NYS Music 20​17

Blog

  • Back in the New York Groove: Three Nights of The Disco Biscuits at The Capitol Theatre

    Philly jamtronica legends The Disco Biscuits took their act to The Capitol Theatre in Port Chester, New York for three nights of pulsating grooves that were accentuated by a breathtaking light show. This run featured some intensive freeform jams, the band’s customary creative song structuring and even a sit in from an old friend.

    disco biscuits new yorkThursday, April 27

    Thursday night’s festivities kicked off with a fairly straightforward run through of “Story of the World” that quickly picked up steam and soon transitioned seamlessly into a “Shem-Rah Boo” that was left unfinished. Instead, the jam took a dark, techno-y turn into “Gangster,” replete with vocoder sounds supplied by keyboardist Aron Magner, before steering back to the conclusion of “Story of the World.”  A somewhat rare standalone “Strobelights and Martinis” followed and the uptempo instrumental number featured an incredible array of laser lights strewn throughout the theater, a constant theme throughout the entire run. “On Time,” a song from the band’s 2010 release Planet Anthem, brought a most enjoyable first set to a close.

    Stellar musical improv and long, deep jams were the story of the second set, highlighted by a spellbinding “7-11” opener that was stretched out to max capacity. In the midst of one of the slower portions of the jam, a figure emerged from the side of the stage. None other than Matisyahu, who has sat in with the band on two other occasions, soon began displaying his freestyle prowess as The Disco Biscuits temporarily went from headliner to support act, laying down grooves and giving the well known Jewish rapper a musical template from which to work, so to speak. After leaving the stage, the Biscuits then reverted back to the headliners they are and dropped a monster “Floes” that served as one of the true musical peaks all weekend. Yet another silky smooth transition followed with the delivery of “Pilin’ It High” before an impeccable “House Dog Party Favor” brought a rousing and magical set of music to a close. With little time for an encore, “Kitchen Mitts” was the play and one of the rare “sing along” songs the Biscuits feature regularly had everyone doing just that.  One incredible night of music was now in the books with two more chapters to follow.

    disco biscuits new yorkSet 1: Story Of The World> Shem-Rah Boo^> Gangster> Story Of The World, Strobelights and Martinis, On Time
    Set 2: 7-111> Jam*> Floes^> Pilin’ It High, House Dog Party Favor
    Encore: Kitchen Mitts
    ^unfinished
    *with Matisyahu

    Friday, April 28

    Building off the energy from Thursday, the line to get inside stretched around the block leading to a packed house with an aire of excitement weaving its way through the crowd. Fans were treated to a laugh when Marc Brownstein stepped to the mic before the band jammed into “Air Song,” making a joking reference to Ja Rule’s Fyre Fest which was in disarray in The Bahamas. “The Champions,” which emerged from “Air Song,” is staking itself out to be one of the best new songs written by the Biscuits in some time. “Spacebirdmatingcall” slowly crept from “The Champions” and was driven into high gear by Brownstein, leading to the culmination of Thursday’s “Shem-Rah Boo” and took a quick turn into a raging “Down to the Bottom,” which led to an eruption of joy from the crowd, and into the ending of “Spacebirdmatingcall” to cap the set.

    disco biscuits new yorkA palindrome of 5 songs covered most of the second set, sandwiching inverted middle sections of “Jigsaw Earth” and “Pimp Blue Rikkis” inside “Save The Robots” for a high energy/no let up hour with some “Basis for a Day” teases mixed in. “Highwire” found the crowd tapping into reserves of energy that was needed as they wrapped up “Down to the Bottom” and threw in a “M.E.M.P.H.I.S.” encore for good measure. Night 2 had a lot of heat and boded well for the finale of the run to come on Saturday

    Set 1: Jam> Air Song*> The Champions> Spacebirdmatingcall> Shem-Rah Boo^> Down To The Bottom> Spacebirdmatingcall
    Set 2: Save The Robots> Jigsaw Earth&#> Pimp Blue Rikkis> Jigsaw Earth&> Save The Robots, Highwire*> Down To The Bottom
    Encore: M.E.M.P.H.I.S.
    * unfinished
    ^ ending only/completes 4/27
    & inverted version
    # middle

    That segue back into SpacebirdMatingcall… pure ?? #discobiscuits #lasers

    A post shared by NYS Music (@nystatemusic) on

    Saturday, April 29

    Piggy-backing off 2 unforgettable nights in Port Chester, Saturday night was the sensational ending to the Disco Biscuits at the Cap trilogy. The four took to the stage with Barber ready to jam, dressed head to toe in a red jumpsuit and shades. In no time, set one launched and opened with “Papercut,” a popular choice as of late; having been played 25 times total since 2007, the Brownie track segued into the first Uncivilized Era track of the night, “Aceetobee,” inciting a multi-story fan sing-along. Flawless transitions between songs and into “Tempest” kept the night moving seamlessly and even found fans trapped in banter, unable to guess which tracks would come up next before coming full circle to “Aceetobee.” With only a brief pause after the three song execution, “Confrontation” hit the crowd hard. Having been just recently played during February’s Philly run and acting as a popular choice since 2010, “Confrontation” may be slowly dwindling but still manages to sneak its way into consistent and relevant setlists. “Rock Candy” came next as the fluff between the “Confrontation” sandwich and capping off set one with a 3 minute standing ovation as the PA natives looked up at the crowd and soaked it all in.

    disco biscuits new yorkAlthough night three appealed to a ravier side of the Biscuits, the setlist was crafted down to a science, treating fans to an equal split of classic jams and electronic tuneage. Keeping the party raging, a captivating “I-Man” opened up set two while leading into “Munchkin Invasion,” or so it seemed. After a decent amount of playtime, everyone on foot at the Cap was duped with a hard fake out, leaving Munchkin unfinished and instead taking on an electric “Cyclone” with abstract and mind-bending visuals climbing up the Capitol Theatre walls and across the dome ceiling to match. “Little Betty Boop” came to fans in an astray, inverted package and while the transition guessing game continued, “Loose Change” followed. While it seemed many weren’t familiarized with the bust-out On Time EP track, it was played so flawlessly that it certainly made an indelible mark for those hearing it for the first time. “Munchkin Invasion” was revisited as senses were heightened waiting for the resolution that never came. Faked out yet again, “Loose Change” also came with “Svengali” teases. Revisiting “I-man” as bookend tracks for set two, both halves added up to nearly a half hour of full on crowd engagement and an “And the Ladies Were the Rest of the Night” tease as “I-Man out on the loose!” rang throughout the famed Port Chester venue.

    Before capping off the three night run, the quartet came back on stage for a massive “Digital Buddha” encore, complete with Magner’s hands flying across the keys, technicolor lights and a projected image of buddha sitting on the regal venue walls. The pins for “Digital Buddha” may sell for a pretty penny but witnessing the encore full force was priceless.

    Set 1: Papercut-> Aceetobee-> Tempest-> Aceetobee, Confrontation-> Rock Candy-> Confrontation
    Set 2: I-Man*-> Cyclone-> Little Betty Boop*^-> Loose Change**-> I-Man***
    Encore: Digital Buddha

    *W/ Munchkin Invasion Fakeout
    ^ inverted
    ** w/ Munchkin invasion Fakeout and Svengali teases
    *** w/ and the ladies were the rest of the night tease

  • Josh Carter Explains the Maturation of Phantogram’s Sound

    Josh Carter has been traveling the world so much that he dreams of being on the road. “My girlfriend said to me the other day that I was sleep talking, and I was saying something about being in Singapore,” said Carter. “I’ve never been to Singapore.”

    Give Carter and Sarah Barthel — better known as fast-rising alternative electronic pop group Phantogram — enough time and they may yet reach Singapore.

    The duo from Greenwich recently wrapped up five months of constant touring in support of its new album, “Three,” with a series of East Coast club shows, including a sold-out show Saturday, January 14 at Upstate Concert Hall in Clifton Park.

    “I used to go to Hatebreed shows at Northern Lights (what Upstate Concert Hall used to be called,)” said Carter in a phone interview from Los Angeles, where he now lives. “I was really into hardcore back then.”

    There is a harder edge to Phantogram’s songs than when Carter and Barthel started out as Charlie Everywhere in 2007. The breathy vocals and electronic soundscapes featured in early songs such as “Mouthful of Diamonds” and “When I’m Small” have been replaced with big beats and in-your-face vocals, as found in more recent hits as “Black Out Days,” “Fall in Love” and “You Don’t Get Me High Anymore.”

    Carter said the change to a more aggressive sound was fueled in part by audience reaction to the band’s shows early in their career.

    “I can’t cite a specific moment, but I remember people saying to us, ‘I love the music, but I can’t understand any of your lyrics because they were so buried in the mix,’” said Carter. “So, I think it’s a combination of playing live shows and gaining confidence.”

    Carter also said collaborating with other artists helped Phantogram grow. A guest appearance on Big Boi’s 2012 solo album Vicious Lies and Dangerous Rumors led to a full-blown side project with the Outkast rapper called Big Grams that led to an EP in 2015. Phantogram also appeared on The Flaming Lips’ tribute album to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band — 2014’s With a Little Help from My Fwends — where Carter and Barthel tackled “She’s Leaving Home.”

    “It’s been so much fun. It’s also been a learning experience,” said Carter. “Collaborating and playing music with others is always a good thing because you learn so much.”

    Having the chance to work with Big Boi on Big Grams has been a dream for Phantogram, said Carter. “We were heavily influenced by Outkast. In fact, Sarah and I call ourselves Aquemini (a title of a 1998 Outkast album) because Sarah is an Aquarius, and I am a Gemini,” said Carter. “We loved Outkast because it seemed like the sky was the limit for them. They could do something like a gangsta rap on one song, and then they’d have this cheerlead-y pop song like ‘Hey Ya.’”

    Phantogram’s own discography maps out the direction the band has been heading. Eyelid Movies in 2010 — their first release for indie label Barsuk Records — was an expansion of its self-released EP from the previous year, which included “Mouthful of Diamonds.” In 2011, they released the EP Nightlife, which saw the beginning of the band’s transition from shoegazing electronic music to more sample-heavy hooks, as found on “Don’t Move.”

    A couple of years later, Phantogram moved to Republic Records — a division of Universal Music Group that features artists such as Ariana Grande, Nicki Minaj and Drake, among others. The group’s first album for Republic, 2014’s Voices, brought their music to a more mainstream audience around the world. They started making regular appearances on such shows as “The Tonight Show with Jimmy Fallon,” “Jimmy Kimmel Live” and “The Late Show with David Letterman.”

    Three marked another transition for Phantogram. The band exclusively worked with an outside producer for the first time, as Ricky Reed took the controls on the album. Outside songwriters including the-Dream and Tricky Stewart also collaborated on the album.

    Reviewers had mixed feelings about Three, but Carter said the album is part of Phantogram’s continued growth.

    “We’re not David Bowie. We’re not as brilliant as he,” said Carter. “But if we can have that one moment like David Bowie had with ‘The Thin White Duke’ and ‘Ziggy Stardust,’ that would be awesome.”

    And as it edges closer to mainstream success, Phantogram is proving that a Capital District band can have an international following.

    “I’m proud and happy to represent our home area,” said Carter. “It’s a testament that you don’t have to be from New York City or Los Angeles or Austin or San Francisco to be successful.”

    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.

  • Baked Potatoes Released Video for ‘Unity’

    Baked Potatoes released a music video for their song “Unity” off their debut album Loaded.baked potatoes loadedBaked Potatoes, a ska/punk band from Oneonta, recorded a video, the band’s first, for their song “Unity.” The video was released on April 20, the one year anniversary of their debut album Loaded.

    From the band:

    During the harsh upstate NY winter the Potatoes got together in The Warehouse, a DIY punk venue that was converted from the loading dock of an abandoned bakery.  A venue known for almost exclusively punk-rock and hardcore shows, The Warehouse turned out to be the perfect setting for “Unity.” The ska-punk horn filled anthem sings about positive mental attitude, questioning authority, and being stronger united than divided.

    Loaded is available for streaming and purchase through the usual sites.

  • Carolyn Wonderland Heats Up the Dinosaur

    Carolyn Wonderland returned to Central New York April 14, performing a benefit for the NYS Blues Fest in a night of raucous blues at the Dinosaur Bar-B-Que in Syracuse. The Austin-based performer showcased her powerful voice and mastery of the lap steel and Telecaster to the faithful gathered upstairs at the famed Willow Street venue.

    carolyn wonderlandWhether belting out blues standards like Blind Willie Johnson’s “Nobody’s Fault But Mine” or her own soulful original, “Only God Knows When,” Wonderland proved that she is one of the genre’s most dynamic acts. Her Joplin-esque rasp held the crowd’s attention while her six-string prowess had jaws on the floor.

    Wonderland (Her real name is Carolyn Bradford.) and her band, Kevin Lance (drums), Bobby Perkins (bass) and special guest Shelley King (guitars/vocals) turned in a 15 song set mixed with classics and originals. The rhythm section kept the time with an understated tone while Wonderland and King stood front and center, beautifully harmonizing and joking with each other throughout the set.

    To say the crowd was appreciative would be an understatement. Throughout the set, fans jockeyed for position to get a glimpse of Wonderland’s furious fretwork. Wonderland has garnered a loyal Upstate New York following since she opened an impromptu Midnight Ramble at Levon Helm’s studio in Woodstock in 2009. She has since performed in that hallowed room at least a dozen times. Performances at Rochester’s Lilac Festival in 2010, the 2012 NYS Blues Fest in Syracuse and the 2016 Chenango Blues Festival in Norwich have provided strong word of mouth recommendations most artists can only dream of.

    Watching Wonderland perform, it is obvious that the stage is her place. She becomes the music, whether it’s her song or somebody else’s. This was especially obvious during her solo in the King-penned “Welcome Home.” The sound coming from her Telecaster was a mix of emotion and intensity. At one point, as she reared her auburn mane back, her eyes rolled back in her head, lost in the song. Wonderland never goes through the motions. When she’s strapped in, the audience better as well because she’s taking you on a trip from South Texas through the Delta, straight up to Chicago.

    The show opened with an acoustic set from Syracuse’s Colin Aberdeen. He has been working the Central New York music scene for more than 25 years and has become somewhat of a godfather to Syracuse musicians. Aberdeen is well steeped in everything from the blues to all forms of Americana.  Joining Aberdeen for several songs was young harmonica player Max Eyle. He and Aberdeen goaded the crowd into some call and response and the crowd eagerly responded. Aberdeen, a member of Los Blancos, the Barking Loungers and the Westcott Jugsuckers, is one of Central New York’s hardest working musicians and was a perfect fit to open this show.

    Following Wonderland’s show, the party continued on the main floor of the juke joint as the Carolyn Kelly Blues Band took the baton on Carolyn night. Kelly’s soul, especially in the Roosevelt Dean song, “Somebody Told Me,” brought tears not only to her eyes but to many of those in attendance as well.  Todd Fitzsimmons’ stellar guitar work kept the blues going well into the night, capping off yet another terrific night of music in the Salt City.

    The 2017 NYS Blues Festival lineup was announced at this show. You can find more information about this free downtown festival, taking place July 7-8 here.

  • Rochester Congregates for the Gospel of Robert Randolph

    With an even mix of covers, instrumentals, and tracks off his new album, Got Soul, in just a little over an hour, Robert Randolph made Anthology his house of gospel worship. When you’re on stage with Randolph you’re a part of his family, whether you share blood relation or not. Other than his actual cousin Marcus sitting behind the drums, the names and faces have changed over the years. But their mission has stayed the same. Robert Randolph and the Family Band conduct a non-denominational service espousing love, hope and energy via a program of invigorating and uplifting funk and soul filtered through the unique style of pedal steel guitar originating in the Sacred Steel church. On a cool and damp April 20, the traveling ministry arrived in Rochester.

    The service began, as they often do, with the organist filling the air with thick swirls, preparing the crowd for prayer. Things took an unexpectedly dark turn with a quick cover of Black Sabbath’s “War Pigs.” But in that quick two-minute flourish the darkness would stay for the remainder of the night. It quickly moved into another cover, this one of ZZ Tops “I Thank You,” which is featured on Got Soul.

    From there Randolph kicked into the first of three stunning instrumentals he would intersperse throughout the evening. Each had it’s own character, but followed the tried and true Sacred Steel format, begging the question: Can you be summoned to scream Hallelujah and Amen without a prayer being uttered? Randolph proved the answer to be a resounding ‘Yes,’ as he stretched and twisted notes, sculpting the structure of sound, building it slowly to ecstatic peaks. Randolph may have adopted a slick and polished exterior in his studio output, but from the inside looking out, he’s still the same old impassioned and energetic force of musical enlightenment.

    And the new songs came off well from the stage as well, with the band rolling through uplifting takes on “Find a Way,” “Love What You Do,” “Shake It,” and “I Want It.” On “Love Do What It Do” Robert egged on his sister Lenesha to freestyle about their childhood trips up to Rochester to see the Campbell Brothers at their church on Goodman Street.

    The encore began with Randolph on stage alone, eliciting some gorgeous Hawaiian pedal steel sounds on the instrumental “Heaven’s Calling” before the rest of the band filed on for one big final thank you and their version of the Sly and the Family Stone classic “Thank You Falettin’ Me Be Mice Elf Agin.” The band filed off again mid-jam, leaving just the original Family Band members, Marcus and Robert, to close out the evening with a breakdown jam that drifted off into midnight.

    Rochester’s own soul superhero, Danielle Ponder, got the evening off to a hot start. Public defender by day, soul-belting goddess by night, her and her band the Tomorrow People mesmerized the early crowd with powerful heartfelt grooves, highlighted by a sexy and sultry cover of “Crazy.” Luke Wade and his young trio, playing together for the first time, played a set chock full of original love songs, with “Morning View” and “On Fire” being the stand outs.

    Setlist: War Pigs > I Thank You, Instrumental, Find a Way, Instrumental, Shake It, Superstition, Instrumental, Love Do What it Do, I Want It E: Heaven’s Calling > Thank You Falettin’ Me Be Mice Elf Agin

    [ngg_images source=”galleries” container_ids=”462″ sortorder=”10308,10324,10319,10309,10320,10311,10321,10310,10312,10323,10315,10317,10322,10313,10314,10316,10318,10304,10305,10307,10306,10303,10298,10296,10300,10294,10302,10297,10295,10301,10299″ display_type=”photocrati-nextgen_pro_mosaic” row_height=”180″ margins=”5″ last_row=”justify” lazy_load_enable=”1″ lazy_load_initial=”35″ lazy_load_batch=”15″ display_type_view=”default” ngg_proofing_display=”0″ captions_enabled=”0″ captions_display_sharing=”1″ captions_display_title=”1″ captions_display_description=”1″ captions_animation=”slideup” order_by=”sortorder” order_direction=”ASC” returns=”included” maximum_entity_count=”500″]

  • Downtown Barn 2017 Season Announced

    The Downtown Barn in Liberty announced its 2017 season, which opens May 5 and closes out on Oct. 20. The season features many local acts, including Slam Allen, Breakfast for the Boys and Upstate Rubdown.

    Liberty’s Downtown Barn, as with every season, kicks off on May 5 with New York Blues Hall of Famer Slam Allen, who also closes out the season on Oct. 20. The 2017 season features 26 affordable shows with most shows priced at $12 in advance and $15 at the door. This season features a number of local and national artists, including Gruppo Mondo, which features Peter Gabriel’s drummer Jerry Marrotta, on May 19 and Sept. 16, Gregg Allman’s music director Scott Sharrard on June 2 and Walter Parks, lead guitarist for Richie Havens, on July 1.

    The Downtown Barn opened in the center of the village of Liberty, tucked away in the Catskills, in 2013 as a small event space with a capacity of 120 seats. The stage was built from hardwood tongue and groove boards reclaimed from one of the silos on Max Yasgur’s farm, the location of the original 1969 Woodstock Music and Arts Fair.

    Season passes that get you access to all 26 shows are available for $235.

    Downtown Barn Local Act Shows
    May 5 – Slam Allen
    May 6 – Shlomo Franklin
    May 29 – Chris Raabe
    June 10 – Lee Delray
    June 16 – Breakfast for the Boys
    June 30 – Rivergrass Revival
    July 7 – Jazzmosis
    July 15 – Halley Hiatt
    Aug. 4 – Cold Flavor Repair
    Aug. 11 – Rick Rourke and Lost Wages
    Aug. 12 – Cathy Patty
    Aug. 18 – Dead on the Tracks
    Aug. 19 – Chris Raabe
    Aug. 25 – Upstate Rubdown
    Sept. 9 – Yesah
    Sept. 23 – Chris Bergson and Ellis Hooks
    Oct. 7 – Rick Rourke and Lost Wages
    Oct. 20 – Slam Allen

  • Hearing Aide: Twiddle ‘Plump- Chapter Two’

    In January of 2015, Vermont based jam quartet Twiddle launched a Kickstarter for Plump Chapters One and Two. With their fan’s help, the band set out to launch two separate chapters. Fifteen months after Chapter One’s December 2015 release, Twiddle has unveiled Plump Chapter Two, the second half of the two-volume set.

    Plump Chapter Two is juicy. It’s full of variety. It’s thick with unexpected sounds. It’s a glimpse into the vast musical variety that makes Twiddle such a success live.  Producer Ron Saint Germain (311, Bad Brains, Sonic Youth) masterfully brings Twiddle’s self-professed ability to “spin tall tales over an intricate soundscape of hi-def shred” to life.  At its completion, Chapter Two reads like a nod to the master sounds of the 90’s alternative rock scene.  And at the height of 90’s throwback in fashion, pop culture and music, Plump Chapter Two is just the right sound at the right time.

    The album begins and ends at the hands of Twiddle’s pianist and keyboard guru Ryan Dempsey. “Enter” is only a mere 30 second glimpse into Dempsey’s contribution throughout the album. His compositions and his performance throughout Plump Chapter Two are whimsical and cartoonish, yet somehow also romantic and tortured. Dempsey deserves MVP nods for magically weaving the most classically branded sounds flawlessly throughout the album.

    “Enter” is the perfect introduction to “Orlando’s”, a 9-minute jam vehicle which is a nicely packaged glimpse into Twiddle’s catalog history, with over a dozen references to some of the band’s most beloved songs, characters, and mantras.  But the song is also a peek into the band’s live show. Simply stated: the tune is catchy. It contains the sing-a-long type of ear worm that gets stuck in your head. The song is highlighted by the powerhouse duo of Dempsey and bassist Zdenek Gubb. Together, the pair weave groovy and unique  gems that put bounce in your knees. It’s a wonderful trend that, thankfully, is repeated more than once.

    Originally called “L.A. Beach Song,” “Moments” has the potential to be the album’s most prevalent single. It’s the perfect showcase of guitarist and lead vocalist Mihali Savoulidis’ ability to write delicious hooks and positive emotionally fueled lyrics. The feel-good vibe of “Moments” makes it the perfect summer tune. If radio takes the bait, this song has the potential to be everywhere by early fall.

    While Chapter Two has plenty of shiny, radio friendly hooks, it is also full of unexpected moments.  The album is littered with typical tinges of sadness, love and angst. But it’s the new way with which the band handles this subject matter that is the album’s biggest suprise.  When the band revealed the album’s third track “Juggernaut” this past April at the PlayStation Theater (NYC), fans were surprised and delighted by the tracks shock and awe factor. But the song’s live reveal does nothing for the power of the studio version. The song is angry, forceful, and political, yet it still has a conscience.  “Juggernaut” feels part Rage Against the Machine, part Beastie Boys.

    Yet, despite the expansion of this edgier studio sound into the Twiddle catalog, Savoulidis stays true to his lyrical values. As with all his poetic content, Savoulidis continues to show a duality in his prose which is sometimes whimsical, heartfelt, and hopeful while managing to create a subconscious call to action.

    Chapter Two is also home to Twiddle’s signature yarn spinning tales via “Nicodemus Portulay” and “The Fantastic Tale of Ricky Snickle.” In the middle of the album, sits “Forevers.” This one take, improvisational piano piece showcases Dempsey’s classical training at it’s finest.

    Bassist Zdenek Gubb is a quiet force behind Twiddle’s most unique showings. His musical growth is the most evident, especially between Chapters One and Two. It’s in instrumental songs like “Milk” and “Peas and Carrots,” of which Gubb is given full songwriting credit, that listeners truly hear the musical creativity inside his head. Dempsey’s piano arrangements highlight both song’s unique timing signatures and unexpected transitions.

    Drummer Brook Jordan contributes lead vocals and full songwriting credit for two of the albums tracks “New Sun” and “Drifter.” There is an easy, soft timbre in Jordan’s vocal work. “Drifter,” which has yet to be released live, is poised to be the album’s sleeper hit. The song contains finely placed instrumental work by both Savoulidis and Dempsey. Jordan’s signature mellow and smooth songwriting style is the perfect base for the tune to take on new life live with plenty of space for musical exploration.

    Towards the end of Chapter Two are three golden nuggets.  “Blunderbuss” which was debuted live almost a year ago, when the band played the Captiol Theatre in May 2016, is a powerhouse instrumental.  Technically, the song is a knock out.  It is rich in tone and musically sound,  but the studio version is missing a certain “je ne sais quoi.” There is an edge and grit to the song live that doesn’t quite fulfill its full potential in the studio.

    “Fat Country Baby” a quick and playful bluegrass tune is a mere 70 seconds but requires multiple listens to appreciate the vast layered production quality. “Dinner Fork” is a perfect blend of Dempsey’s signature sounds – part classical, part terrestrial. All four members bring something different to the song. Savoulidis’ guitar brings an edge while Jordan and Gubb’s respective rhythm  work lays a solid base for Dempsey’s handy work.

    Through of all of its success, Plump Chapter Two misses only on superficial levels. There are often abrupt transitions in feeling between tracks.  It’s an unused opportunity to create a story with the songs presented on Chapter Two.  And although tracks like “Juggernaut” and “Moments” are perfectly placed in terms of commercial viability, the album’s track listing order could have made for a much more impactful finished product.

    Savoulidis shows great restraint vocally throughout the album.  His powerful lyrical content is highlighted by rich diction and confident conveyance. But that clarity of delivery also appears to have sacrificed a small amount of emotional delivery. It’s a tricky balance for even the most seasoned of vocalists. While both Savoulidis and Jordan nail their respective vocal work, much like its predecessor Chapter One, both of Twiddle’s main vocalists have yet to find a way to blend their voices.

    Newly remastered songs from Chapter One, which includes a rerecorded 2017 version of Twiddle’s “When It Rains, It Pours ” will be released with Chapter Two as the band’s first ever two-volume set. Chapter One’s “Five” is represented twice with both a new radio edit and the original album version. As of release day, Plump will only be available for purchase and download as a two-disc set.

    Plump Chapter’s One and Two drops April 28 via all major downloading sources including iTunes and Amazon. Pre-order of the double disc are now available and includes three immediate downloads accessible immediately. In addition, a double disc vinyl set is available for purchase through Twiddle’s website, however vinyl will not be shipped until August 2017.

    Key Tracks: Orlando’s Bar, Juggernaut, Moments

  • Paul McCartney to Perform at Carrier Dome in September

    Sir Paul McCartney is making his way to Syracuse for a show at the Carrier Dome September 23.

    Officials announced the concert at a Tuesday morning press conference from the turf inside the dome. The show is being presented by the Bowery Presents.

    paul mccartney carrier dome septemberManaging Director of the Carrier Dome, Peter Sala, told Syracuse.com about the booking, “This is one of those performers we’ve been working very hard to bring to the university, to the campus. To me, it’s an honor. Paul McCartneys don’t come along every day. It’s an unbelievable moment to bring him to the Syracuse University campus.”

    McCartney, a two-time Rock and Roll Hall of Fame inductee, rose to fame with the Beatles in the early 1960s. Following their breakup in 1970, McCartney embarked on a solo career with contributions from his wife Linda. This collaboration morphed into the band Wings, which enjoyed a successful run throughout the 1970s.

    Following the breakup of Wings, McCartney then pursued a successful solo career, collaborating with such music legends as Stevie Wonder, Michael Jackson, Elvis Costello and David Gilmour. Recent years have seen Sir Paul working with Krist Novaselic and Dave Grohl from Nirvana as well as Rihanna and Kanye West.

    McCartney was scheduled to appear at the Carrier Dome in 1993 but cancelled the show due to a live broadcast for Fox Television. He last appeared in Upstate New York in 2015 at Buffalo’s First Niagara Center.

    Tickets for the show go on sale Monday, May 1 at 10 a.m. McCartney announced an additional New York show at Nassau Colleseum in Uniondale Sept. 26. Tickets for that show go on sale May 5.

    https://youtu.be/KDz5wVc-4QI

  • Hearing Aide: Leslie Mendelson ‘Love & Murder’

    With so much noise going on in the world today due to technology, from cell phone beeps and rings to endless updates on various apps, it’s easy to get lost in the computer-strung clutter. The one enjoyment that can take an individual away from the murky shadows of continuous information overload is music. Sure, there are endless amounts of live shows available for streaming on the internet, but to really get to the raw simplicity of a note takes putting on the headphones and pressing play on the new album by singer Leslie Mendelson. Love & Murder is her first work released in eight years.

    Mendelson’s latest album steps away from her earlier work and presents music in a simplistic form, featuring full-bodied folk tunes filled to the brim with emotional ebbs and flows. The ten track album begins with a darker emphasis, as “Jericho” slowly carries the listener into the overall theme. Stripping away the extras, and focusing on the vocals, lyrics, and calm melody, it’s easy to sit back and get lost in her angelic voice. “It’s been a long time coming,” lyrics within the opener, have never been more true, as fans have patiently been waiting eight years for this new album. It was well worth the wait.

    An uncomplicated, piano heavy “Coney Island” takes listeners on an emotional whirlwind. Stringed instruments add to a heaviness surrounding the lyrics, while Mendelson’s vocals tear at the heartstrings. “Murder Me” continues the enigmatic vibe surrounding the album, as Mendelson’s voice, both mysterious and wispy, are charged with a heaviness tipping on sadness and loss.

    As if sharing a personal moment with Mendelson, “Chasing The Thrill” has an air flowing around the lyrics, as well as the melody, with a reflective core gluing the song together. A haunting “Crazy” gently drifts along. Unhurried and light, this track sways in a musical breeze, allowing the listener to relax and fall within the grip of the beautiful winding notes.

    An unexpected appearance on the album comes from the Grateful Dead’s Bob Weir, as he guests on the cover of Roy Orbison’s “Blue Bayou.” Weir originally discovered her as she performed her own twist on “Friend of the Devil,” and has since invited her to join him during performances. Their intertwined vocals throughout this song make for an affectionately graceful rendition that Orbison would be proud to hear.

    An effortless “Love You Tonight” rolls along at a confident pace, turning the corner away from the darker tones. Bright lyrics embody the upbeat notes, lifting spirits as the album progresses, without losing the overall feel of the simplistic mood. Maintaining hopeful enthusiasm, another cover takes hold, this time with a tip of the hat to Bob Dylan. A gorgeous rendition of “Just Like A Woman” is carried by the simple strums of the ukulele, with touches of guitar and harmonizing vocals gently sprinkled in to round out the effortless track.

    “The Circus Is Coming To Town” carries a mystical energy, surrounded by mystery and uncharted vibes, throwing the listener into a dusky trip under the big top. The album ends with a cover of the 1954 country classic “Cry, Cry Darling,” originally written by Jimmy Newman and Jimmy Miller.

    Love & Murder flows freely. It’s stocked with raw simplicity and no holds barred emotion. Take a trip away from technology with this beautiful album filled with heartfelt tracks, deep with fearless tenderness. The natural flow from track to track will take the listener on a ride reaching into the depths of one’s soul, making sure to pay attention to each note and lyric, without getting lost in the noise.

    For more information about Leslie Mendelson and her new album, Love & Murder, please visit her official website.

    Key Tracks: Jericho. Love You Tonight. Cry, Cry Darling

  • Searching for Sonic Spaces: An Interview with Morgan Bolender and Scott Ferreter

    “Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.”  She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.

    During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.

    Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.”  Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally.  He uses his music to tell stories of his life and experiences.  Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons.  After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres.  His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review.  It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.

    After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days.  I have so many feelings.”  These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring.  They will embark on yet another house concert tour entitled The Feelings Parade.  After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail.  Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests.  In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers.  We miss you already.”

    The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs.  No town is too big or small.  No mansion is too sparkly and no barn is too dirty.  No swamp lands are too filled with alligators and no desert is to dry.  Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself.  If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest.  I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.

    Ben Boivin: What covers did you play most frequently?

    Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.

    Scott Ferreter:  I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.

    BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?

    MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.

    SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.

    BB:  What was your worst show of the tour?

    MB:  New Orleans. For sure.

    SF:  Absolutely, New Orleans. Heiress to a fortune.  Old school classism and elitism.  Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!

    BB: What was one of the best shows of the tour?

    MB:  That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived.  That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia!  In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.

    SF:  There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings.  Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.

    BB:  If you had to spend two weeks at one venue you played, where would it be?

    MB:  Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.

    SF:  Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.

    BB:  What did you learn during your travels and would you do it all over again?

    MB:  If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from.  Also, ethically sourced and produced merchandise is more expensive.

    Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.

    It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.

    I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go.  [There are] so many more things that I don’t know yet.  I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!

    SF:  I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself.  I would do it again tomorrow!

    In a dark world, Bolendar and Ferreter use their music as the guiding light.  Their compassion for the human race is powerful and their creative approach to going on tour is refreshing.  The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss.  Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.

Built in Breakdance