NYS Music 20​17

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  • Gwar Ruins the 1 Percent at Town Ballroom

    The day after Halloween the ghouls were still out play and people were ready to rock with mutant metal band Gwar. The intergalactic band bestowed mere earthlings of Buffalo in support of their latest album “The Blood of Gods”. Town Ballroom housed all the humans and extraterrestrial bands that night. Brent Purgason was pulling double duty, his band U.S. Bastards, the most earthling related of the group kicked things off.

    Next up was Doyle, The Misfits guitarist Doyle Wolfgang Von Frankenstein, His singer Alex Story gave everyone a good laugh, before every song he said “This is a love song; you can dance to it if you want too.” In a girlish voice that complimented his mini skirt and fishnet stockings.

    Ghoul performed with their potato sack masks,  like something you would see out of a old scary movie. The band’s thematic set is heavily influenced by Gwar. Ghoul had various characters that squirted fake blood — from an odd dictator in a cape and gas mask to their dreaded voodoo magician complete with his large fake chicken that streamed red liquid into the crowd. Also, who wouldn’t love a giant distorted looking turnip to end a set?Black Sabbath`s “War Pigs” came over the speakers and the earthlings started getting wrestles. Fans started singing the first verse at the top of their lungs. GWAR walked onto the stage and started “War on the Gwar” playing the first track off the new album The Blood of Gods. Other new tracks included the catchy “I’ll Be Your Monster Baby” which is probably the closest thing you’ll ever get to a love song by GWAR. Blothar proceeded to covered the front section of the crowd with fake blood from his cow utter like penises

    The crowd of monster lovers also partied to older blood-filled songs like “Hail, Genocide!” and “Saddam a Go-Go.” Everyone who attends a Gwar show knows there is no hold bar with them, they poke fun at politics, corporations, social media and of course religion. During the new song “El Presidente” they brought out a Jabba the Hut looking Donald Trump which received “Boos” from the crowd as well as a mutant version of Hillary Clinton. Both were slaughtered for the gluttonous fans who wanted blood. Politics doesn’t matter at a GWAR show, mutants rule their world.

    “Do you want Blood?” asked Blothar. The already soaked crowd wanted more and they got it. GWAR ended the night with a cover of AC/DC’s “If You Want Blood (You’ve Got it)” Bone Snapper came out with his infamous sawblade spinning machine which spat out waves of blue into the audience.

    After all the recent sad events going on in the world GWAR and the other bands gave people a chance to escape from their troubles and have a great time full of singing laughter and of course blood.

  • Halloween Horror Camp 3

    The 2017 Halloween season got off to a frighteningly good start last weekend courtesy of a small and intimate party in The Berkshires that featured some of the region’s burgeoning musical acts.  Bands from Upstate NY and Western MA, along with an intimate collection of 200 some-odd live music lovers, assembled at the rustic H.A. Moses Scout Reservation in Russell, MA for a brief, yet utterly enjoyable, festival of nostalgic music and musical costumes and the third rendition of its Halloween Horror Camp. With each band playing a predesignated set of covers from other artists, the opportunities to “dress up” both in costume and musically ran rampant this cool October evening.

    Halloween Horror CampNormally used for Boy Scout camping purposes, the main lodge was transformed into a dance hall of sorts and nearby cabins were available for additional purchase as well for those that preferred bunk beds instead of roughing it outdoors. In fact, in a really unique twist, “campers” weren’t even informed of the event’s location until about 48 hours beforehand when an e-mail was sent to ticket holders.  All that was known was that it would be somewhere in the 413 area code of MA. Those that were willing to put their faith in a party with no address were rewarded with a night of music that spanned multiple eras and genres.

    One of the earlier acts of the day of Halloween Horror Camp 3 was Creamery Station who performed a “Watkins Glen” themed set of Dead and Allman Brothers tunes.  With band members feeding into the holiday spirit and adorned in full body cow costumes, classic tunes like “Deal” and “Statesboro Blues” greeted still arriving guests and those still setting up tents and camps.  A cover of The Band’s signature hit “The Weight” was also included in this engaging early set of music.

    Shifting courses a bit, a set of Daft Punk covers followed, delivered by Northampton’s own Mammal Dap with assistance from Mary Corson on vocals.  Together, they did justice to Daft Punk’s seminal album Discovery in a performance that covered nearly the entire recording.  Songs like “One More Time,” “Voyager” and “Too Long” seemed to get the dance floor moving a little steadier and served as a great precursor for things to come.

    Albany’s own Formula 5 then delivered one of the more anticipated sets of the evening with a blistering set of Phish covers.  Beginning with a well jammed “AC/DC Bag” that fed directly into “Story of the Ghost,” the Upstate NY jam outfit did not disappoint with its cover set of one of their inspirations.   A crisp “2001” kept the rave vibe alive and well in the main lodge but one of the true gems of the set was “Reba” and a corresponding jam that was melodious and powerful all at once. The same could be said for the rousing rendition of “Harry Hood” that followed later in the set before a customary “Cavern” set closer.

    Cosmic Dust Bunnies then turned back the clock and took everyone on a musical romp through the 80s with a long set of covers from the era of hair spray and cassette tapes.  Songs like “Superfreak” and “Word Up” gave the start of their set a retro dance vibe before the New Haven rockers settled into more pop hits like “Everybody Wants To Rule the World” and the ever present Rick Astley classic “Never Gonna Give You Up.”  The Bunnies continued to impress and up the ante with standout takes of “Dirty Diana,” “Love Is a Battlefield” and “Panama.”  The selection and variety of artists that were covered in this set was really impressive and a fun take of Lionel Richie’s “All Night Long” helped bring a close to it.

    Strange Machines, a Boston-based rock fusion act, then threw it back even further with a standout set of songs by The Doors.  A full throttle version of “L.A. Woman” kicked things off and a fun “Love Me Two Times” > “Higher Ground” > “Love Me Two Times” sequence showcased the band’s ability to stylistically bob and weave.  The “Riders on the Storm” and “Strange Days” that came towards the end of the set offered a true psychedelic tone to the evening that proved not all the music tonight had to be upbeat and poppy in order to be enjoyed.

    The party kept going well into the hours of Sunday morning courtesy of a Bassnectar themed DJ set from Uncle Bob and a stellar set from lespecial chock full of Primus covers, a sound the band has really honed of late. The final set from Roots of Creation featured Grateful Dead and Rage Against the Machine songs intertwined and throwing the crowd into a final frenzy of the night, while Kerry Quirk gave the fans what everyone wants late at night, a healthy dose of Madonna.  Those that stayed and camped overnight were welcomed with a community breakfast in the morning to help recharge before leaving the wilderness and returning to civilization.  Halloween Horror Camp has all the feel of a remote festival with a powerhouse music lineup combined with a backwoods campfire among friends.

  • Disco Biscuits Perform Phenomenal 2-Night Run at the Worcester Palladium

    Philadelphia trance-fusion pioneers, The Disco Biscuits, brought their unique sound to a two-night run at the Palladium in Worcester, Massachusetts for Halloween. With Lespecial for support on their first night, and Jaw Gems on the second, The Disco Biscuits delivered two jaw-dropping shows to the crowd at the recently renovated Palladium.

    Opening with the flowery and optimistic “Grass is Green,” things quickly took a dark turn when they dropped into “Minions,” returning to “Grass is Green” to complete the sandwich. They followed this immediately afterwards with their newly reworked version of the song “Loose Change” for only the third time since it’s reintroduction into rotation. Before 2017, the song had not been played since 2010, in its old format. They concluded their set with a yet another sandwich, this time featuring fan-favorite “Confrontation” (complete with “Funkytown” teases as well as a myriad of Biscuits teases) as the bread and the dark instrumental “Gangster” as the meat. The final chorus of “Confrontation” had the entire crowd chanting in unison before a well-deserved setbreak.

    The Biscuits weren’t pulling any punches when they opened set 2 with the high-energy introduction to “Munchkin Invasion” which segue-wayed into the rare “Voices Insane,” which featured bass-slapper Marc Brownstein on the vocoder for the chorus and a creepy robotic vocal jam. This transitioned seamlessly into a soaring version of “Astronaut” that nearly ripped the roof right off the theater. “Astronaut” featured an “Owner of a Lonely Heart (Yes)” tease. This onslaught of music was concluded with the peak and ultimate conclusion of “Munchkin Invasion” before the Biscuits wrapped the second set up with a standalone version of their tune, “Reactor.”

    After two blissful sets, full of teases and intense peaks, the Biscuits were clearly still hungry, and delivered a lengthy, three-song encore including an improv-heavy version of “Once the Fiddler Paid,” a smoking version of their flagship song, “M.E.M.P.H.I.S.” and finally, an extended “Spacebirdmatingcall.”

    If Thursday night was the night of blissful peaks and scorching improvisation, Friday night was the night for dark, creepy ambience. The Halloween spirit was certainly present, as the Biscuits delivered a night of tricks, fake-outs, and long, dark, spooky and meandering jams.
    Thursday’s show began with a four-song set, showcasing the Biscuits’ impeccable ability to improvise and keep their audience both kinetic and confused, as they struggle to identify the next tune. The whimsical “Crystal Ball” opener gave way to the high-intensity peak of “Mulberry’s Dream”, which was inverted, one of the Disco Biscuits’ trademark moves in setlist writing. “Mulberry’s” gave way to the ending of “Crystal Ball,” followed by an extraordinarily lengthy version of the heartfelt “Therapy,” penned by Marc Brownstein about his father and family life that teased damn near every song in the Bisco catalog.

    Set 2 opened with “Triumph,” which flowed into “Save the Robots” before seguing into the atmospheric and Halloween-appropriate theme song from the Netflix original “Stranger Things,” which was expertly executed and infused with teases from the Biscuits original “Portal to an Empty Head.” This segue-wayed back into “Save the Robots” before the Biscuits took their only pause of the second set. The eager crowd turned rabid when the band began playing the opening notes of fan-favorite “Spraypaint.” “Spraypaint” bled into a capable cover of Donna Summer’s “I Feel Love” before shredding into the instrumental “Tempest” and then back into “Spraypaint” to conclude the second set. The second set featured a fake-out of classic Biscuit song “Little Betty Boop” as well as “Orch Theme,” which was performed a few days later at Hulaween. Teases of “Funkytown” by Lipps Inc. and “Electric Avenue” by Eddy Grant were present throughout the night, as well as strong teases of “And The Ladies Were The Rest of the Night” during “Therapy.” The Biscuits concluded the run with a standalone version of “Ladies” as the encore.

    The Disco Biscuits truly delivered in Worcester for Halloween weekend, with a full-on sonic assault that showcased their ability to play rock, funk, electronica, and of course, blistering improvisation.

  • Hearing Aide: Darkroom ‘Darkroom’

    Remember those glory days of rock n roll when such bands like Kansas, Bad Company, Blue Oyster Cult, and many more classic giants reigned supreme? Something about that sound and tone of those bands really made an impact on music history. So many active audiophiles know you can never appreciate the modern sounds we have now, without paying homage to the ones that set the classic rock standard. Yet, we keep on forgetting that type of sound still carries a  large fan base. Even to this day we have radio stations, podcasts, and concerts all dedicated to that chapter of rock. Let me tell you though brother, that sound is still kicking and screaming! This proves to be the very case with a band hailing from the snowy land of Syracuse, Darkroom, whose textbook rock vibe will bring back that sound of the past and bring it to new light!

    darkroomThe album, Darkroom foundation is created by the hands of  David Manzano (drums), David DiNiro (guitar/vocals), Jeff Brown (bass/vocals), Ronnie Dark (guitar/keyboards/vocals) and Steve Kratz (vocals). This motley group of guys know how to package something old and to make it as if it was brand new. The album presents itself with so many classic rock influences from all across the rock realm spectrum. With tracks like “Trouble” and “The Hunted,” the energy of that rebel rock hits you hard like a brass knuckled punch. The fact that “The Hunted” is actually about a famous serial killer in our area really gives it that nice tongue in cheek play with the lyrics.  Manazo really can show you how he can make his kit come alive keeping that nice jazz and blues infused playing on the tracks. Let us not forget Brown’s bass playing pretty much hits in the same ball park paving the way with some hints of funk aspired basslines, keeping that rampant energy striving.

    The guitar work from both DiNiro and Dark really gives the album a clean guitar style, which in this day in age is extremely missed in the modern rock era with great melodies with huge hints of progressive influences if you listen closely enough. With Kratz on main vocals, you really can hear the passion this guy has while presenting the final product. Sometimes I feel like listening to these tracks he could give some classic rock heavyweights some run for their money.  If you enjoy groups like Bad Company, you will find these two tracks to be your gateway drug to something simply incredible.

    If you are like me, a man who likes to enjoy a nice cold beer, sometimes you just gotta have the perfect tunes to enjoy that said beer. The band possesses many diverse  elements which come alive on this album. They are able to create a very calming and at peace vibe on some tracks. Tracks like “Fly” and “Reflections” really carry that bar rock sound with great approach from the guys. “Reflections” has strong presence of The Eagles as it presents some great catchy lyricism and fabulous groovy sections. “Fly” has that type of energy that makes you just kinda want to put a quarter in the jukebox, order yourself a beer, and relax a bit after a tough day at work. The slow and steady style really makes this track one hell of a great song and with some of the most intriguing keyboard playing I heard in the last couple years from Dark. The keys shaping that ambient  background really helps amp up that idea of just taking it easy.

    In the end, it looks like that rebel rock attitude and perfected sound will continue to beat in the hearts of the fans. With Darkroom always finding new ways to make the material of the past interesting and relevant, I have no doubt these guys will not give up with that strong of a drive to keep on exploring new and old territory.  This album gets 4.5 out five stars. Checkout the band’s page and give them a good hard listen to!

    Key Tracks: The Hunted, Fly, Trouble

  • Lespectacle VII: Happy Hallo-CHEEN…

    For the past six years during the Autumnal Equinox in late September, what has been described by hosing band Lespecial as a “Pagan inspired multi-media mini-fest” has taken place.  After making its rounds at various venues in both Boston and New York, Lespectacle VII landed at one of the top music clubs in the country, Brooklyn Bowl, which Rolling Stone ranked the venue 20th in the nation in 2013.

    lespectacle VIIThis year the “psychedelic, haunted circus” not only featured stage design provided by The Reliquarium, a multi-media light and visual show from Vin Pugliese, and was boasting the best lineup of musical acts the mini-fest has seen yet, it was also moved to be held on October, 31… Halloween night. Oh, and did I mention Lespecial would be taking the opportunity to release their second studio album, Cheen? Trick or Treat Lespecialists… Happy Hallo-CHEEN!

    Supporting acts included Dallas’s “The Funky Knuckles,” New York’s own Horizon Wireless, as well as a set from Oakland California’s legendary hip-hop act Zion I with non other than your hosts Lespecial as the backing band. That collaboration first came about with a set at The Great North Music Festival. After working with Zion I, Lespecial decided to feature the MC on the 4th track of the new album titled “Sound That We Do.”  The set at Lespectacle 7 was the second time the cross-genre on-stage collaboration took place. Luke Bemand’s heavy bass and Jonathan Grusauskas’ sampled sounds and synth-scapes lend themselves well to the prolific word flow Zion I has been bringing to the stage since the early 2000’s.

    As for the new sophomore studio album, Cheen, we find a band unafraid to challenge the concepts of traditional genres. They have taken a step further in refining their style by not adhering to the preconceived notions of what that style should be. In fact there is hardly a genre this album doesn’t touch. They have become known for their metal/funk mash up sound on tracks like “Skull Kid” featuring samples of Jack Nicholson as the  Joker in the Tim Burton’s 1989 film Batman, and the Primus-esque “American Apocalypse”  However the track “Stolen Land” brings in a roots-rock/dub sound, and tracks like “Sounds That We Do” and “Donut Ghost House I” and “Donut Ghost House II” bring a hip-hop sound to the album. It’s as if someone said “It’s all been done before” and Lepecial said “Then let’s just do it all.” Spotify player below.

  • John McLaughlin Kicks Off Meeting of the Spirits Tour in Buffalo with Jimmy Herring

    Jimmy Herring and the Invisible Whip struck the match. John McLaughlin and the Fourth Dimension fanned the flames. Together, using material from a 45 year old band, McLaughlin’s Mahavishnu Orchestra, they built a blazing fire inside the University at Buffalo Center for the Arts Wednesday night on the Meeting of the Spirits Tour.

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    It was the first night of a fusion guitar lover’s dream tour, dubbed The Meeting of the Spirits. It will be the last ever North American visit for the legendary British septuagenarian guitarist.

    The opening set from Jimmy Herring’s new solo outfit, was anything but your typical opening set. The seats in the theater were full and the crowd was at full attention from the first notes. Herring showcased his talents in restrained spurts, masterfully directing his bandmates through 50 minutes of exhilarating instrumental fantasies. His crack squad of Jeff Sipe, Jason Crosby, Matt Slocum and Kevin Scott were with him every step of the way through a seven-song set including “1911” and “Jungle Book.” Their mid-set rendition of “Les Brers in A Minor” made clear that it was a jazz fusion tune hiding out in a Southern rock band all along.

    McLaughlin’s Fourth Dimension is another band brimming with talent. Bassist Etienne Mbappe, drummer Ranjit Barot and keyboardist/drummer Gary Husband all had ample space to showcase their talents throughout the set. Masterful bass solos were met with drum solos complete with mind-boggling scat drumming. Husband made the synthesizer a chameleon, realigning the sound continuously. “Kiki” and “Miles Beyond” gave way to more mellow material like “Gaza City” and “El Hombre Que Sabia,” a tune McLaughlin meant to record with Paco Delucia before he passed away, which now he plays as an homage. He wandered the wide-open stage as he played, effortlessly creating guitar sounds that were impossibly perfect at impossible speeds. As their set ended, McLaughlin was ready to keep it going, calling for Herring and band to come out. Call it a first night mix-up, apparently there would need to be a quick break.

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    For the third set both bands combined to form a 9-man fusion supergroup. This was headphone music and luckily the theater’s acoustics were up to the challenge. The sound was impeccable. And the playing was too. Double drummers, double bassists, double keys, and McLaughlin pulled out the double-neck guitar to boot. Somehow as the band doubled in size it only grew tighter. McLaughlin played facing the band for most of the set, not only lead-guitarist but musical director, steering the monster band through a selection of classic Mahavishnu Orchestra tunes. “Meeting of the Spirits,” “Trilogy,” “The Dance of Maya,” not quite as fresh and vital as they were 40 years ago, but still powerful and invigorating. The maestro was in and the class was in session. “Eternity’s Breath” showcased the intensity of a band where every member is a secret weapon. Though perhaps they were most impressive on the mellower “Earth’s Ship,” as the bassists weaved lines around each other and the rest of member’s distinct sounds were teased apart gently to beautiful effect. The inner mounting flame was burning, unfortunately it couldn’t be eternal.

    Leaving a Buffalo stage for the last time, McLaughlin said his final goodbye to the city with a quote from the Eagles, of all things, “We may lose and we may win though, we will never be here again.”

    Take it easy, John.

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  • Phil Lesh Given Key to the Village of Port Chester

    The meaning behind being given the key to a city has changed time and time again since it’s origins in medieval times. Back then, it granted peasants a freedom from serfdom; now it’s a symbol of thanks to any person, native or alien, who has had an positive impact on a community. Looking back on what Mr. Lesh has done for Port Chester, it’s a mystery why he wasn’t given this earlier.

    He has made over 70 appearances at the Capitol Theatre alone and was widely recognized for his streak of 17 shows within 11 months between 1970-71. One of the Grateful Dead’s most highly praised live albums was recorded during this time at The Cap in February of 1970. Three From the Vault is considered to be one of the most desirable and included the first live performances of the songs “Bird Song” and “Deal.”

    Lesh also is a strong advocate organ donation awareness, another reason why he was given this prestigious honor. He had a close call with Hepatitis C and was fortune enough to be given a liver by a random donor he only knew by the name of Cody. Due to this traumatic experience, Lesh, is always saying to his fans, “Save the life of someone you’ll never meet.” Lesh is a truly selfless person and is undoubtedly deserving of the key to the “Village of Port Chester.”

  • ‘Pint-Sized Powerhouse’ Moriah Formica is Still Just a Shaker Student

    THE VOICE — Season:13 — Pictured: Moriah Formica — (Photo by: Paul Drinkwater/NBC)

    While her talent was called “unfair” by Blake Shelton and she’s currently being mentored by Miley Cyrus on NBC’s “The Voice,” her fifth grade music teacher, Camille Wing remembers Moriah Formica before she became the rock star she is today.

    “She was very quiet,” Wing said.

    Her talents on guitar were a secret until the chorus was preparing for a concert. Some of Formica’s friends mentioned to Wing that Formica could play “Eye of the Tiger,” a song they were rehearsing, on the guitar.

    “I asked her if she would be willing to bring her guitar in and play it for us,” Wing said. “Her dad brought it in before school and she played it perfectly. She definitely knew what she was doing.”

    Wing asked Formica to lend her ability at many points after that. Formica accompanied her sixth grade chorus in “Stray Cat Strut,” and then sang a “beautiful” rendition of Alicia Keys’ “Fallin’.” Formica was even asked to sing a solo at her eighth grade graduation.

    “I haven’t asked many people to [sing solos],” Wing said.

    Fast forward to now, and Formica is a strong contender on season 13 of “The Voice.” Her blind audition performance of “Crazy on You” by Heart got the attention of all four judges, ultimately earning her a coveted spot on Team Miley Cyrus.

    “I chose to play Heart because it is classic rock,” Formica said. “One of the reasons why I decided to go on to ‘The Voice’ is because of the lack of true rock singers. Ann Wilson is one of my favorite vocalists.”

    Formica has powered through each week of “The Voice” so far, impressing the judges with her range and vocal control. Despite the success, she’s still at Shaker High School, taking classes and moving on with her education.

    “I’m truly enjoying all of this, but it’s so much work,” she said. “I have school all day, but then I come home and there are so many opportunities that I have to address. I don’t like ignoring anyone.”

    Her father and manager, Josh Formica, agrees with her.

    “Sometimes it’s hard for her. She gets home from school and I have to ask the typical dad questions—‘how was your day,’ ‘did you learn anything,’” he said. “But then I have to follow up with things like ‘you have 120 really nice comments that you should probably check out,’ or ‘we have received an opportunity from here, what would you like to do?’ I then have to transition back into dad mode and make sure she’s getting her homework done and keeping up with school stuff.”

    Luckily, Formica said that the school has been supportive of this journey since the beginning. They have helped the tutors get whatever material they needed and made sure that Formica’s education stays as steady as possible.

    “School definitely gets in the way sometimes, but I could not be more grateful for the support of Shaker and what they’ve done for me since the beginning,” she said.

    North Colonie Central School District Superintendent Joseph Corr said Formica’s work ethic is indicative of what the district hopes to instill in its students.

    “While Moriah has such tremendous natural talent, I don’t think people realize the amount of time and work that goes on behind the scenes. She works so hard and we are very proud of her,” Corr said. “We watch ‘The Voice’ every week and root her on. She’s our hometown hero. Watching her perform with such power at only 16-years-old is so inspiring.”

    Shaker High School Principal Richard Murphy said Shaker has felt the craze around Formica’s newfound fame.

    “Moriah has always been known for her voice, so it wasn’t a surprise to see this happen,” Murphy said. “She is a humble, polite young lady and it’s nice to see her get attention. It’s created a buzz in our school and it’s wonderful.”

    Formica said her musical influences include Aerosmith, Evanescence, Halestorm and In This Moment. She has met Lzzy Hale from Halestorm, who Formica said was supportive. While she’s met a few members of Evanescence, she has yet to meet lead singer Amy Lee. She hopes to meet Steven Tyler someday.

    “Aerosmith was my first true love,” she said. “My room is called Aeroville because of how many posters I have around.”

    Although she won’t know the results of “The Voice” until the rest of the world does in November, Formica said that a loss will not deter her from making music.

    “I will continue doing what I’m doing; I want to make music, perform, release albums,” she said. “‘The Voice’ has given me the exposure that I need to keep going.”

    And the proudest people of all? The ones who have coached her along the way.

    “Moriah comes alive when she performs,” Wing said. “She has that special something that I believe will carry her far and make her dreams come true.  I am thoroughly enjoying seeing it happen.”

    Her father agrees.

    “She’s been performing, and I’ve been managing her, since she was 12,” he said. “Seeing her have this huge stage is incredibly validating and rewarding.”

    This article was originally published by The Spot 518. is 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.

  • Interview: A Backstage Chat with The Weekend Classic

    The members of The Weekend Classic are no strangers to life on the road, having spent the past couple years criss-crossing the country to build a fan base one show at a time.

    They make their return to New York State on November 13 with a show at Stamps in Buffalo. The quartet from Madison, Indiana is Chris Webster (vocals/guitar), Christian Richards (drums), Matt White (guitar/vocals), and Ryan Wells (bass/vocals). NYS Music caught up with them backstage at a recent show to talk about what it was like to win last year’s Ernie Ball Play Warped Tour challenge, what keeps drawing them back to New York, and what’s on the horizon.

    Photo by Camrun Courtney

    Paula Cummings: I saw you guys last year in June, and you said that your band goal was to play Warped Tour. Then you won the Ernie Ball Warped Tour Challenge. What was that like?

    Chris Webster: It was pretty crazy. We didn’t think ever in a million years that we’d win a competition like that. Two years prior, we got on the competition and we played  the Cincinnati Warped Tour date. Then we decided to go for it again. We posted about it and we had a lot of support from people. It was really cool.

    PC: As a result, you got to go into the studio with some famous people.

    CW: Chad Gilbert (New Found Glory) and Ryan Key (Yellowcard). That was honestly really cool, too. Just getting to meet them and working with them. It was a little stressful, but it was really good for us. It pushed us to step out of our comfort zone.

    Christian Richards: I feel like he (Chad) re-taught us how to write a song.

    CW: He showed us things that someone who is a professional would know, and us, being us, are not going to know off the bat.

    PC: You guys have toured pretty extensively over the past couple years. You’ve come through New York a few times.

    CR: We’ve been to Long Island once before, twice now, and Buffalo, Rochester, and Poughkeepsie.

    PC: What keeps you coming back to New York?

    Matt White: Its a huge market. You can play a lot of places in New York.

    CR: And a lot of great bands, too, all spread out through New York.

    PC: What’s up next?

    CW: We have some more touring that we know we’re going to be doing.

    CR: Write a record. And release some songs we haven’t put out yet. They’re a lot better than anything else we’ve done. But they’re not there just yet, not fully ready.

    PC: What can we look forward to with the new music?

    CW: There’s a more mature sound to it, more in the direction we want to go.

    CR: I feel like we wrote it for ourselves.

    MW: We think its sick.

    Catch The Weekend Classic on tour this month. They are joined on select dates by In Good Nature, Young Culture, and Chris Swartz. Tickets are on sale now. Their music is available on iTunes, Spotify, and Bandcamp. Follow on Facebook for updates on shows and new music.

  • This is Dopapod Halloween: Grateful Sabbath Set Stuns at Putnam Den

    Looking ahead just a few months from now, the year 2018 will be Dopapod-less, which means fans have flocked from inner cities, out of town and hours away just to catch what will be their remaining shows ahead of hiatus. Bringing the heat during each gig on fall tour so far, word traveled fast that their Halloween bash at Saratoga Springs’ newly renovated Putnam Den wasn’t one to be missed, a Grateful Sabbath if you will.

    Adorned in an astronaut suit, Eli Winderman and company would eventually sit behind the keys and prepare to launch the outrageously dressed and over-excited crowd into outer space for the remaining hours of All Hallow’s Eve.

    Kicking off the night for the quartet was rising Burlington outfit, Swimmer, who previously took the reigns of opening for Dopapod in the past. Walking on stage in an assortment of costumes from a bassist puppy dog (Jack Vignone), a guitar wielding, “all you can eat Jimmy Buffet” pun (Paul Klein), a keys/sax playing Santa Clause (Matt Dolliver) and Alladin’s Abu on drums and vocals (Cotter Ellis) the prog rock 5-piece swiftly grabbed attention of Den dwellers as the room began to fill over the course of their set. The crowd quickly realized why these guys have been able to snag opening gigs and musical praises from Dopapod–their sound can be sentient and groovy and in seconds build to heavier territories, never executing boring composition.

    The “No Shape” musicians warmed up the crowd with “Turko,” “Murphy’s” Song,” “J.I.G.” and an enchanting, jammed out “Sea Cerebral” as well as an appropriately placed HalloWeen cover of “Put The Coke on my Dick” with Ellis nailing the familiar vocal outcries. Taking full command of the exponentially growing audience, a masked and shirtless Joe Agnello (guitar/vocals) corralled the colorful crowd and had them dancin’ into set break with Prince’s party anthem “1999.”

    Trick of the night:  Ellis cracked his snare mid jam in true rock and roll fashion, although his relentless and professional playing fully disguised it. Both relying on lip reading and hand gestures, Dopapod’s Neal “Fro” Evans saved the day by hand-delivering his own snare to a fellow drummer in need.

    Astronaut Winderman, a monkey headed Chuck Jones, a low key Rob Compa and Evans were greeted on stage with a “This Is Halloween” introduction before a stacked set one of continuous, hard-hitting originals came into orbit–exactly what fans needed to submerge themselves in during the concluding gigs of 2017. Offering up fired-up favorites with an opener of “Black and White” paired with color coordinated lighting, each studio album was given a taste with as Never Odd or Even’s “Present Ghosts” trailed right behind. Serving up “Sonic,” “Bubblebrain” and a fix of the latest efforts on Megagem, a fun delivery of “Mucho”  found extensive live twists creatively altered from the studio version, giving those already familiar with the tune a fresh way to remember its live adaptation. Somehow managing to find time to squeeze in a sit in with Moe’s Vinnie Amico on drums for a gratifying and turbulent “8 Year’s Ended,” Redivder’s funky “Blast” closed out the powerhouse set which was ultimately a lengthy, indulgent Saratoga Springs get down.

    Hopping back on the tightly packed stage to settle down a wondering crowd, all eventually found themselves puzzled yet enlivened to be singing along to the words of the Dead’s “Eyes Of the World,” as Dopapod’s imaginative flair inventively took on the American rock classic. Hinting at a full cover set, a fierce and expressive Black Sabbath cover of “War Pigs” came next as it completely paralleled the carefree feel of it’s predecessor. The third song took some time to gain recognition as eventually the lyricism from Scarlet Begonias and intense anatomy of Sabbath songs magically fused together to create the ultimate Halloween treat.

    Treat of the night:  A Grateful Sabbath Bust-Out set.

    Looking back at the group’s latest moves on social media, they teased the second set theme by uploading two photos of frontmen Ozzy Osbourne and the late Jerry Garcia with the caption “milk,” to their Instagram feed. Each song execution conjured stupefied giggles and pure astonishment as Dopapod managed to fully rework well-known songs into interchanged genres, pulling off Sabbath’s “N.I.B.” with a laid-back Californian twist.

    Inspiration behind the set came to fruition years ago when Fro realized that Black Sabbath is “just the Grateful Dead playing minor instead of major,” as divulged on a recent Facebook post. So for those who never thought they’d get to see “Friend of the Devil” and “Sweet Leaf” performed in the same set, anything can transpire during a Dopapod Halloween gig. Adopting the Drums>Space routine of the Grateful Dead, Fro as well as wildly talented light/sound engineer and friend Luke Stratton were given time to shine as eye-catching shapes and colors rapidly twisted and whirled across the blank canvas of the Den walls.

    Adding to the themed mash-up, Sabbath lyrics were placed mainly to the tune of  “Terrapin Station” and introduced a long-haired “Jerry Osborne,” aka Stratton, to the stage for electrifying assistance on guitar and costume hilarity. A rebellious “Fire on the Mountain” making nods to the tunes of “Paranoid” and “Iron Man” closed out the eclectic bust out set with vigor. Quickly returning for encore, the four approvingly spliced together a tight delivery of 2009’s “Indian Grits” with the Dead’s groovy “Shakedown Street.”

    Everyone already had the seed planted in their minds to scurry to the remaining Dopapod gigs of the year but when you’re told not to miss a show, there’s probably good reasoning. In a matter of hours fans were scavenging on the Internet for Grateful Sabbath sound boards and video clips, surely face-palming envy deep into their hands. With just 28 gigs standing between the Boston-born band and a touring recess, catch the duo of Swimmer and Dopapod again at Providence’s Fete Music Hall for a Dec. 30th gig in Rhode Island with Hayley Jane and the Primates.

    Putnam Den 10/31/17 Setlists:

    Swimmer: Turko, Murphy’s Law, Put the Coke on my Dick* > J.I.G > Sea Cerebral, 1999^

    *Ween ^Prince

    Dopapod: This Is Halloween* (Walk out music), Black and White^, Ghosts ->, Sonic ->, Braindead, Mucho, 8 Years+, Blast

    Set II: Eyes Of The World$ >, War Pigs& ->, Sabbath Begonias@, N.I.B.**, Friend of the Devil^^, Sweet Leaf++ >, Drums >, Space >, SweetLeaf++, Black Sabbath$$, Fire on the Mountain&&

    Encore: Grits@@, *From Nightmare Before Christmas, walk-out music

    ^This Is Halloween tease +with Vinnie Amico of moe. sit-in on drums $Grateful Dead cover &Black Sabbath cover @Scarlet Begonias (Grateful Dead) lyrics in a Black Sabbath style **N.I.B. (Black Sabbath) in a Grateful Dead style ^^Friend of the Devil (Grateful Dead) lyrics in a Sabbath style ++Sweet Leaf (Sabbath) lyrics in a Grateful Dead style $$Black Sabbath (Black Sabbath) lyrics in a Grateful Dead style (mainly Terrapin Station), Jerry Osbourne (Luke Stratton) sit-in &&Fire on the Mountain (Grateful Dead) lyrics in a Black Sabbath style (mainly Paranoid and Iron Man), Scarlet Begonias tease @@Elements of Shakedown Street (Grateful Dead), Trapper Keeper teases

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