pretty cool. And as time goes on, I enjoy playing music more and more, and I think everybody in the band is on the same page there. We’re just very appreciative of the fact that we can go out there and play music.  

    MH: Have you ever considered either playing some kind of solo shows, or solo recording?

    TM: Well I’ve played with some friends bands and stuff, and recorded here and there with them, just little projects. I think eventually I will do something, because I have songs from over the years that aren’t quite right for 311. Like, although I enjoy singing, I’ve never really sang (laughs). So it’d probably be a collaborative thing, but eventually, yeah. When I get a little time to work on something like that, it’d be fun.

    MH: Something to bring the trombone in on, too.

    TM: Yes! That’s funny you bring that up, because I have been working on a little something there. I’ve been trying to figure out what song I might be able to whip it out on. My first instrument, you know, I do love it. The hardest thing, having to buzz your lips, and the wind control. That kind of stuff has been the hardest for me. But you know, I’ve got a pretty solid one octave there, so I figure I could chip away at one of these melodies, I just have to figure out what the proper one would be.

    But yea, trombone! I’m excited, I don’t know if you listen to much Phish or to Trey, but his solo band there has a really great trombone player…I’m a huge Trey fan, so it’s nice for me also being a trombone fan, that he’s got a trombonist in his band.

    MH: Yeah, Natalie. I’ve seen her in TAB and in some side stuff with other people, yeah she’s incredible.

    TM: Yeah, chainsaw! Wow, you’re lucky, see every time Trey Band comes to Los Angeles, I’m out of town, it’s been going on for years and years now. This year they’re doing Halloween out there, and we’ll be in New York. I’m such a huge Phish fan, and every couple of years their schedule and ours line up…but yeah, TAB, what a great band he’s got there.

    MH: And I also read that you’ve always been a big deadhead, too. Has 311 played the Capitol Theatre before, or will this be a debut there?

    TM: Aw yeah. I’m pretty sure this is our debut there. It’s exciting for me, just knowing so many people have played there, you know what I mean? I’m pretty sure I have some Jerry Garcia Band shows from The Capitol Theatre. It must be a stop for a lot of bands on the jamband circuit, too. I’m getting all the emails, it seems like a lot of people are going through there.

    MH: It’s a special place to see a show, for sure. Crowds tend to get really amped there.

    TM: Aw, good! Well I’m just excited to get to step foot in it. It sounds to me like a classic room, too…

    MH: You mentioned Halloween. The 31st you’ll go to The Paramount. Does 311 do any Halloween-type bashes?

    TM: Actually, it’s been so long since we’ve played on Halloween, so we’re trying to get it together. We have some ideas, but you know you’ve got five people, so things get vetoed and cut. What I thought were good ideas, I don’t want to say them, I don’t know if they have any traction anymore (laughs). But it’ll be fun, it has been a long time since we’ve played on Halloween. You know, we’re kind of procrastinators a bit, but we’ll get something good going that night. I still have to get my costume together, that’s my biggest thing right now (laughs).

    MH: You’ve got something good?

    TM: You know, I like going as guitar players, like back in the day when we were playing on Halloween all the time. I got through a lot of the obvious ones, like Slash, Garcia, Angus Young. So I’ve been toying with that, but I don’t know yet for sure…you know the thing is, everybody in the band dresses up and I go out there without a costume, I end up looking like a dilweed.

    MH: You’ve got a date coming in November with Karl Denson. Has there been any collaboration there before?

    TM: No, you know I’ve met him…because he’s played with Slightly Stoopid, right? That’s where I’ve gotten to meet up, and hear him play. And I’ve heard…Tiny Universe songs, just a couple of them. And he’s a great player, and in Slightly Stoopid, in that context, it’s great to hear him, his solos and stuff. So I’m looking forward to playing with him. But we’ve never collaborated before, that would be a fun collaboration, to have him sit in with us, if he would ever be into that. Looking forward to that. And I didn’t know he played with the Rolling Stones, too, shit. But that show should be fun, that’s a benefit show we’re doing down there. I haven’t heard much yet other than that we’re playing with him, and…I can only imagine that the band he gets together must be pretty fun to listen to.

  • Hearing Aide: Strange Machines ‘Voice of Color’

    On the week of their seventh year anniversary, New England quartet Strange Machines released their first ever full length album, Voice of Color. While some of these tracks can be found on the previously released live compilation, Cause and Effect, the crowd funded sessions created the safe space for the band to hone in on the production value at 9B Studio. Voice of Color is an album with an identity crisis, fusing together a plethora of genres and switching focus during each song in an almost schizophrenic manner. Longtime producer and sound engineer, Toft Willingham, utilized every square inch of the disc capacity, capping the album at a whopping 77 minutes and providing space for the extended jams the die-hard fans have come to appreciate.

    “Motion Picture” kicks off the album with the original progressive rock/reggae sound that revved up Strange Machines back in 2011.  Veteran keyboardist, Christian Perron, provides a mellow and jazzy foundation throughout the track that blends well with the 311-esque chorus sung by founding member Mike MacDonald.  Where tracks like “Motion Picture” and “Little Monster” will bring fans back to the band’s youth in terms of influence, “Golden Rule” displays the evolution of their sound and brings the listener to a whole different place.  The intro of the second track sounds like the outro of a Dr. Dre produced beat which dives into a catchy electronic composition highlighted by Craig Holland on bass and drummer Issac Civtello.  “Golden Rule” has been used as an improvisational launch pad at live shows for years, and at the 7-minute mark of the studio release, the band showcases some of that on-stage energy by giving MacDonald room to spread his wings on lead guitar.

    Perron wastes no time jumping into a gritty funk groove during the title track, “Voice of Color.”  As the second of three songs in a row that clock in over nine minutes, Strange Machines have already produced a longer album than most bands and we still have a long way to go.  The wordy first half of the track is overshadowed by the prog-rock breakdown in the second half, returning once again to the sound that described the band during their conception.  “Enter the Interceptor” has a Primus-like value and while it is the shortest track on the album, it has the heaviest feel.  The chilling rocker is reminiscent of the type of music Rob Zombie may add to one of his demented movies during the bloody peak of a chainsaw massacre.  Acting as the halfway point on the album, “Enter the Inceptor” is one more example of a band that is traveling many sonic dimensions at the same time.

    “Squid” is another recognizable staple that has legs, or tentacles, when seeing the band in a live setting.  Certain species of squid have the ability to fly out of the water for short distances and Strange Machines have found a way to express this phenomenon in the studio.  The approachable lyrics and hints of tribal percussion creates a smooth island sound that finishes with an unexpected tidal wave guitar solo by MacDonald.  “Armorphous” serves as the final track of the uber-eclectic Voice of Color and begins with a tight and haunting graveyard vibe before transforming into a powerhouse of danceable energy.  Stacked with trippy effects in all the right places, this soaring jamtronic piece finds the foursome momentarily channeling Pink Floyd before blasting off into the exclamation point of the 77-minute debut.

    So welcome to the Machines!  In their rookie album, Strange Machines packed six years of concepts into one piece of art.  While the track placement and flow have some maturing to do, there is no doubt that this multitalented quartet has endless room to grow.

    Key Tracks: Voice of Color, Squid, Amorphous

  • Holly Brown to step down as executive director of Palace Performing Arts

    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.

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