Phish added a new official archival release to their LivePhish collection this morning, with a show from May 17, 1992 at Union College in Schenectady is now available from LivePhish.com.
On Sunday, May 17, 1992, Phish played a “secret” show, unannounced in the April/May Phish Update of that year. The show took place at Achilles Rink at Union College in Schenectady on keyboardist Page McConnell’s 29th birthday. The show, which had a ticket price of $5, was the second to last show on the 53 night spring tour that wrapped up in the band’s hometown of Burlington, Vermont.
The night started off with a “no smoking” announcement prior to a first set highlights of “The Landlady” and “Llama” as the openers. “Stash” and “Chalkdust Torture” are also highlights from the set, and the “I Didn’t Know” features drummer Jon Fishman on trombone. The second set “Possum” is considered a recommended version of the song. It features a number of the band’s secret language cues, including the Simpsons and All Fall Down signals. It also contains a variety of teases, including “Rocky Mountain Way,” “L.A. Woman,” “China Grove,” “It’s Ice” and “Divided Sky.” The “Squirming Coil” features the audience singing “Happy Birthday to You” to Page, followed by teases of the song by Page. The versions of “Brother” and “Harry Hood” are considered must hear versions.
The new release is available for download or streaming at LivePhish.com.
Setlist
Set I: The Landlady, Llama, Colonel Forbin’s Ascent > Fly Famous Mockingbird > My Sweet One > Reba, I Didn’t Know, Stash, The Mango Song > Poor Heart > Chalk Dust Torture
Set II: The Curtain > Possum, Guelah Papyrus, The Squirming Coil, All Things Reconsidered, Brother, Sanity > Cold as Ice > Love You > Hold Your Head Up, Sparkle > Harry Hood, Cavern
Since Ja Rule’s cultural moment of music, art and food, known as the Fyre Festival announced its last minute cancellation, organizers have been slapped with a $100 million lawsuit. The class action lawsuit was filed by on behalf of Danial Jung, a festival-goer who purchased a $2000 ticket, and fans purchasing tickets costing $10,000 each, not including travel expenses to the Bahamas.
The Fyre Festival didn’t provide a specific reason for the cancellation other than a brief statement on social media that referred to “unforeseen extenuating circumstances.”
No word as to how many fans were affected by the cancellation, but current estimates have the pending lawsuit, with over 1,000 inquiries, rumored to reach near the $100 million range. The suit claims fraud, breach of covenant of good faith, breach of contract, and negligent misrepresentation. Celebrity lawyer, Mark Geragos, is heading the case while another attorney, Ben Meiselas, posted the following statement on social media:
Fyre Festival and it’s promoters recklessly stranded thousands of consumers in a festival of horror, and cost them thousands of dollars on travel, lodging, and time off from work.
Through this Federal Class Action we will make sure to hold Fyre — and all those who recklessly and blindly promoted the festival — accountable to make sure all consumers receive not only a ticket refund but also 100 percent reimbursement for travel, lodging, time off from work, and any other incidental and consequential damages.
Some festival-goers thought they were going to party with the likes of super models Bella Hadid, Angel Elsa Hosk, Rose Bertram and Emily Ratajkowski, among other celebrities. Fans were also promised, as part of their experience, yachts, luxury cabanas, and celebrity chef catering to go along with great live music. What fans received instead was a last second cancellation with no explanation, resulting in many stranded without flights back home.
Fans stranded at airports suffered water shortages, while multiple attendees had their luggage lost. The luxury cabanas resembled a refugee/disaster relief camp, while the celebrity chef cuisine was more like a cheap school lunch with two slices of bread, two slices of cheese, and small amount of salad inside a styrofoam container.
In a bit of a nervy twist, the Fyre Festival is now considering suing fans, who took to social media posting their displeasure and pictures of what was going on. Fyre Festival lawyers sent one attendee a cease and desist order after he posted that the grounds looked like a refugee camp. The festival’s lawyers statement said that comparing the conditions to a refugee camp could “incite violence, rioting or civil unrest. If someone innocent does get hurt as a result [of your postings] Fyre festival will hold you accountable and responsible…Inciting violence crosses the line.”
Vanity Fairhas reported that questions have been raised about the motives the festival organizers had as the pitch for the festival was leaked. It points out that the festival was given $8.4 million of “market value” land on Black Point, Exuma in exchange for hosting the festival and advertising the island.
Co-founder of the festival, Ja Rule, posted on social media in caps that the events were “NOT MY FAULT.” Fyre’s other co-founder and C.E.O, Billy McFarland, said it was the worst day of his life.
Reflection: Who did I really see? What turned out as a spontaneous, nearly three hour drive from New York’s capital region to Jersey City to catch Doylestown, PA natives Balance and Composure for a low key night of alternative rock, grunge and some newfound shoegazey material, quickly turned into what can be described as a Balance and Composure after party, an appropriate nod to a popular track on their latest album. I’ve been to my fair share of B&C shows and lets just say this one does not conventionally belong among the rest.
Queens of Jean and From Indian Lakes opened up the second Monty Hall gig of the weekend on April 23 before the three groups took the reigns of their US. Spring 2017 tour. Frontman Jon Simmons took to the stage to prep for the set ahead–along with two other non-band members, which quickly generated buzz among the loitering fans. Simmons guitarist Andy Slaymaker and drummer Bailey Van Ellis, took their respective spots on stage, however, guitarist Erik Petersen and bassist Matt Warner were nowhere to be seen.
Taking a glance around the tightly packed venue, it was evident that the calmer and probably older Balance and Composure veterans sat toward the back while the younger crowd channeled their energy and pushed their bodies to the forefront of the room. The two unknown members turned out to be members of the Doylestown, PA group on hiatus, Superheaven, bringing an evident “pop punkier” sound throughout the set.
Without lineup explanation or further ado, Simmons briefly addressed the crowd, thanking everyone for coming out for night two at Monty Hall in Jersey City– a place they’ve yet to play or “even knew existed.” It was clear Balance and Composure 2.0 was ready to kick things off for a night of fun, even with the unconventional or unexpected lineup. Making cryptic jokes and spewing one-off phrases and interjections throughout the show such as “well, let’s uh have some fun tonight” and “the band and I have taken a consensus…” I wasn’t sure if I had walked into the alternative rocker’s edition of The Twilight Zone or if Ashton Kutcher reprised Punk’d just for me, but confusion danced in the air as did I. Although not the run of the mill B&C show, there was only one thing to do– embrace it. (I later found out that Erik and Matt are in the midst of planning their own weddings. Congrats, guys!)
The group’s third and most recent studio album, Light We Made, stirred up some fan controversy and genre expectations. With the help of producer Will Yip, they took a leap away from the grunge and angst given off on their debut album Separation and implemented auto tune and electronic drumming. Their sophomore release, The Things We Think We’re Missing, blended said genres with more wistful sounds and whimsical lyrics until their third album completely strayed away from their original angered disposition. Diving into Light We Made’s inaugural track for the opener, “Midnight Zone,” Simmons’ threw his hands in the air and began to groove, as the crowd followed. He began to sing through a mic which crafted his voice into the exact way it sounded on the album, certainly Kanye West-style auto tune, but airy and intriguing all at once.
“Spinning” came next, further conjuring fans to dance and get movin’ before TTWTWM’s “Tiny Raindrop” and “When I Come Undone.” “Void” awakened the violent finger pointing, mosh veterans and long-time fans of the band, conjuring nostalgia and angst from their very first studio album which segued nicely into “Fade,” another heavy hitter. “For A Walk” definitely sits in its own category, as it uses mainly electronic sounds and beats and only makes sense it was delivered to the Monty Hall crowd during the band’s most electronic set to date. “Postcard” was fun to see in a live setting, as Bailey originally tracked the song with electronic drums. If you’ve ever heard of Balance and Composure, you know “Quake,” which was instantly proven as all sang along and rocked their heads to the classic fan-favorite. Next, the group executed “Run From Me,” giving fans another opportunity to hear their latest Record Store Day project before a bust out of the calming and emotionally charged “Stonehands.” “Notice Me” found the most audience praise and participation as the ending lyrics and title were shouted loudly in repetitive unison with Simmons.
“Afterparty” came next to accurately sum up the night’s theme. With a group of what seemed to be intoxicated high school girls screaming “well that was fun!” rap music blaring over venue speakers between sets, the makeshift lineup and the care-free, party mentality that Simmons displayed, it truly felt like the song’s namesake. A penultimate deliverance of “Reflection” and a final encore of “I Tore You Apart in My Head” found all fans pushing directly to the front. Whether you entered the Balance and Composure fandom at the grungy, ground level, jumped in during TTWTWM’s experimentation or just came into their new-found electronic explorations, all fans found themselves layered against one another for the final track of the night.
I’m not sure if it was the atypical line-up, or the self-preparation before the show that shaped this one of a kind experience, but toss all factors together into a neat package and the hour and ten minute set proved to be quite a unique one– and one I’ll never forget. Balance and Composure never fails to deliver.
Setlist: Midnight Zone, Spinning, Tiny Raindrop, When I Come Undone, Void, Fade, For A Walk, Postcard, Quake, Run From Me, Stonehands, Notice Me, Afterparty, Reflection, I Tore You Apart in My Head
Those crazy kids from Colorado are it again. String Cheese Incident, one of the true pioneers of the modern jamband scene, has just released a feature length LP entitled Believe, their seventh studio produced LP and second with famed Talking Heads producer Jerry Harrison playing a prominent role. Spawned from an intensive, full band writing session in Sedona, Arizona in 2014, the songs on this album range from simple and laid back to complex and intense, showing just how much of a range SCI can navigate through these days.
Things pop instantly on the first and title track “Believe” with a quite funky, techno-ish groove that snakes in and out of some glossed up vocals led by guitarist/violinist/string wizard Michael Kang. “Sweet Spot” gives Keith Moseley a chance to shine on vocals on a feel good, simple number featuring his always steady bass play. One of the jewels of this recording is “My One and Only” which masterfully mixes the band’s rhythmic cohesiveness and heartfelt lyrics over a bed of pleasant violin and acoustic guitar before abruptly transitioning into an Irish folk dance ending of sorts, reminiscent of something from Riverdance. Along with vocal support supplied by Elephant Revival’s Bonnie Paine, it’s no surprise this song is in constant rotation on Sirius Satellite Radio’s Jam On channel. “Get Tight” is another one of those classic SCI songs that’s beautiful in its simplicity and catchy as all get out. Although it is very similar in nature to “Sweet Spot,” both songs elicit a relaxing, summertime vibe that would seem to fit perfectly in a first set when played live.
The following track, “Stop Drop Roll,” quickly changes things up and represents one of the true “dance” tracks on the album with evident elements of Daft Punk and Talking Heads (see: Harrison, Jerry). This one seems to be heavily influenced by the rhythm section of Michael Travis (drums) and Jason Hann (percussion) which would make sense as they comprise EOTO, an established EDM act that is no stranger to late night festival sets. “Flying” is really the only track that gives guitarist and founding member Bill Nershi a chance to take center stage and has a somber yet airy feel to it. “So Much Fun” gives keyboardist Kyle Hollingsworth a turn on lead vocals and has so much of an 80s pop rock classic feel to it that you almost expect Huey Lewis to jump in and sing a few bars. And perhaps no other track on Believe serves as a better example of the band’s current sound than the last one, “Beautiful.” Already well established in the live setting, this song meshes String Cheese Incident’s signature sound texturing and heartfelt, joyous, lyrics all while being powered by an infectious electronica-type groove.
Overall, this album does a nice job of keeping the listener engaged and mixing up different sounds and styles almost track to track. It showcases the band’s musical chemistry that comes from decades of playing with one another and a simple yet heartfelt songwriting approach, serving as a great example of both the band’s history and their current sound. This is a recommended purchase certainly for any SCI fan, but also for anyone who may be out of the loop and is curious what these rockers from the Rockies sound like today.
The second year of the Meadows Festival, held in Citi Field, is set to host a plethora of artists reaching across a variety of genres. Tickets went on sale May 10 with prices starting at $275, plus fees, for an early bird three day general admission ticket.
It is unclear if any more artists will be added to the lineup, but can be expected with such a large gap of time between now and the first day. Last year, there were several late additions to the lineup, which would lead people to believe the same will happen this year. The current lineup can be found on the festival’s website and includes some of the following: Future, Bassnectar, LL Cool J ft. DJ Z-Trip, M.I.A., Foster the People, Big Gigantic, Milky Chance, and over 40 more.
The first year of the festival went off with a few glitches both during and prior to the event. First, according to the Meadows website, Kanye West’s show ended a bit early due to a, “very frightening and unexpected family emergency.” Refunds were not issued, which may have flustered many patrons after Founders Entertainment, creators of Governors Ball and the Meadows, billed West’s performance as a make-up show after his Governors performance was cancelled due to heavy rain.
Legal trouble came about prior to the event after the announcement of festival’s partnerships and supporters. A report by Billboard.com revealed that the festival announced it had the support of the Flushing Meadows Corona Park Alliance (FMCPA), which was false. The poor communication resulted in a clash between Founders Entertainment and the FMCPA mainly because of two large events being held in the same general area on the same day (the Meadows Festival and the Makers Faire.)
Several years ago I had an opportunity to see a local young man open for Parmalee at Toby Keith’s. Impressed by his talent, I made a point to speak to him that evening as I noted something unique about him. Fast forward two years later and color me pleasantly surprised to have his new EP Where Would I Be come across my desk to be reviewed. After listening to it, once again I noted that unique quality in his work that makes him stand out amongst the crowd. Kolby Oakley, a 22 year old country musician, hails from a musical family.
Although he is young in years, his experience is that of years of musical influences. His father, Steve Oakley, sings, his mother, Kim Oakley, plays bass, and his uncle Craig Oakley, is well known for performing with both The Beach Boys, and Bob Hope. Playing alongside his folks throughout the years on drums, he taught himself the guitar, and after loosing his great Grandmother in 2007, he began writing his own work. A wonderful musician, it’s his writing that stands out to me. Kolby has a gift of story telling. His descriptive lyrics place you in a frame of mind of the characters he sings of and transports you to the moments in which they reflect. This was evident as I began to listen to his four-song EP that is being released this week.
The title track, “Where Would I Be,” paints a story of those influences throughout the years that shaped the person he sings of. This upbeat song, gives thanks to those moments and the reflective journey taken to arrive at the destination of today. The next track, “First Kiss,” slows down the tempo, but not the momentum of this EP. Kolby’s knack of writing mimics that of a novel writer, giving your senses the touch, taste, smell, and flavor of the moment, making this track somewhat sensual. My favorite track however is the third, “Keeps Me Coming Back.” Perhaps it’s the fun Caribbean flare of toes in the sand, sun on your shoulders, beer in your hand that come across and pulls me in on this number. The final track, “Counting On,” is my next favorite. The consistency in his writing once again draws you in and takes you on a journey of heartbreak, loss, and coping. It floors me that at only 22 years of age, this young man, has the soul of a seasoned country musician.
I highly recommend catching Kolby Oakley this weekend at his EP release party, in Binghamton at Touch of Texas. Doors open at 6pm and tickets can be purchased both online and at the door.
From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the post-rock electronic jam band decided to share a live compilation album fresh off the heels of their recent journey. Titled 86 Revolutions, the 14-track release brings listeners through live takes of tracks pulled from the five-piece’s Eat the Light andBuild, as well as dug up songs from Lotus’ developing stages as a group.
“We had a new soundboard for this tour, and the multi-track sources sounded great,” said bassist Jesse Miller, who selected each track and mixed the album. “We release all of our shows, but this was an opportunity for me to spend extra time mixing to expose all the layers that build the Lotus sound.” Group improvisation is the name of Lotus’ game and Miller plays a solid hand in highlighting that through the albums construction.
We’re welcomed into 86 Revolutions by percussion on “Debris” as Disc One introduces listeners to six tracks of high-energy jamtronica. The entire album can be found via Bandcamp, where more information is listed on track performance date, artist collaborations and more. Proven to be a solid inaugural track with tantalizing guitar, “Debris” is sure to get you grooving by the time Eat the Light track, “Anti-Gravity” ft. electric soul artist Oriel Poole, kicks in. Performed in Ohio, Poole’s soft vocals and lyrics of “You’re my anti-gravity, hold me so I don’t float away,” pair nicely with the spacey jams that help keep the dance mentality alive. At 7:30, the track’s sound takes a turn as it relies heavily on drums and keys until an ultimate fade out transitions into Nomad’s “Livingston Storm” from the very same gig. Loud cheers from the fans can be heard just before the five minute mark until tempo begins to pick up, slow down and do it all over again before closing out the track.
“Sleep When We are Dead” comes as the first vocal-heavy choice, executed by the band members themselves with breathy vocals, a catchy “Surf Rock” chorus and clean guitar with warbling effects. Lyrics describe grabbing life by the horns, living in the now and of course an allusion to the age old saying “I’ll Sleep When I’m Dead.” Highlights from the first half of the release come in “Expired Slang,” which hails from the instrumental-heavy group’s outrageous performance at the 930 Club in Washington, DC. Hearing the track that’s never been included on a studio album through the buds of earphones and computer speakers does, in fact, do the song justice–which only makes one wonder how impeccable it sounded in person. The recorded take relinquishes zippy synth/keys and heavy electro-funk to end on a powerful note. Disc one’s closing track treats fans to another round of pleasing vocal harmonies and percussion breakdowns with lyric-heavy Eat the Light’s “When Our Nerves No Longer Twitch.”
The second disc leads with a “Slow Cookin” sandwich, pieced between funky “Neon Tubes” Part 1 and 2 on each end. Recorded during their Aspen, CO gig, Greensfield begins to explore unique time signatures at about a minute and a half into the track. “Slow Cookin’” keeps things rolling with cymbal crashes, drum solos and percussion teases as the sampler and synthy vocals get ample attention. “Neon Tubes” rolls back around, transitioning in with whirling sound effects on the dance heavy song. Guitar harmonies and mastery on “The Opus” instantly draw attention inward for the track that was recently performed for the first time ever at the famed Port Chester Capitol Theatre.
Quite possibly the cleanest sounding tune from the compilation, “The Opus” is another first-time studio album cut. “Rà-Àkõ-St,” originally by Lindstrøm’ and the first cover included on 86 Revolutions, outwardly appeals to the more electronic side of Lotus. The track is played in a triumphant key, as its improvisational volume and speed bounce from high to low and slow to fast. “Blacklight Sunflare” follows, with exploration of diverse sounds and elements, giving a more progressive rock feel to the album. The second and final cover comes as an ode to Talking Heads with a 9-minute “Moon Rocks,” originally off of 1983’s Speaking in Tongues, complete with David Byrne-esque voice inflection and new wave tendencies.
86 Revolutions wraps up with an 11-minute “Umbilical Moonrise” off of 2003’s Germination, sure to send long-time fans into an extreme state of bliss. Appropriately placed as the ultimate tour closer, the track was the first to ever be penned by Lotus, giving a “full circle” feel to their start as musicians and conclusion of a triumphant tour. It’s fitting for a calm and reflective song, giving listeners time to unwind and reflect on the 86 day journey Lotus embarked on and condensed into 14, carefully selected tracks.
Key Tracks: Anti Gravity, The Opus, Blacklight Sunflare
Albany has a new funk band in town and Hartley’s Encore is a can’t miss show. Twice this spring I have been floored by the high energy funk originals and covers that have kept bar stools empty and the club floor full. A lineup of veteran musicians from around the Capital District, Hartley’s Encore is led by Luke Malamood on keys and vocals, backed by what he accurately refers to as ‘Albany’y Best Rhythm Section’ in Andrae Surgick on drums (and occasionally Mike Gilet) and Josh Gordon on bass. Co-founder Chris Oliver on guitar opposite Jeff Nania on saxaphone (and on some nights like this evening at Parish Public House, joined by Phil Chow on trumpet) completes the five/six man group, a welcome addition to Albany’s stellar music scene. Go see this band!
It was a night filled with some of her popular tunes and several off of her 2016 release,Memphis Rock and Soul, including her take on venerable blues/rock staples from the likes of Albert King, The Staples Singers, and Isaac Hayes among others. The room felt electric from the moment Etheridge stepped on stage with one of her several Ovation guitars in hand, receiving a standing ovation from the crowd even before striking the first notes of “Angels Would Fall.”
Last year Etheridge made a solo appearance at the Paramount, at times creating a one-person band set against a backdrop of a dozen or so guitars including a new bass she picked up at Division Street Guitars (right around the corner from the theater). This time with a full band the musicianship on stage from everyone was excellent, with plenty of warm-hearted anecdotes to fill the time between songs.
Her show felt like a tribute of sorts to the Memphis blues and rock and roll songwriting, often citing Stax Records artists as inspiration while introducing the songs off of her latest release. Combined with her showmanship, Etheridge’s rich tenor vocals validate the authenticity of her take on those songs and the style.
Although she didn’t pick up a guitar at the local guitar store around the corner from the Paramount as she did last year, Etheridge expressed a bit of gratitude and appreciation for the venue and the city of Peekskill.
With Etheridge’s trend of releasing a new album every few years, it’s likely just a matter of time before she is welcomed back to the Paramount with open arms.
Setlist: Angels Would Fall, Similar Features, Any Other Way, I Want To Come Over, Fearless Love, I Want To Be In Love, Respect Yourself (People Stand Up), Hold On I’m Coming, Born Under A Bad Sign, Chrome Plated Heart, Come To My Window, Bring Me Some Water, I’m The Only One->Rock Me Baby->I’m The Only One
Rochester’s Party in the Park announced the 2017 lineup for the summer concert series. The lineup includes many big names in music, including Los Lobos, Living Colour, Tim Reynolds and Blues Traveler. The series also features a number of local acts on the Genesee Brewery Bowl Stage, including Personal Blend and Ocular Panther.
Party in the Park 2017 CGI Main Stage Lineup
June 15 – Los Lobos, Adam Ezra Group
June 22 – Living Colour, Aqueous
June 29 – Giant Panda Guerilla Dub Squad, Big Mean Sound Machine
July 6 – Tim Reynolds TR3, The Movement
July 13 – Blues Traveler, Kat Wright
July 20 – Los Lonely Boys
July 27 – The Machine
Aug. 3 – Matisyahu, Danielle Ponder and the Tomorrow People
Aug. 10 – Donna the Buffalo, Zach Deputy
The Genesee Brewery Bowl Stage Lineup
June 15 – Neil Van Dorn
June 22 – Matthew Corey
June 29 – Personal Blend
July 6 – White Woods
July 13 – Dirty Bourbon Blues Band
July 20 – The Dan Eaton Band
July 27 – Into the Now
Aug. 3 – Ocular Panther
Aug. 10 – String Theory
Original Post:
Rochester’s Party in the Park summer concert series returns to celebrate 20 years. Zach Deputy, Los Lonely Boys and Pink Floyd tribute act the Machine are included in the 2017 lineup. A press conference is scheduled for Thursday to announce the full lineup.
Party in the Park takes place weekly on Thursdays from June 15 through Aug. 10 at Rochester’s Dr. Martin Luther King Jr. Park.
Tickets for the Party in the Park concerts are $5 each. Fans who plan to attend all nine shows can purchase a a Party Pack for $35 and will be able to enter via an express entry line.
June 15 –
June 22 –
June 29 –
July 6 –
July 13 –
July 20 – Los Lonely Boys
July 27 – The Machine
Aug. 3 –
Aug. 10 – Zach Deputy
It is unclear if any more artists will be added to the lineup, but can be expected with such a large gap of time between now and the first day. Last year, there were several late additions to the lineup, which would lead people to believe the same will happen this year. The current lineup can be found on the festival’s 
From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the
It was a night filled with some of her popular tunes and several off of her 2016 release,