NYS Music 20​17

Category: Regions

  • Hearing Aide: Wavy Cunningham ‘Welcome to the Wave’

    Albany has always had a diverse music scene. The Capital Region has a way of nurturing countless acts and genres throughout the years and our city always seems to have a surprise up its sleeve. The biggest surprise in 2017 has been the release of the newest project from Wavy Cunningham, Welcome to the Wave. This endeavor showcases Wavy’s ear for samples and his ability to paint a story. Ever eloquent, Wavy shows us that he can be the light of the party.

    wavy cunningham
    Wavy’s most ambitious project yet starts with “Sunrays,” a calypso-inspired introduction track whose chorus echoes the theme that persists throughout the album, “518, if you didn’t know you know now.” He peppers his storytelling with various local references and a sound that encompasses the feel of the State Capitol. This is apparent in his upbeat manifesto, ‘Welcome to the Wave,’ which is a prime example of how Wavy can balance the tempo, timbre, bass and rhythm of a track while spinning a yarn to the listener.

    The most impressive aspect of Wavy is the sheer number of genres he uses in his samples. Two shining examples of this are the incredible Barry White sample in ‘Back on the Scene’ and the Bob Marley vibe surrounding ‘Montego Bay’. However, Wavy is able to move past relying on popular samples by creating his own atmosphere which permeates the album. ’Bout Me’ possesses a striking West Coast influence while maintaining Wavy’s Northeast attitude and the angelic track, ‘Ain’t Fo Sho’ flourishes while Wavy floats amongst syllables.

    Welcome to the Wave shows that hip-hop is alive and well in Albany. This is the perfect summertime album and while we may be in the depths of winter, don’t be surprised if the next 518 party you attend has Wavy playing in the background.

    Key Tracks: Sunrays, Welcome to the Wave, Aint fo Sho

  • Victor Wooten Trio Speaks without Words at Anthology

    A modern jazz club manifested at Anthology Thursday, December 14, welcoming Victor Wooten Trio with Dennis Chambers (drums) and Bob Franceschini (sax). A red curtain backdrop stippled with strands of soft yellow lights dripping to the floor radiated an understated elegance, setting the mood for the trio’s dichotomous playing style. A melodic infusion of jazz, R&B and funk abstractly bestowed upon eager ears, many belonging to fellow musicians.

    The relaxed musicians stood comfortably on stage, emulating a nonchalant but composed demeanor similar to one who might stand in the kitchen eating a bowl of cereal while contemplating life’s deep questions. Victor Wooten Trio provided a musical approach that can seem simple upon first listen or to the untrained ear. They offer an underlying complexity that grabs the listener’s attention more fervently with purposeful, controlled sound than a performance riddled with wickedly intricate sequences.

    Their performance seemed to unfurl organically, in a free flow of notes with ever-changing rhythms that kept the head bobbers and toe tappers constantly reinventing their own body movements in a frivolous attempt to mirror the music. Wooten, Chambers and Franceschini know when to push and when to pull back, leaving ample space for each musician to unhurriedly showcase their style.

    In Wooten’s words from a TEDx talk at Gabriola Island a few years back he offered: “To be a good musician you have to be a good listener. Doesn’t matter how great I am as a bassist. We can put five of the world’s best musicians on this stage but if we’re great separate from each other it’s gonna sound horrible. But if we listen to each other and play together, individually we don’t have to be as great and it’ll sound much better.”

    Wooten contrived several noteworthy instances, the least of which was casually slipping from electric to double bass. The latter an instrument he less commonly plays, yet fingertips danced across the fingerboard unabashedly. Fusing classical and modern, he even doubled back to brandish his bow across the electric bass to create provocative sounds. Perhaps one of Wooten’s most intriguing acts unfolded as he utilized his loop pedal to create multiple polyrhythmic melodies, adding each note one at a time. The mounting complexity of this sequence mesmerized listeners because of the precision and patience behind it’s development.

    The method of slowly building a progression note by note could be traced back to Wooten’s TED talk where he describes music as a language, and one that he learned at a very early age, when he was also learning the language of speech. Just as children begin by learning one word at a time to build their vocabulary, Wooten still applies that same basic principle on a professional stage decades later to communicate with his audience.

    Midway through the evening, Wooten introduced his two comrades before jokingly introducing himself as Stanley Clarke, a prominent jazz bassist. Later on in the set, he treated listeners to a mashup of Clarke originals to the delight of those familiar with his work. The trio inserted other Easter eggs throughout the set, including a Stevie Wonder sample, but even these more recognizable riffs were cleverly disguised, detectable to those listening intently.

    What was plainly obvious was Wooten’s almost comically precise ability to manipulate his bass to sound like other instruments. At one point I found my eyes furiously darting across the stage to locate the elusive flute player. Low and behold, it was coming from Wooten’s electric bass. The running joke of the evening was that after talking to him for ten minutes, he could probably make his bass sound like that person’s voice. Perhaps this feat of musical wizardry can serve as his next musical conquest.

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  • The Addy Opens at Proctors Theatre

    “You should know that as of five o’clock last night there were still lights and speakers still being hung,” said Proctors CEO Philip Morris at a Wednesday morning press conference to announce the opening of the Adeline Graham Theatrical Training and Innovation Center on Nov. 29 (The Addy for short) “In fact, you might even smell the dust burning off of the LEDs.”

    Named after the philanthropist and longtime supporter of Proctors Theatre, the third floor space of the complex now houses a 100-seat theatre, multi-use classrooms, a media lab, a dance studio and a variety of amenities Proctors expects will serve more than 500 students and 10,000 patrons annually.

    Proctors CEO Philip Morris speaks with visitors during the unveiling of The Addy on November 29

    “There is nothing for us as exciting as opening The Addy,” said Morris. “This is as laser focused as our mission gets — bringing together education, entertainment and economic development in one ‘wow’ package. We are beyond proud.”

    The Addy is already in use by the Empire State Youth Orchestra’s CHIME program, serving 60 musicians from local elementary and middle schools. But, in January, The School of the Performing Arts at Proctors will host more than 200 students in weekly classes, including the middle school-based Acting Academy and the high school-oriented TheatreTECH.

    Built as part of a larger capital campaign, the $2.2 million project was supported by grants from Empire State Development and the Capital Region Economic Development Council, Schenectady County, Schenectady Metroplex Development Authority and the Wright Family Foundation.

    “Philanthropy was such an important part of Adeline’s life,” said her niece, Heather Ward, now chair of The Wright Family Foundation, Inc. “She shared this passion with so many organizations, and she dedicated so much of her time and energy to Proctors because she really understood the importance of education, training and community education through the arts.”

    With the Workforce Development Institute and TheatreTECH, The Addy will provide participants apprenticeship programs, training and certification that will allow them to work in a variety of performing arts careers. The performance space will also add another distinct venue to Proctors—serving as art house cinema, concert hall and theatrical stage.

    A classroom currently used by the Empire State Youth Orchestra’s CHIME program at The Addy.

    “Any time you are willing to affect youth, you have an opportunity to change the world,” said Arnold Will, deputy regional director of Empire State Development. “In this case here, it’s really what we’re doing. We’re glad to be a part of taking a vacant facility, renovating it, being a part of the revitalization of downtown Schenectady, and we wish our continued support for Philip and continued success of this project.”

    Ray Gillen, chair of Metroplex, said the new creativity hub should only help Schenectady as a whole, as it adds another venue to attract visitors to the city.

    “This new venue completes the renovation of the cherished Carl Company, one of the last undeveloped spaces on State Street,” he said. “The third floor now features performing and exhibit space, including a versatile 100-seat theatre that will draw more people to downtown Schenectady.”

    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.

  • Falling short on a chance to open Albany’s largest block party, The Late Shift thrives nonetheless

    Wednesday night gigs guarantee small crowds. The Late Shift was one of four bands to play Jupiter Hall on what was the final round of Wednesday night shows 102.7 WEQX organized for a weekly Battle of the Bands. The vertical string of mid-week nights strung across the month of August to determine who would open its annual Pearlpalooza music festival in Albany that summer.

    There is, of course, an exception to every rule of thought. It wasn’t just a “battle” amongst musicians fighting for recognition: each band was tasked with the near impossible task of coaxing its fans to come out for support. Thursday mornings are not the time to be nursing a hangover, either from alcohol consumption, sleep deprivation or both. It’s the type of dedication to their bands that fans pay forward with sloppy TPS reports and copious amounts of coffee.

    The Late Shift consists of four guys who graduated from Shaker a few years back. They messed around with some instruments in high school and about five years ago, band frontman Scotty Somerville said they flipped the switch to become the group they are today. That band has cultivated a following that now allows them to host an annual Halloween party on the Captain J.P. Morgan Cruise and a regular “Thanksgiving Eve” gig at The Hollow Bar and Kitchen.

    When Scotty, Mike Davies, Jake Lester, and Sean Murphy took to the Jupiter Hall stage, a relative swell of people crossed the floor towards the stage — relative in terms that a bulge of bodies from the approximately 80 in attendance started dancing. In a competition where the crowd was asked to submit hand written ballots to decide the winner, the proverbial hat had been tipped. Chanting and singing along to the songs, the favorite seemed to have already been named with still two bands yet to perform. But, it wasn’t so.

    Ultimately, Hasty Page won over the crowd as the final act of the evening. The three-piece band out of Albany (has since been playing with a fourth band member) earned the spoils of kicking off the Capital City’s biggest block party of the year. But, it turns out that oft-quoted line by Ricky Bobby “If you ain’t first, you’re last,” isn’t true.

    “Sometimes it’s a humbling experience to go into something very confidently and not necessarily have the results you want,” said Somerville, who added he and his bandmates didn’t walk into the room with the expectation of winning. He acknowledged that the pool of bands they were up against, like Hasty Page, were already “more up-and-coming than us.” [But,] we actually wound up getting a lot of great exposure from it. It really started our relationship with a lot of people.”

    Along with the exposure to additional fans and WEQX, Somerville said Greg Bell of Guthrie Bell Productions was in attendance, too. Bell is responsible for bringing in many of the regional acts who perform at the Palace Theatre, Cohoes Music Hall and The Hollow. Somerville said the performances at the Battle of the Bands impressed Bell enough to have The Late Shift open for Jimkata’s farewell performance at The Hollow in October.

    Jimkata is one of those regional bands with the reputation of working hard, performing more than 150 shows a year. After several years together, the band’s last album In Motion dropped last year, Jimkata decided to call it quits. The opportunity to play with them, Somerville said, was inspiring.

    “It’s funny whenever you get an opportunity to play with a band having a lot of success, whether that success is coming to an end or it’s just starting,” he said. “Just speaking with them, we’ve done a lot of things similar as bands, we know a lot of similar people. It’s amazing to find people who are having a lot of success and see that they do a lot of the things you are, it’s definitely inspiring.”

    Flash forward to the day before Thanksgiving. Another Wednesday night gig. Another surprisingly large crowd. The Late Shift is headlining its “Thanksgiving Eve” party, a show they’ve put together now for four years at arguably one of the hottest joints in a hot local music scene. “There are more and more incredible acts popping up everywhere,” said Somerville. “It seems like on any Saturday, you’ll see several great shows that you actually have to pick and choose between what you can actually go see. To me, although it fluctuates… I see the scene as hot as it’s ever been right now.” And, on an evening before fans go to see family for the holidays, a vibrant crowd packed the Hollow to see The Late Shift, along with local hip-hop artists Wavy Cunningham and DJ Mercy, and The Other Brothers, a funk rock band out of New Paltz. No TPS reports or college papers due the following day so the crowd let loose. Late into the night, The Late Shift lead the crowd into a sing-along to Aerosmith’s “I Don’t Want to Miss a Thing.” It’s an obvious favorite, but it lends something of an anthem. A mid-week crowd wishing it can “stay lost in this moment,” dedicating themselves to both a band and music scene on the rise.

    Plans are already in motion for 2018. Somerville said the band has two more gigs planned this month, including a New Year’s Eve show that’s still being worked out. The band already has the bridge work laid out to follow-up last year’s Fork & Knives.

    “We can’t put a date on it, but there’s definitely some stuff going on behind the scenes,” said Somerville. “There’s some new songs, and some new approaches for some of the songs, too. Some new styles. All within our wheelhouse, but kind of exploring a few different things. There’s some stuff we’re really excited about.”

    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.

  • Hearing Aide: Sun Parade’s ‘Shuggy Mtn Breakdown’

    Relinquishing their debut full-length album to the world, Sun Parade successfully tugs at familiar emotions to send listeners on a 12-track sensory highway. Shuggy Mtn Breakdown boasts airy pop-rock blended with vibrant psychedelia that comes crashing down in waves. The 5-piece Northampton, MA outfit take you on a journey through self discovery with thematic commonalities all humans endure–love, life, questioning happiness and how to pursue it.

    With infectious melodies and light-hearted vocals,  Chris Marlon Jennings (vocals, guitar), Jeff Lewis (vocals, guitar), Max Wareham (bass, vocals), Karl Helander (drums, vocals), and Eli Salus-Kleiner (keyboard) are able to instantly grab a listening ear through their radio-ready sound while remaining comfortably candid. Reminiscent of elements of the White Stripes’ prominent and punchy vocals, Tame Impala’s airy singing and the Black Keys‘ american rock tone, the indie, power-pop album was recorded in a one-room studio on the 4th floor of an old industrial Brooklyn building. It’s no surprise that Rubblebucket’s own Ian Hersey sat in the producer’s chair to extend a helping hand and trained ear.

    The whimsical opening track of “Sleep Alone” warmly welcomes listeners into a dream-pop state of mind before launching into the cheeky “Cheer Up,” which does just as its title implies with both tempo and mood simultaneously picking up. Distorted noise and spoken word vocals shine on “Steal My Thunder” while “Game Boy” brings forth an extremely relatable message, embracing hooks and easy-to follow lyrics.

    A relaxed and slowed down “Braindrain” flips a genre switch as it walks away from the bubblegum sound and introduces a more delicate, soul-leaning attitude, complete with mesmerizing synth sounds and whistle-along tangents. The hard hitting and emotional rock track “Psycho” follows with wailing vocals and gritty grunge guitar breakdowns you didn’t see coming but can’t imagine the album without. “Shuggy Mtn” holds its own as the album’s party anthem. The namesake song dives into sonic exploration and punk tendencies by blending psychedelic rock elements with wailing vocals and hard hitting on the drum kit.

    The second to last track on the album, “Echoes of My Heart,” softens the tone and slows the release’s pulse with a quick, dreamy interlude before “Tear (Can’t Stop Believing),” wraps Sun Parade‘s initial release and circles back to the album’s blunt storytelling and hopeful tone.

    Through airy vocals and melodic exploration, the quintet proved they aren’t afraid to have fun and dip their toes in a pool of myriad genres while getting emotionally raw with their audience. Shuggy Mtn Breakdown aims to be timeless, allowing their hopeful and tender lyrics to appropriately contrast and offset its darker rock and roll musical elements.

    Touring in support of their release, Sun Parade will storm through Rochester’s Bug Jar on Dec. 10 just ahead of Swordpaw on Dec. 15. Listen to Shuggy Mtn Breakdown in it’s entirety below:

    Key Tracks:  “Steal My Thunder,” “Braindrain,” “Psycho”

  • Pat DiNizio, Smithereens Frontman, Dead at 62

    Pat DiNizio, founding member of New Jersey’s Smithereens, died Tuesday Dec. 12 according to a statement from his bandmates. He was 62. The cause of death was not disclosed.

    DiNizio’s death was announced on the band’s Facebook page Tuesday night.

    Formed in 1980 in Carteret, New Jersey, DiNizio, Jim Babjak, Dennis Diken and Mike Mesaros strung together a series of popular alternative songs in the late ’80s and early ’90s that included “A Girl Like You,” “Only a Memory,” “Behind the Wall of Sleep” and “Blood and Roses.” The band’s charged power pop sound was informed by the early British Invasion bands and the early rock of Buddy Holly. DiNizio’s smooth baritone vocals provided the signature sound of the band while his beatnik-style goatee and flipped up cap, a signature look.

    In addition to his work with the Smithereens, Pat DiNizio released several solo albums, produced an independent film, King Leisure and dabbled in politics, running for a U.S. Senate seat from New Jersey on the Reform Party ticket in 2000. He finished fourth in that race.

    Pat DiNizioDiNizio had recently suffered health issues from a series of falls that injured his back and neck. The most recent fall in September prompted the singer to reassure fans he was on the mend in a post to the band’s Facebook page,

    REPORTS OF MY DEMISE HAVE BEEN GREATLY EXAGGERATED! I SUFFERED A BAD FALL IN THE HOME THE OTHER DAY AND INJURED MYSELF, BUT TRUST ME, I’M NOT ON MY DEATHBED OR ANYWHERE NEAR IT:-I AM HURT, HOWEVER, RECEIVING GREAT MEDICAL CARE, BUT HAVE BEEN ORDERED BY MY PHYSICIANS TO TAKE SOME TIME OFF TO INSURE A COMPLETE AND HEALTHY RECOVERY, SO,,WE’VE GOT TO TAKE SOME TIM E OFF FROM THE ROAD SO THAT I CAN GET BETTER, WE’LL BE RESCHEDULING A FEW DATES SO THAT I CAN HEAL PROPERLY.

    The band mourned the loss of their bandmate Tuesday night, “Our journey with Pat was long, storied and a hell of a lot of fun. We grew up together. Little did we know that we wouldn’t grow old together.
    Goodbye Pat. Seems like yesterday.”

  • Fozzy to Invade Upstate Concert Hall

    After a small break from touring, Fozzy will pack the road gear and continue the band’s “Judas Rising,” tour into 2018 at Upstate Concert Hall. Fozzy is touring in support of the band’s seventh studio album, Judas. The title track of the album, “Judas,” has become a huge hit for the band, blowing up rock radio stations everywhere.

    Part two of the “Judas Rising” tour will see support by Through Fire, Santa Cruz, and Dark Star Choir.

    New Orleans will get the tour started at the Parish on Feb. 28 and see the “Lights Go Out” on April 8 at Wally’s in Hampton Beach, NH. One of the two New York dates on the tour will come through the Capital Region. Fozzy will make a stop at Upstate Concert Hall in Clifton Park on April 4, then the next night on April 5 at the the Gramercy Theatre in NYC. Tickets to the UCH show cost $17 in advance. Fozzy die-hards can also purchase a $150 VIP upgrade to each show on the tour.

    In a recent Blabbermouth article, frontman Chris Jericho, and guitarist Rich Ward gave their opinions on the upcoming “Judas Rising,” tour.

    Jericho stated: “I’m stoked to do this extensive tour of the States now that ‘Judas,’ the song, is a Top 5 rock radio hit and ‘Judas’, the album, has gone top 40! FOZZY is bigger than we’ve ever been, which means bigger production, bigger songs and bigger lighted jackets! So we can’t wait to rock your literal socks off starting in February!! JUDAS IS RISING.”

    Rich Ward added: “I started playing guitar because of how deeply powerful the experience of going to concerts was for me. With a hit single and a new album pushing FOZZY to new heights, I can’t wait to get back on the road in America to capture the power that only live music can create. Make sure to bring a helmet and your dancing shoes when FOZZY rolls through your town.”

    Fozzy “Judas Rising” Tour Dates:

    Feb. 28 – The Parish – New Orleans, LA
    March 1 – Scout Bar – Houston, TX
    March 2 – Canton Hall – Dallas, TX
    March 3 – Jake’s – Lubbock, TX
    March 4 – Speaking Rock – El Paso, TX
    March 7 – Club X’s – Tucson, AZ
    March 8 – Marquee Theater – Phoenix, AZ
    March 10 – The Whisky – Los Angeles, CA
    March 11 – Count’s Vamp’d – Las Vegas, NV
    March 13 – Slim’s – San Francisco, CA
    March 15 – Dante’s – Portland, OR
    March 16 – Studio Seven – Seattle, WA
    March 27 – Turner Ballroom – Milwaukee, WI
    March 28 – Bottom Lounge – Chicago, IL
    March 29 – Intersection – Grand Rapids, MI
    March 30 – Shelter – Detroit, MI
    March 31 – Oddbody’s – Dayton, OH
    April 2 – House Of Blues – Cleveland, OH
    April 3 – Jergel’s – Pittsburgh, PA
    April 4 – Upstate Concert Hall – Clifton Park, NY
    April 5 – The Gramercy – New York, NY
    April 6 – The Foundry – Philadelphia, PA
    April 7 – Aura – Portland, ME
    April 8 – Wally’s – Hampton Beach, NH

  • Twiddle Announces Headlining Evening at Red Rocks

    Vermont based jam band Twiddle has announced their headlining debut at famed venue Red Rocks in Morrison, Colorado.  Twiddle will perform two sets on Star Wars day, Friday, May 4. Twiddle will also share the stage with California based  roots/reggae/dub outfit Stick Figure. Florida based world beat/indie band the Hip Abduction will play in support.

    Twiddle has graced the Red Rocks stage twice in support of String Cheese Incident (2015) and the Disco Biscuits(2016).  Their 2017 show with moe. was cancelled after moe. announced a hiatus while bassist Rob Derhak underwent treatment for nasopharyngeal cancer.

    The announcement comes as Twiddle hits the road in 2018 along with Stick Figure and Iya Terra for sixteen dates.  Twiddle has had a stellar year in 2017 and continued to make headlines.  The year was highlighted by a showing on the Billboard charts as their much-anticipated release PLUMP debuted at #6 on the Alternative New Artist Album charts and a sit-in from Grateful Dead bassist Phil Lesh at the band’s Tumble Down Music Festival.

    Self-taught musician Scott Woodruff writes, produces and records  under the moniker, Stick Figure. Woodruff tours with a full band to craft his live shows. His latest release, Set in Stone, has solidified the musician’s vision of a new melodic subgenre.

    The Hip Abduction toured in support of Twiddle during August and September of 2017.  The vibrant St. Petersburg, FL-based collective celebrates a mutual appreciation for West African and early Jamaican reggae/dub music.

    Twiddle Fan Club and AEG presales are available online as of the announcement.  Several pre-sale VIP packages are available with options including a special VIP performance at Red Rocks on Thursday, May 3. General on sale goes live on Friday, December 15 at Noon EST.

  • Kerfuffle Before Christmas Night Two

    Buffalo had its first snowfall of the year this past Wednesday, but that didn’t stop flocks of people from coming out to Buffalo Riverworks to see the second night of The Kerfuffle Before Christmas.  Upon arrival, people were lined up in thirty two degree weather almost forty five minutes before the doors opened. People were in their holiday gear and it was great to see the Christmas spirit alive and well.

    Saint Motel took the stage first and brought the charisma that night as they kept fans on their feet with all the antics they did during their set. Front man A/J Jackson sang and played keyboard while using his charming personality to sway the audience, girls and guys alike. Guitarist Dak Lerdamornpong mastered the stage while Jackson was working his way up the scaffolds, pulling a Barns Courtney from TKBC night 1, but upped him by climbing all the way to the top instead of only halfway. Then, towards the end of his set, he decided to run into the crowd and up the balcony, dancing with patrons,  only to run back down the stairs and stand on one of the bar tops reminding patrons to tip the bartenders that evening.

    Børns was second to hit the stage. He was teamed with all female musicians that died down the audience in comparison to Saint Motel’s performance. His music is what you would call ‘hypnotizing.’ It`s not necessarily a loud vocal dynamic, but more within a range that you could relax to, but also dance with your friends.

    The band most people were waiting for was Jimmy Eat World. It’s a lot of pressure being the headliner and they delivered in all aspects that night. Bringing the most energy and also a certain nostalgic factor, playing an assortment of their newer stuff such as “You With Me” and longtime classics like “The Middle” and “Sweetness.” The band set the stage with a minimal appearance but it was adorned with 3 street lights that were placed above the drummer, guitarist and bassist. The lights flashed in sync with the music and it was the perfect addition to the stage without overdoing it. Doing several encores really pleased the audience and you can see it from the expressions and overhearing what fans were saying as they left.

    The Kerfuffle Before Christmas was a success and there is one night left of this magnificent concert series. The last one will be held on Sunday, December 17. Performing are Cold War Kids, lovely the band and AJR. Tickets are still available for purchase and can be found at any FYE store and Alternativebuffalo.com

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  • Keller Williams and Danton Boller Perform Intimate Show at The Egg’s Swyer Theater

    Guitar virtuoso Keller Williams returned to The Egg Performing Arts Center on Thursday, December 7, and performed two intimate one hour sets in the Swyer Theater, alongside stand up bassist Danton Boller, the first of three shows together.  Keller recalled his previous shows in the Hart Theater (which he referred to as the “Red Room”), and how years ago before going on stage, he stuck his head into the Swyer Theater and professed a desire to play the room.

    Keller Williams Danton BollerKeller started the first of two acoustic sets with the Grateful Dead’s “Bird Song” and Phish’s “Birds of a Feather,” all while wearing a guitar strap featuring Angry Birds. Williams showed some more love for Jerry Garcia in the form of the Peter Rowan tune “Mississippi Moon,” and after the classic “Freeker by the Speaker,” wrapped up the first set with a 78 RPM version of “Samson and Delilah.”  Set 2 kicked off with the audience contributing to “Off Time” and “Breathe,” with one of Keller’s best hits, “Best Feeling,” emerging from an open call to the audience for suggestions. A little more Dead followed in the form of a tease-happy “Scarlet Begonias” wrapped up the show with an encore of “I Feel High” off the appropriate album, Vape. Keller Williams and Danton Boller will wrapped up their three show run on Saturday night at Stage One at FTC in Fairfield, CT.