NYS Music 20​17

Category: Regions

  • Umph Gets Extra Oomph with Joshua Redman in Rochester

    On a quiet and cold late January Sunday night, one beacon of activity in Rochester was drawing in warm bodies from all over Western New York. The line wrapped from Anthology’s doors, down the tour bus-filled alley and around the corner as showtime quickly approached. Bundled-up ticket seekers marched with their fingers out in hopes of scoring an opportunity into the sold out show. Progressive rockers Umphrey’s McGee were set to take the stage in moments, in what would prove to be one of the biggest shows the young East Ave. music hall would host to date.

    Anthology is a smaller venue than the band is used to playing at their current popularity. For the intimacy, the crowd was trading in the opportunity to catch the buzz-worthy jam act Spafford. The stage couldn’t accommodate them for their scheduled opening slot. Likewise, the low ceilings couldn’t accommodate Umphrey McGee’s massive lighting rig. Additionally, guitarist Jake Cinninger was sitting the show out with a sickness, doctor’s orders.

    No opener. No lights. No Jake. No problem. The quintet née sextet was up to the task.

    The dual guitar assault combined with the vibrant and chaotic lighting assault can make an Umphrey’s McGee show an overwhelming overload of the senses. This was a chance to take a step back and enjoy the more subtle nuance of their music and appreciate the musicians’ efforts on a more individual level. From the opening “Domino Theory” and on through the whole night, the rhythms laid down by drummer Kris Myers and percussionist Andy Farag really shone through and became front and center moreso than usual.

    Wisely and fortunately, guitarist Brendan Bayliss didn’t attempt to make up for his partner’s absence by redoubling his efforts. He took a more laid back stance, allowing the music to breathe. It certainly helped that their special guest for the evening was none other than saxophonist Joshua Redman.

    Redman, no stranger to playing with the band and finishing up a four-night run with them, was no ordinary guest. “Thanks for saving our ass,” Bayliss quipped. During his stint, which spanned the final three songs of the first set and the first five songs of the second set, he all but controlled the action. Entering first on “The Linear,” he immediately locked horns with Bayliss as they jammed in unison. Later on “Example 1,” he intertwined with some intense drum leads from Myers.

    The highlight of the night came as Redman took over in the mellower run through “Upward” and the rare “1000 Places to See Before You Die,” which slowly built to an intense and fiery jam highlighting Myers once again. Myers and Redman continued to punctuate the action in “Similar Skin” and when the dust settled it became apparent that Umphrey’s McGee had played almost an hour without any notable guitar solos.

    One young fan spent the entire night on their father’s shoulders just a few rows back from the stage. Bayliss noted him early on, sending him a rock salute. But the real treat came later in the evening when he dedicated Bob Marley’s “Lively Up Yourself” to the lucky kid. He sure had a good story for show and tell the next morning. Fans both young and old got a rise out of the set-closing fist-pumping singalong “Front Porch” which contained a rare romp through “Muff II” for good measure. As the last notes hung in the air, the sated crowd filed out and the quiet and cold returned to Sunday as the page flipped to Monday.

    Setlist (via umphreesmcgee.com)

    Set 1: Domino Theory, Loose Ends > Turn & Dub > Yoga Pants > The Linear[1], Example 1[1], Make It Right[1]

    Set 2: The Triple Wide[2] > Upward[1] > 1000 Places to See Before You Die[1] > Similar Skin[1], Lively Up Yourself[1], Robot World > Front Porch > Muff II: The Revenge > Front Porch

    Encore: Orfeo[3], Waiting Room

    [1] with Joshua Redman on saxophone
    [2] with Joshua Redman on saxophone; with Cocaine Blues (Escort) teases
    [3] just Joel on piano
    Notes:
    entire show without Jake
    last Muff II: The Revenge 12.30.2013 (311 shows)
    [FinalTilesGallery id=’965′]

  • Phish Announces 13-Night Summer Run at MSG

    Rumors of Phish breaking with summer tour tradition and taking an extended stay at Madison Square Garden have been circulating all winter, and today the band announced that they will indeed be taking up residence at MSG for a 13-night run.Phish 13-Night MSG

    The famed New York City venue has played host to Phish 39 times since their sold-out debut there in 1994, while the Baker’s Dozen shows will bring them up to 52 performances at the Garden by summer’s end.

    The run will start on Friday, July 21 and conclude on Sunday, August 6, with scheduled days off on the Mondays and Thursdays between. Tickets will be sold as the whole Baker’s Dozen package (13 shows for the price of 12) or as individual shows. Travel packages are available and pre-sale tickets are available now through Sunday, February 17 at Phish’s website. All floor tickets will be general admission.

    Phish 13-Night MSGAlong with the Baker’s Dozen announcement, came news that Phish will not be touring this fall, so it’s MSG or bust, Phans!

    Phish – The Baker’s Dozen, a 13-night run at MSG

    Friday, July 21
    Saturday, July 22
    Sunday, July 23
    Tuesday, July 25
    Wednesday, July 26
    Friday, July 28
    Saturday, July 29
    Sunday, July 30
    Tuesday, August 1
    Wednesday, August 2
    Friday, August 4
    Saturday, August 5
    Sunday, August 6

    Watch the announcement video below.

  • Umphrey’s McGee Exceeds Expectations in Albany

    Sometimes a band finds the perfect song to capture the feeling of their audience. With lyrics that sting out of raw truth and careful and passionate instrumentals, you can feel the connection between the band and its faithful fans. As Umphrey’s McGee opened their January 28 show at the Palace Theater in Albany with “Divisions,” a collective energy was felt by all in the room. “All my thoughts divided, oh. All my friends divided so. And our whole world’s divided, oh.” The timing of these words never more appropriate. “Soul embrace. We’re all the same.” The meaning never more important.

    Just days before the scheduled show in New York’s capital, the band announced their lead guitarist, Jake Cinninger, would not be performing for this and several other shows due to the flu. Renowned saxophonist Joshua Redman, was already scheduled to perform. The brass added an unfamiliar yet celebrated  element to the typical Umphrey’s sound. Yet, without Jake, this was not typical Umphrey’s to begin with. A sound noticeably different, but surprisingly not at all disappointing.

    “Weight Around” was a masterpiece we’ve come to expect from this band, who are celebrating their 19th year together. Redman took the stage for “Gone for Good,” although he was overpowered by Brendan Bayliss’ guitar and Ryan Statsik’s thundering bass. It was unclear if this was a technical issue or due to the fact he wasn’t standing anywhere near his mic. The problem was corrected for the next song, “Higgins,” and right into “Ocean Billy” to close the first set. Although not a substitute for the lead guitar, Redman serves as a unique alternative to be showcased.

    Second set was a helluva grinder to say the least. Nestled between an 18-minute “1348” and then a 3-minute finish to the song, “Intentions Clear” was the perfect song for Redman, fitting seamlessly into the groove. “Walletsworth” offered the fire and grit to bring the crowd to a roar, signaling their clear approval. Joel Cummins shone on the keys and Andy Farag delighted on percussion.

    Most surprising was the “40’s Theme” accomplished without Cinninger. Bayliss eagerly took on the lyrics. Once again, although different, the song was fun and satisfying. After a brief “Kitchen,” Bayliss addresses the crowd and acknowledged the elephant in the room – Cinninger’s absence – while expressing his gratitude for his colleague’s role in the band. After an impressive drum solo by Kris Myers, a mood lifting rendition of Simple Mind’s “Don’t You Forget About Me” clearly demonstrated the band had Cinninger in their thoughts as they closed the second set.

    Returning to the stage for “Resolution,” the lyrics again provided hope – “I see the road leading towards the solution we need.” Bayliss took charge on this with raw power and grace before they circled back to “In the Kitchen” to conclude the evening.

    As Bayliss addressed the crowd, thanking them for helping them out, it was the fans who got all the help they needed, even if just for a few hours.

    Set 1 Divisions, Prowler > 2nd Self, Weight Around, Gone for Good*, Higgins*, Ocean Billy*

    Set 2 1348* > Jimmy Stewart > Intentions Clear* > 1348*, Walletsworth* > 40s Theme, In the Kitchen > Don’t You Forget About Me^

    Encore Resolution> In the Kitchen

    * with Josh Redman on saxophone
    ^ Simple Minds cover

  • Ginuwine is the real MVP; Most Valuable ‘Pony’

    Since Ginuwine came out with his would-be classic “Pony” in 1996, you’d be hard pressed to find someone who couldn’t at least sing the chorus back to you. His career continued strong through the early 2000’s with songs like “Differences,” “In Those Jeans,” and collaborations with people like P.Diddy, Missy Elliot, Nas, and more.

    Flash forward to 2017 and he is still beloved by his fans and actively proving to his critics that he has had the staying power over his more than 20 year career, to sell out shows and set the crowds ablaze. He is the real MVP; Most Valuable ‘Pony’, and a King of R&B.

    ginuwineWhile covering his sold out January 26 show at Vapor Nightclub in Saratoga Springs, one major thing struck me; the energy. Ginuwine’s live show was not the watered down nostalgia that you tend to expect from an artist in the 3rd decade of their career. It was electric, upbeat, relevant and above all, entertaining.

    Playing about 90 minutes with a 7 piece live band, who were fantastic in their own right, Ginuwine was warm and giving to his fans. He frequently hopped into the crowd, grabbing hands, giving hugs, and dancing. Vocally, Ginuwine is still rich with strength and tone, a true feat after so many years in the business. The buzz in the crowd was that he thoroughly impressed everyone in attendance including those who showed up not expecting much.

    After watching him own the sold out crowd from the beginning to the end of his performance,  I don’t doubt that he will continue to sell out shows as his come back progresses.  It was a surefire reminder that the real OG’s are never to be counted out. Upstate NY made it clear, they still love Ginuwine.

  • Hearing Aide: Left Hand Shake ‘8-Track Mind’

    Left Hand Shake 8-Track MindOne day, I was given the task of reviewing this album, a debut, no less, from a band I had no idea what to expect from. All I got was a set of audio files from the album 8-Track Mind, and a brief description of Left Hand Shake’s members, David Decker and Blaze Sepowski, and the previous projects they’ve been involved with, featuring names like Bang Zoom!, Picture This, and Bottle of the Dog. Initially, I thought this would just be something I could sit through and move on.

    Even the album cover itself led me to think anything could be inside. It’s of a suit with an old speaker where the head should be with an 8-track of the album loaded inside. Upon further research, I saw it was named album of the year by WVCR, the radio station for Siena College. Okay, I thought. College-age people like this. I finally got around to listening to the album, which started off with the various synth noises of “F.S.B.” until 45 seconds in when the slow drumbeat and guitars finally kicked in. And from there, I was hooked.

    The album comes across as a breath of fresh air because it delves into a particular genre I don’t think gets enough credit: dream pop. There are definitely artists nowadays influenced by this particular underground scene, M83 comes to mind, but it’s rare to see an act fully embrace the mindset. The mid-tempos that put listeners in a state of bliss. The sweeping, soaring guitar lines. The echo-y vocals less concerned with singing clear lyrics and more with being another texture of the song.

    In terms of extent of what Left Hand Shake is willing to do, it’s on the second song, “Being There (Django).” Along with the ethereal 80’s dream pop guitar work happening, there are also hints of violin and a mandolin underneath. Of it’s eight and a half minute runtime, the last five are purely instrumental. And it’s not only more guitar work that gets to shine, there are harmonica, saxophone, and trumpet solos dispersed in that time. And oddly enough, though it sometimes feels it goes on for too long, it all works in making the dreamy atmosphere stick.

    There are also songs that tone down the dream atmosphere considerably. “Right Hand Shake” reminds me of “She Bangs the Drums,” by the Stone Roses, with the similar guitar tones and echo-y vocal work. “Fly” is pretty much a condensed version of the longer songs, but notably more down to earth.

    In terms of shortcomings, I’d say Decker and Sepowski get a bit too experimental with their instrumentation. The songs that are 7 to 8 minutes long have a good chunk made up of solos that serve only to continue the state of euphoria. “People Like,” starts off sounding like a dated 90’s industrial act before it really gets going. “Fabreeze” has a muted trumpet solo while “Path Less Taken” essentially ends with a violin solo taking up the last third. The lyrics, when you can make them out, at times come across like they’re trying too hard. Lines like “Life is a garden, I’m sowing all the seeds, when something starts to grow, it comes out as weeds” (“Fly”). And “People like you, people like me, we can change the world” (“People Like”) Then again, lyrics were never the emphasis of this genre.

    So, if you’re a fan of the works of The Cocteau Twins, Slowdive, and Lush, give Left Hand Shake and 8-Track Mind a chance. We should look forward to whatever efforts these guys have planned in the future, if they continue this direction or move on to something else.

    Key Tracks: Being There (Django), Because/Second Hand Shake, Fly, Iced & Alone

    Listen to Left Hand Shake 8-Track Mind below.

  • Greensky Bluegrass and Fruition Break it Down in Syracuse

    Syracuse was treated to a double dose of bluegrass Wednesday night as Greensky Bluegrass and Fruition rolled into The Westcott Theater. The Kalamazoo crew returned to the Westcott stage nearly a year to the day from their last visit, this time in support of the new album, Shouted, Written Down & Quoted, released in September.

    Earlier in the day, news of founding member of the Allman Brothers Band, Butch Trucks’ death cast a sadness upon the music world and the jam scene specifically. A tribute to Trucks would surely be on the agenda for Greensky, one of the premier progressive bluegrass bands on the scene today.

    Greensky eased the capacity crowd into things, kicking off the set with a midtempo “The Four” that segued into a rollicking “Eat My Dust” featuring some stellar dobro work from Anders Beck. The first set remained heavy on the bluegrass the band was founded upon before slowing things down for a heartfelt rendition of “Nine Days” with Michael Arlen Bont’s banjo and Beck’s dobro again featured prominently. A lengthy run through of the Greensky staple and jam vehicle, “Broke Mountain Breakdown,” brought the highlight moment of the night, if not one of the most anticipated. Fruition’s Jay Cobb Anderson was welcomed on stage, harmonica in tow, for a ripping tribute to Trucks in the form of the Allman Brothers Band’s “One Way Out.”

    “Hold On,” from the band’s latest release, kicked off the second set, segueing into a cover of the Traveling Wilburys’ “Handle With Care” and into “Blood Sucking F(r)iends.” The segue-filled second set finished up with a “Casual Wednesday” for this casual Wednesday, segueing into the new “Run or Die,” an explosive way to finish the night.

    Frution, from Portland, OR, gained the respect of the early arriving attendees, ripping through twelve songs in their opening set. While also heavily based in bluegrass, Fruition blends soulful vocals and a funk downbeat to deliver a unique sound that complemented the headliners perfectly. This is a band that will be headlining stages at theaters in short order.

    If you missed Greensky and Fruition at The Westcott Theater you can still catch them at The Egg in Albany on Jan. 31, the Union Transfer in Philadelphia PA on Feb. 1, and a three night run at the 9:30 Club in Washington D.C.

    You can also check out Greensky Bluegrass and Fruition’s upcoming tour dates here.

    Greensky Bluegrass Setlist (via Jambands.com):

    Set 1: The Four> E.M.D. (Eat My Dust), Into the Rafters, Room Without a Roof, White Freight Liner Blues, Demons, Nine Days, Broke Mountain Breakdown> One Way Out*

    Set 2: Hold On> Handle With Care> Blood Sucking F(r)iends, Tied Down, Last Winter in the Copper Country> A Letter to Seymour> New Rize Hill, Casual Wednesday> Run or Die

    Enc: Windshield

    * with Jay Cobb Anderson (Fruition) on harmonica

  • Rubblebucket Brings a Bit of Brooklyn Bounce to The Hollow

    Funky art-pop ensemble Rubblebucket brought a bit of Brooklyn to a jam-packed Albany crowd Friday, January 26 at The Hollow Bar & Kitchen. From the get-go, each song was performed with high energy and power jumps with one goal in mind: to let loose and be present in the now.

    The five-piece, consisting of Kalmia Traver, Alex Toth, Dandy McDowell, Maddie Rice and Adam Dotson, hit the road for a string of Northeast dates across CT, RI, MA, NY and PA in support of their latest EP, If U C My Enemies, which dropped just a few days ago on January 23. Rubblebucket didn’t fail to deliver their newest tunes with enormous pep. Before they took the stage, Hollow dwellers were hovering over one another, squeezing through layered bodies and backpacks, risking getting long strands of hair and strangers’ sweat in their double IPAs and mixed vodka crans just to make way to the front of the room–or try to, at least.

    Equipped with a talented horns section, Traver initially addressed the crowd with praises of a wonderful turnout and immediately dove into displaying her raw vocal talents and magic on the baritone saxophone. Describing the Albany crowd as vibrant– attendees were just that, swaying side-to-side, dropping low to the floor and swirling along with the pulsing afro-beat stomps, pop-centric choruses and colorful toots of the trumpet and trombone.

    Traver and company offered fans tracks from their latest EP as well as their most recent full-length release, Survival Sounds, performing fan favorite hits both new and old from “Donna” and “If U C My Enemies,” the opening and closing tracks of the EP, as well as “Sound of Erasing” and “On the Ground.”

    A television propped up on the wall across from the bar was muted, yet still running, leading Traver to request to kill the power. Making valid points, she explained concertgoers were there for the show, not to receive a dose of endless commercials or politics banter and that the screen was simply distracting her from performing in the moment. The TV was nixed within seconds and from then on, intensity grew and the grooves never stopped.

    Once the energy reached its highest momentum, Rubblebucket ran with it. Traver became one with the fans, crowd surfing to the back of the venue where she decided to pull a move from King Kong’s book by scaling the side of the balcony just above the bar. With bartenders shouting to her in hopes of it not crumbling down to its foundation, she conquered the excursion and made it atop the venue while Toth manned the mic for the song’s vocals. Later, Dotson, trombone and all, paved way through the crowd inciting a full on dance party and optimal engagement, leading many to make hard ducks in each direction with hopes of avoiding decapitation. Something tells me, however, if it happened, that wouldn’t be the worst way for a fan to go out.

    While the masses were in command, Traver used it to her advantage for ultimate interaction, getting everyone in the room to drop low to the floor, jump up and down and bounce side-to-side before gearing up for a triple header encore of “Shake reprise,” “Triangular Daisies” and “Save Charlie.”

    A cozy Albany venue where locals stop in for quick bites to eat, drinks and live music on the weekends was completely morphed into a tight-quartered, hip, Brooklynite bounce house- if only for one night.

    Set List:

    On The Ground, Donna, Forlornification , Sound of Erasing, My Life, If U C My Enemies , Not Cut Out For This, Silly Fathers, Pain From Love , Lemonade (unreleased new song), Carousel Ride, Came Out of Lady, Shake Me Around
    Encore: Shake reprise, Triangular Daisies, Save Charlie

    https://www.instagram.com/p/BPxeqTwj-B6/

  • Hearing Aide: Adoration Destroyed ‘Ritual Damage’

    Austin, Texas may have found it’s industrial groove with Adoration Destroyed and their debut album Ritual Damage, which is released via Cleopatra Records.  This album restores the old school, trippy, psychopathic sound that is similar to the Pretty Hate Machine-era of Nine Inch Nails, Mindless Self Indulgence, and Combi-Christ with the vocal style of Orgy.

    This album makes you feel like you’re taking a dark path into a mind of a disturbed loner, which is not a bad thing.  The synthesizers and trippy beats on this album will be a treat for the true industrial lover to listen to.  You can argue that the sound from this album is unoriginal, but it’s industrial in its purest form.  And that’s all you can ask for.   You will be curious to see this band live after listening to this album, and you will want to know if they can truly bring the essence of the album live to stage.  Ravers will love this album.

    Opening track “Here To Bleed” and the uber dark track “Lost” are real stand outs, and they managed to squeeze in a cover of Marilyn Manson’s “Coma White” as well as a cover of Till Tuesday’s “Voices Carry,” which is a testament to what this band is all about.  The album closes with the title track to finish on a very slow and dark note.  Overall, this album is consistent, but an easy listen.  It doesn’t take any risks, but it stays true to its theme and has great production. You can purchase the album here.

    Key Tracks: Here To Bleed, Lost, Coma White

  • Photo Gallery: The Dean Ween Group at Brooklyn Bowl

    The Dean Ween Group came to the Brooklyn Bowl last Thursday, January 19, with The Mike Dillion Band providing support. Mickey “Dean Ween” Melchiondo made a comment to the crowd that tonight seemed like a hometown show, as they had a bunch of friends they were going to bring out.

    Those friends included opener Mike Dillon, vocalist Carol Brooks and bassist’s Dave Dreiwitz’s bandmate, guitarist Scott Metzger. The night included a bunch of cover’s and sit-in’s, which the gave the night a feel that you were watching a bunch of friend’s just jamming along and having fun. The Dean Ween Group finishes their tour with an early February run down south.

    Setlist: Sunset Over Asbury Park, Exercise Man, Dickie Betts, Freedom of ’76, It’s Gonna Be a Long Night, Garry, Do That Stuff, You Were There, The Ritz Carlton, Mercedes Benz, Pink Eye (On My Leg), A Tear For Eddie, Tender Situation, Fingerbanging, The Rift

    Notes:

    • Freedom of ’76, You Were There and Mercedes Benz with Carol Brooks on vocals.
    • Long Night with Mike Dillon on percussion and backing vocals.
    • Ritz Carlton with Mike Dillon on vibes.
    • Tender Situation through The Rift with Scott Metzger on guitar.
    • The Rift with Mike Dillon on something.

  • Luke Byran Announces Tour With Several Openers

    Platinum recording artist, Luke Bryan announces his new tour with his plans to pack up his hunting gear and hit the road this summer with a unique video of him playing the classic Nintendo Entertainment System and the game Duck Hunt, in his living room while wearing hunting gear. Bryan shot at ducks, with country artist faces on them. The “That’s My Kind Of Night” singer missed, and hit several artist. The artist that happened to get shot down, will hit the road, and round out one mega country lineup for Bryan’s “Huntin’, Fishin’, & Lovin’ Every Day Tour.”

    Luke Bryan Announces TourSix opening artist were shot by Bryan with his NES Zapper. Those artist include Brett Eldredge, Lauren Alaina, Granger Smith, Seth Ennis, Craig Campbell and Adam Craig.

    Spurs will start to spin on May 5, at the Bridgestone Arena in Nashville, TN, and come to a close on Oct. 28, at the San Manuel Amphitheater in San Bernadino, CA, rounding out thirty-nine different cities, and 40 shows with a two night stay at the Verizon Wireless Amphitheatre in Atlanta, GA.

    New York state will be well covered with five different stops throughout the state including, July 13, at the Bethel Woods Center for the Arts in Bethel, Aug. 12, at the Lakeview Amphitheater in Syracuse, Aug. 25, at the Darien Lake Performing Arts Center in Corfu, Aug. 26, at the Saratoga Performing Arts Center in Saratoga Springs, and Aug. 27, at Nikon at Jones Beach Theater in Wantagh.

    The singer has won various awards in country music including an Academy of Country Music Award for Top New Solo Vocalist and Top New Artist in 2010. Bryan won nine American Country Awards in 2012 ranging from Artist of the Year, to Album of the Year. He has also won Billboard Music Awards for Top Country Artist (2014 & 2016) and Top Country Song (2014) for “Crash My Party.”

    Four of his five studio albums have reached platinum certification by the RIAA. His third and forth studio albums Tailgates & Tanlines (2011), and Crash My Party (2013), have achieved a certification of twice platinum by the RIAA. Bryan has sold over seven million albums and over 27 million copies of his 22 singles, many have reached number one on the country music charts.

    Bryan the philanthropist, has supported numerous charities throughout his career. Causes he supports include children’s disaster relief, cancer, AIDS and HIV, health and human rights through the Red Cross and City Of Hope.

    Bryan’s tour will be part of Live Nation’s Country Mega Ticket. Ticket info will soon be available.

    Luke Bryan’s HFETour Dates:

    May 5 – Bridgestone Arena – Nashville, TN
    May 12 – Jiffy Lube Live – Bristow, VA
    May 13 – Xfinity Theatre – Hartford, CT
    May 18 –  iWireless Center – Moline, IL
    June 1 – Riverbend Music Center – Cincinnati, OH
    June 3 – Hollywood Casino Amphitheatre – St. Louis, MO
    June 9 – Verizon Arena – Little Rock, AK
    June 10 – BOK Center – Tulsa, OK
    June 16-17 – Verizon Wireless Amphitheatre – Atlanta, GA
    June 23 – Hershey Park Stadium Hershey, PA
    June 24 – Xfinity Center – Mansfield, MA
    June 25 – Merriweather Post Pavilion – Columbia, MD
    July 13 – Bethel Woods Center for the Arts – Bethel, NY
    July 15 – Progressive Field – Cleveland, OH
    July 16 – PNC Bank Arts Center – Holmdel, NJ
    July 21 – Sprint Center – Kansas City, MO
    Aug. 12 – Lakeview Amphitheater – Syracuse, NY
    Aug. 17 – Veteran’s United Home Loans Arena Amphitheater – Virginia Beach, VA
    Aug. 18 – PNC Music Pavilion – Charlotte, NC
    Aug. 19 – Coastal Credit Union Music Park at Walnut Creek – Raleigh, NC
    Aug. 25 – Darien Lake Performing Arts Center – Darien Lake, NY
    Aug. 26 – Saratoga Performing Arts Center – Saratoga Springs, NY
    Aug. 27 – Nikon at Jones Beach Theater – Wantagh, NY
    Sept. 6 – Pavilion at Montage Mountain – Scranton, PA
    Sept. 8 – Citizen’s Bank Park – Philadelphia, PA
    Sept. 9 – KeyBank Pavilion – Pittsburgh, PA
    Sept. 15  – Klipsch Music Center – Indianapolis, IN
    Sept. 16 – Hollywood Casino Amphitheater – Chicago, IL
    Sept. 21 – Austin360 Amphitheater – Austin, TX
    Sept. 22 – Cynthia Woods Mitchell Pavilion – Houston, TX
    Sept. 23 – Gexa Energy Pavilion – Dallas, TX
    Oct. 12 – Concord Pavilion – Concord, CA
    Oct. 13 – Toyota Amphitheatre – Wheatland, CA
    Oct. 14 – Shoreline Amphitheatre – Mountain View, CA
    Oct. 19 – Isleta Amphitheater – Albuquerque, NM
    Oct. 21 – USANA Amphitheater – Salt Lake City, UT
    Oct. 26 – AK-Chin Pavilion – Phoenix, AZ
    Oct. 27 – Sleep Train Amphitheatre – San Diego, CA
    Oct. 28 – San Manuel Amphitheater – San Bernadino, CA

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