I can’t believe I made it this far in life without ever seeing the Red Hot Chili Peppers but I’m so glad I was able to drive in a snow storm from Syracuse to the Key Bank Center in Buffalo on February 10 to make this at the last possible minute. I just feel bad for missing the openers. Going into this concert my first thought was “what on earth is this band going to be like without John Frusciante?!” And honestly this band still holds its own as the kings of funk rock. Guitarist Josh Klinghoffer is damn amazing at what he does, plays the parts justified, the solos slightly different, but nails the backing vocals.
Overall, the band is as vital as it ever was, and show no signs of slowing down. But their stage production was massive and unique. Above the crowd and stage was the new kinetic light sculpture, designed by the production company called TAIT Towers. This technique and stage design has never been done before at other shows. The band made an ambitious move to excite the crowd and add to their already insane musical experience. It is really hard to explain how these lights work but check out this link to see a better explanation.
The band opened with a cool little jam before frontman Anthony Kiedis stormed the stage before going into “Can’t Stop” and “Dani California.” I also want to point out that Flea is still one of the most bad ass bassists ever to grace music and Chad Smith can pound the drums meaner than Animal the Muppet. Eat your heart out Will Farrell. Also in addition to all the crazy production, the band had additional musicians when they performed songs off their latest album The Getaway. They had an additional guitarist, keyboardist, and percussionist to make the songs more massive. It was also cool to see the band do jams, bass interludes, and guitar solos in between songs, as well as showing off their sense of humor.
One of the highlights of the night was “Aeroplane” which was off their 1995 album One Hot Minute which featured Dave Navarro on guitar at the time….which was why it was such an unexpected treat to hear. And my life was complete towards the end of the show when they played the iconic “Under The Bridge.” Found it interesting when the band did a cover of Iggy and The Stooges’ “Search and Destroy” in which Kiedis took his shirt off. Not sure if that was supposed to be a nod to Iggy himself. The band closed off their set with “By The Way” before a kick ass two song encore of “Good Bye Angels” off The Getaway and the oh-so-fun and dirty song “Give It Away” which the crowd went bananas over.
Overall it was an unforgettable night, I would expect RHCP will be back in NY very soon and will still sell out a massive arena…and it would be great to see what kind of ambitious production they would carry next. Not to mention with so many albums out, there’s so many songs that still need to be incorporated into their set.
NYS Music had the chance to sit down and interview with Oliver Wood of The Wood Brothers just days before they embarked on their 2017 Winter Tour, which is currently under way. Due to their familial connection, the Woods come from the same musical roots, but their talents grew in all different directions over the years prior to forming the soulful folk band that now has a worldwide following. Some dates on this tour are already sold out, so if the spirit of their music moves you, purchase your tickets today!
Ben Boivin: Let’s start from the very beginning…The Wood Brothers connection with the state of New York. Your first ever show was at Tonic in NYC and two of the first five shows were at Savannah’s in Albany. How did the Capital District wind up as your first stomping grounds?
Oliver Wood: Well, part of it was a matter of convenience because my brother [Chris Wood] used to live in Saugerties and in the early days of The Wood Brothers we were trying to find little gigs and do things that were realistic and convenient. I was living in Atlanta at the time so I would just go up there and hang out for a few days and work on music and then get a few gigs in the area. We played gigs nearby Atlanta for the same reason. My brother would come down and that just made the most sense. Sort of how we cut out teeth and started to figure out what The Wood Brothers was all about.
BB: What do you feel is different about playing in New York State compared to other parts of the country?
OW: Every region has its own unique vibe and certainly New York State has that. The first thing that comes to mind for me is obviously New York City. That’s where we got our record deal and where our management company is located and where we played our first gig. There’s a sentimental connection to it. Also, we played several times at Levon’s [Helm] barn, his rambles, while he was still alive. Besides Chris living in that part of the country, it certainly has some sentimental value to me as well. There is such a rich tradition there.
BB: Is there one band member that chooses the set lists or is it a group effort?
OW: We definitely tweak it as a group, but I would say Chris is the master set writer. He is the guy that masterminds it and really thinks it through. I don’t know why, it is just something he started doing and was really good at. I guess he is a better decision maker than me? We certainly consult each other and as a group make a list of songs, but Chris is really good at putting them all together.
BB: Do you ever consider cutting songs based on the crowd?
OW: Oh, absolutely. If the crowd is rowdy, we add some rowdier songs. Sometimes we try to tone it down for people and they might be rowdy, but what they don’t know is that they actually want to shut up for a minute and really be in the moment and that’s cool too because it brings them in. It gives them something they didn’t expect.
BB: I read something you said about touring with the Zac Brown Band in front of 20,000 people and how that is a much different level than the normal tours you do as a trio. What makes that different from the theaters and bars where you primarily play?
OW: In a large venue, it is more consistent, there is this one gear. But, I like the variety of small and medium places because they are all unique and you can play them in different ways. It is very satisfying to not just do the same thing every night.
BB: How does playing music with your brother help or hurt what it is you are trying to do?
OW: It is definitely a different dynamic. I mean when you play in a band for years and years with people they become brothers. It’s like a family. It’s like a marriage even. There are those kind of brothers and then something different and deeper with a real brother because you’re family and because you have a more shared experience. Your childhood and your growing up and your parents are all formidable things that you both have. I think also, there is that innate, intangible, yet genetic thing that Chris and I noticed right away. After years apart, being able to comfortably play together and have this telepathy that usually takes years to develop, we were kind of like,“Wow, we have it built in!”
BB: In recent tours you guys have been taking different versions of the same songs on the road. Does Jano Rix help you dissect and resurrect new versions of the same song?
OW: It’s very much a group effort. Part of that is for us. By rethinking a song it is keeping it fresh for us. If we have been playing a song for a couple of years, we may think people love this song but maybe we are getting kind of tired of it. Let’s do something different with it. There is a big rocking number, like the song “Shoefly Pie,” that’s a full electric one, but we made it more porch-y the next time around. We made it all acoustic and Jano was on percussion instead of drum kit, and that’s an example of how we can deconstruct a tune and put it back together in a completely different way. It keeps it fresh for us and for the audience too. We have had a lot of comments where people appreciate and enjoy that.
BB: I have seen you guys a lot and must have heard “Luckiest Man” about 100 times.
OW: Yeah me too, tell me about it.
BB: In the Winter 2016 tour, Jano came out and did a long piano intro before a very jazzy version of “Luckiest Man” and it was really special to hear a familiar song played differently for the first time.
OW: I think people like to get surprised and challenged a little bit and there’s nothing wrong with that on either side.
BB: Going back to the topic of New York, your most recent release, Live from the Barn, was recorded right in the heart of the Catskill music scene in Woodstock, NY. Why did you choose that spot and why is it so special to you?
OW: It’s a very sentimental place for us and Levon is a serious influence and indirectly like a mentor to us. We hadn’t been there in years. Since he passed away we have done stuff with Amy, his daughter, and felt that family connection with their family. When we made the plan to go back there to play, it felt like a special occasion and we wanted to record it all. You never know how it will turn out. Maybe that was okay or that was horrible, but as it turned out, if felt like a real special night. We were really happy and excited that we captured it. We were sort of tripping on being there. It was magical and brought back all these memories. I mean, we were there watching Levon play and standing two feet from his drum set. By the end of the night, we were singing songs with him and sitting around in his kitchen after the show. There are spirits there that you just don’t get anywhere else.
BB: What is the best piece of advice Levon gave you?
OW: He never really gave us any specific advice. I think we just learned by example. I will tell you the thing I get from him is to just be yourself. Just be real and be yourself. That’s what he was and sometimes it is hard to do that and remember that in this business. Sometimes you think, what can we do to survive and to sell more tickets? It’s not about that. If you can be yourself, that’s going to be the best art you can make.
BB: I am sure you are aware that “Big Pink,” the house that The Band rented to create their debut album, is located about 10 minutes outside of Woodstock. Do you, Chris and Jano have your own “Big Pink”? Is there a place that makes writing and creating music easier for you as a group?
OW: Not necessarily. We’ve had several spots, but it has been a challenge since Chris and I lived in different parts of the country for the first six or seven years of The Wood Brothers. I would go up to him and we would write and then he would come down to my place. We would write on the road, backstage, in dressing rooms and at sound checks. He would send me e-mails and we would go back and forth. I will say, since we all moved to Nashville a few years ago, it has been awesomeness because we have been able to hole up in someone’s basement or living room or even rehearsal space. Nashville has been a good place to gel in that regard and relax with our writing. It makes it fun.
BB: What was it about Nashville that drove you guys there?
OW: It was a combination of things. For one, it was somewhat in between New York and Atlanta. We wanted to stay on the east side of the country and I was in the South so long and I like the South, a lot! Part of it too is that we had a lot of great experiences before we lived here. Really cool times where we came to town and recorded with people and collaborated with people and had some shows we really enjoyed. At random, we got to know some good friends and we had kids in school and Nashville is a nice place to raise a family. The music industry here has a stigma that it is just a country music town but there is all sorts of stuff happening with great writers and great music. It is really inspiring just to be here. You can sit in your house and think, “Maybe my neighbors are writing great songs and making great music.” I love that part too.
BB: You will be returning to the Empire State this summer, hitting SPAC in Saratoga and the Highland Bowl in Rochester as well as over a dozen other cities with the Tedeschi Trucks Band & Hot Tuna for the 2017 “Wheels Of Soul” Tour. What’s it like touring with other well-known bands compared to being on the road as a trio?
OW: It’s real special because usually when you’re on the road alone you are crossing like ships in the night and you don’t get to hang out with your contemporaries and they’re all playing at the same time as you are in some other city or state. It is a real treat even at summer festivals to get to cross paths with some of our friends and to get to hang out for a few minutes if we’re lucky. To do a tour with Tedeschi Trucks and be with them every day for a month or two is a real privilege because not only do we get to hear them play every night, but we also get to play with them, eat meals with them and be close.
BB: Well, we are definitely looking forward to that tour.
It’s the beginning of February in beautiful, not so sunny Buffalo. The cold weather was no match for the barn burner that took place at Buffalo Iron Works on the first of the month with Aqueous and Spafford. As the crowd trickled in, The Emporium (Dave and Mike from Aqueous) took the stage to the hometown crowd’s delight. The set of mainly covers set the tone for the evening. Aqueous drummer Rob Houk joined in towards the end of the set and took the vocal lead on the Stone Temple Pilots cover “Plush.”
If you don’t know about Spafford , it’s about time to change that. These guys are good and poised to take the scene by storm. Hailing from Prescott, Arizona, the band formed in 2012. Brian Moss is the lumberjack behind the axe. Jordan Fairless is the man with the plan holding down the bass line and Red Johnson on keys. Last, and certainly not least, is Nick Tkachyk on drums. Their sound is extremely tight. The segues were seamless. It was a beautiful night of music.
Spafford continues on with their East Coast portion of their Winter Tour with upcoming dates supporting Umphrey’s McGee. Be sure to check these guys out.
Setlist: Dream Jam , Windmill , BDF, Reds Jam, Weasel, Pallisaids, Weasel, Slip N Squander , LLO
Even though they were part of rock’s biggest tours last year with Disturbed and Breaking Benjamin, that is no way to enjoy an Alter Bridge show. During that run, which did travel through various cities across New York State, Alter Bridge only played a small handful of songs during their opening slot. If you really want a display of heaviness and fun and REALLY get your money’s worth of Alter Bridge, then seeing them headline is the best route to go. Those who were lucky enough to catch them on The Last Hero Tour with Nonpoint and Weapons Of Anew at Niagara Falls’ Rapids Theatre were blessed with a kick ass night of music.
Unfortunately for me, I was unable to catch Weapons Of Anew due to the travel conditions, but I came in just as Nonpoint was performing “What A Day,”one of their trademark songs. Nonpoint must have been a part of the tour because Mark Tremonti is a fan, and I believe they were an appropriate choice. The urban flavor they bring to metal and hard rock makes them a standout, not to mention that this is their 20th anniversary tour (which is hard to believe at this point). They had a very loud and energetic set; the crowd was really into it. Some of the stand outs were their new songs such as “Divide and Conquer” as well as their cover of Phil Collins’ “In The Air Tonight.” They ended their set with their anthem, “Bullet With a Name.” It’s great to see that the band is twenty years strong and still bring a lot of energy into a show.
Alter Bridge graced the stage by opening with “Writing On The Wall” which is off their newest album The Last Hero. Alter Bridge is a very rare and unique talent. Not since Judas Priest has a band had two lead guitarists/soloists that share the stage, alternate solos and really feed off each other. Vocalist/guitarist Myles Kennedy and guitarist/vocalist Mark Tremonti are the perfect complement to each other and are a powerhouse force on stage with the most wicked one-two punch that most metal and hard rock bands are lacking. Alter Bridge made a wise decision by playing not only a hefty amount of songs off of The Last Hero, but also from their previous album Fortress which came out in 2013. But they didn’t really tour behind it much because Myles was busy with Slash’s band and Mark had his hands full with his band Tremonti. So it was awesome to hear songs like “Cry Of Achilles” and “Addicted To Pain,” but the real stand out was “Water Rising,” which gave Mark Tremonti to display his lead vocal.
If there is any complaint about the show, you could say the bass was too loud. Now that isn’t a fault of bassist Brian Marshall, it’s on the venue’s sound crew. It just sounded muffled. But luckily, Myles Kennedy and Mark Tremonti’s guitar playing is so clean and they shred so much that the muffled bass sound coming off the venue’s sound didn’t interfere with the guitars or drums for that matter.
The best part of the show was hearing the bands best song, “Blackbird.” It’s their masterpiece. It’s their “Free Bird” (no pun intended) and afterwards they closed their set by finally playing material off their debut album One Day Remains with “Metalingus” and “Open Your Eyes.” I was surprised they didn’t play much from that album, however, material from the last two albums had to be heard, not to mention that with five albums in, you only can play so many songs. Those who stayed for the encore were in for a treat as they came out and played “Show Me A Leader” which was the lead single off The Last Hero. Afterwards, the crowd was treated to a guitar battle between Kennedy and Tremonti, which was a great way to really see their talents on display and was fun to see. This is something I wish bands did more. Finally, the band left the crowd wanting more in closing with Blackbird’s “Rise Today” which is band’s trademark closing song. Overall, it was a great set from Alter Bridge who definitely deserve more recognition in the music industry and need to headline more shows. I would recommend this band to almost anyone. And I will definitely catch more shows at Rapids Theatre.
An eleventh hour scheduling change brought alt rock bands Everyone Leaves, Fossil Youth and Pine to Rochester, on the final weekend of their tour, to the delight of local fans. Everyone Leaves and Fossil Youth are standouts among the indie acts emerging from America’s heartland. Canadian band Pine joined them for the northeastern leg of their journey. Despite the last-minute notice and the bitter cold weather, the show drew in a crowd at Vineyard Community Space.
Pine
Local singer-songwriter Rosehip warmed up the crowd with her soft, sweet voice and finger-picked melodies. Female-fronted Pine took to the stage area next. Dreamy melodies created a backdrop for sad songs about writing letters to ghosts and a long lost father. Between a couple of songs, lead singer Darlene Deschamps commented on the Rochester weather – and this is a band from Ottawa who knows what cold is!
Fossil Youth
Fossil Youth picked up the pace a bit. Strong beats and heavy riffs were interspersed with soft melodic interludes. Singer/guitarist Scottie Noonan delivered emotionally charged lyrics with passion and conviction. The set included songs from their recently released full-length album, A Glimpse of Self Joy, such as “Forest Eyes” and “Late Night Swim.” They also deviated from the set list to accommodate audience requests for songs from their earlier EP, Intertwined with You, including the title track.
Everyone Leaves
After a quick set change, Everyone Leaves was up. The five-piece band from Columbus, Ohio serves up pop punk featuring multi-part vocals. They performed “Better Love” and other songs from The Lonely End, their latest EP. Given the weather, it was fitting that they also played last winter’s single “Seasonal Affective” which ends with the lines “I won’t let the weather take me/I won’t freeze over again/I won’t let the winter take me/I’ll never hide myself again.”
Local punk trio Tandygrey closed out the night with original garage-band grunge from their someday-to-be-released demo. They’ve played the Vineyard Community Space before and I’m hoping to catch them there again soon.
Nestled in the city’s South Wedge, Monroe Park Vineyard Church graciously offers the bottom half of a converted house for indie artists and performers in order to promote community building and friendship. The communal space is filled with comfortable couches, throw rugs and eclectic decorations, creating a comfy home-like atmosphere.
Throughout the event, band members were readily available to chat, sign autographs and sell merchandise. Music and merchandise are also available online: visit Take This To Heart Records webstore for Fossil Youth and Pine, and Little Heart Records webstore for Everyone Leaves.
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.
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)
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 Systemand 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.”
Six 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
Town Ballroom was bursting at the seams with a whole new culture Thursday January 19 with Datsik in town and with a sold out venue. EDM music is becoming more and more popular and I can see why. In line you could find someone in a Pikachu onesie, or another in a unicorn and some girls who seemed to just have on their bra and panties.
Virtual Riot was playing by the time everyone walked in. EDM music is not door at 8 and music starts at 8:30-9pm, it is doors are at 8 and the music is already bumping. The beats were lively and it created an atmosphere that was all its own. Virtual was a perfect opener, he got the continuously lingering crowd hyped up for the night and put them in a party mindset.
Christopher Lee Marshall better known as Crizzly hailing from Austin, Texas was an entertainment all his own. He brought a hype man with him who did just that, hype the crowd. He jumped all around the stage and even at one point jumped in the crowd and moshed with the audience.
Datsik, what is there to say about him? His visual effects were captivating; he had screens set up that took up the entire stage, his new stage setup was by Shogun stage production. He ditched the vortex this tour. The beats he created released the crowd into an animalistic behavior. The crowd was a bit out of control. Sitting on the platform you could see everything going on.
Not long into his set there was a girl who passed out and as soon as that happened the bodyguard guarding the pit entrance attention turned to that; then two girls who looked to be on something ran into the pit and began to “erotic dance.” As soon as another guard saw what the girls were doing, they were swooped up like rag dolls and thrown out. People were taking off their clothes and it became a free for all. Datsik did his job and entranced the Town Ballroom crowd and left everyone feeling new and free.
Funktional Flow has released the video for the original “Trouble,” off their latest album Time Will Tell. The video was filmed at King’s Rook in Erie, PA and was edited by Nick Sonricker. Read the NYS Music review of Time Will Tell. Funktional Flow performs next at The Armor Inn Tap Room in Hamburg, NY on March 18.
High energy 10-piece funk band West End Blend embarks on an extensive tour that stretches across the Northeast with 7 stops throughout New York State in Syracuse, Canton, Saratoga Springs, Saranac Lake (during Winter Carnival), Brooklyn, Rochester and Buffalo. The funk/soul machine recently released a new music video for “Smile,” and vocalist Erica Bryan sat down with NYS Music to discuss the band’s influences, songwriting and expectations for fans over the next 3 months.
Pete Mason: A distinct 70s funk and soul sound can be heard in “Say Hey”. What influences do you collectively draw upon to form your ‘blend’?
Erica Bryan: Every member of the band has their own set of influences, from Led Zeppelin to Earth, Wind, and Fire to Erykah Badu, that comes together through the funk and soul we all adore. How do we put it all together for one cohesive album? Great question. Each album gets us closer to figuring that out.
PM: As a 10 piece, how does songwriting come together between so many players? Are there 1 or 2 who take the lead for the collective?
EB: Initially, the band was focused on covers, and essentially delivering a crazy funk/hip-hop party to our audiences. Gradually, a few of us, myself included, started to bring in originals, some fully-arranged, others arranged with the group. Now just about everyone is bringing in tunes, or pieces of tunes that just need the West End Blend touch. As we’ve grown together, our collective writing and arranging has become more refined; we’re learning about one another through the music we write.
PM: When did West End Blend first form and what have been the most notable shows for the group thus far?
EB: In late 2012, our drummer, Sam Horan, and one of our guitar players, Jesse Combs, conceptualized the collective that was essentially meant to be an all-inclusive, funk-driven, party. Our first show was a basement party in the house that would later be our musical home in the West End, then we went on to a weekly residency at a hot dog joint in Hartford, CT. I could never have imagined we’d go on to play shows like Funksgiving at Toad’s Place in New Haven with Deep Banana Blackout, or a summer spot at Catskill Chill opening for artists like George Clinton and Parliament Funkadelic, and of course New Year’s Eve with our good friends in Turkuaz and Kung Fu at Fete Music Hall, three of my personal favorite gigs recently. Those and so many others were essentially masterclasses for us, experiencing such talent in front of us.
PM: WEB’s winter tour blankets the Northeast – what can fans expect at shows over the next few months?
EB: Our winter tour schedule is blowing me away. We’ll be with artists we’ve worked with before, and some we haven’t. No matter what, fans can look forward to some fresh tracks, fresh style, and a damn good time.
PM: With the recent release of WEB’s Say Hey EP, is the band planning to return to the studio for a full length album in the near future?
EB: That’s always the plan, and we’ve been working. We have so much to share, including the recent release of our music video “Smile,” a collaboration with the incredible Spencer Pond and the dancers of his The Now Unboxing Project.
Check out more info at West End Blend’s website and Facebook.
Winter Tour Dates
1/19 – Syracuse, NY – Funk n Waffles
1/20 – Canton, NY – Java Barn
1/21 – Stratton, VT – Grizzly’s
2/2 – Somerville, MA – Thunder Road Music Club
2/3 – Burlington, VT – Nectar’s
2/4 – Bromley, VT – Bromley Ski Resort
2/9 – Nashua, NH – The Riverwalk
2/10 – Saratoga Springs, NY – Putnam Den w/ Gang of Thieves
2/11 – Saranac Lake, NY – The Waterhole w/ Bella’s Bartok
2/15 – Philadelphia, PA – Silk City
2/16 – Washington DC – Gypsy Sally’s w/ Big Mean Sound Machine
2/17 – Wilkes-Barre, PA – River Street Jazz Cafe
2/23 – Baltimore, MD – The 8×10 w/ John Ginty Band
2/24 – Brooklyn, NY – The Hall w/ Vinegar Mother
2/25 – Stratton, VT – Grizzly’s
3/3 – Greenfield, MA – The Root Cellar
3/4 – New Market, NH – The Stone Church w/ Broca’s Area
3/10 – New Haven, CT – Pacific Standard Tavern w/ Root Shock
3/16 – Rochester, NY – Flour City Station w/ Upward Groove
3/17 – Buffalo, NY – Nietzsche’s
3/18 – Pittsburgh, PA – James Street Ballroom
3/24 – Harrisburg, PA – River City Blues Club
Six 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.
