NYS Music 20​17

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  • Previous Love Releases Music Video “Caffeine”

    Buffalo-based band Previous Love has debuted their first music video, for their song “Caffeine.” The catchy alt rock tune is from their self-titled EP, which was recorded and released over the summer. The  video montage documents their coffee-fueled recording sessions.

    “We wanted to really take our fans into the studio with us but still capture the emotion of the song,” bassist Steven Browne told NYS Music. “We get asked a lot what it’s like being in the studio for the first time as a  young band. I believe this really captures our experience while still staying true to the intent of the song.”

    The video features band members Steven Browne (bass), Charles Campanella (guitar),  John Perdue (drums) and Gary Sheedy (vocals and guitar) working alongside producer Jay Zubricky. Filmed in and around GCR Audio, it includes shots of them traveling to the studio, recording, and hanging out. Visual effects such as cross-dissolves, slow motion, time lapse, reverse footage create a surreal effect that suits the “Caffeine” theme.

    “It’s exciting being in the studio, capturing those moments that make a record special,” said Browne. “At the end of the video it actually is the footage from the moment we captured the ending to ‘Caffeine.’”

    Follow Previous Love on Facebook, Twitter and Instagram. Their debut self-titled EP Previous Love is available for purchase on Bandcamp (name your price) and streaming on Spotify. For more about the EP, read the NYS Music review.

  • John Carpenter Live Anthology Tour 2017 Wraps up at The Palace Theatre

    It’s the first snowy evening of the season on November 19 and I can think of no better way to spend it than by checking out the “Master of Horror” John Carpenter and his incredibly talented band on the final date of their live Anthology: Movie Themes 1974-1998 tour. What a treat for those in attendance at the Palace Theater in Syracuse. They got to see the famed movie director change up roles and get behind a synthesizer to perform themes from his beloved horror flicks with clips from the films playing on a giant screen behind him.

    Carpenter took the stage promptly at 7:30 and showed that he is a man of many talents. He made eye contact, danced and pointed at fans as he worked his way through his impressive catalog. Carpenter came well-armed with a gifted back-up band comprised of Tenacious D’s drummer Scott Seiver, their guitarist John Konesky, their bassist John Spiker and Carpenter’s son Cody Carpenter on lead synth and his godson whom Carpenter described as, “the prince in waiting” Daniel Davies on lead guitar.

    The group produced an impressive sound. They took fans through the main title theme from “Escape from New York,” “Assault on Precinct 13” and “The Fog.” In an excellent tribute to the late “Rowdy” Roddy Piper and Harry Dean Stanton, Carpenter and the band donned sunglasses as they performed “Coming to L.A.” from “They Live.” This drew a large roar of applause from the crowd. The fans also went wild when Carpenter stated, “I believe in love and I believe in love that lasts forever,” as he introduced the opening notes to his infamous “Halloween” theme. Fans of Carpenter’s Halloween will be excited to note that it appears he will be releasing a follow up to the 1978 film due to hit theaters October 2018. It is even rumored that Jamie Lee Curtis will reprise her role as Laurie Strode. Yeah, I’m excited!

    The group ended the main set with the theme from the ever creepy “In the Mouth of Madness.” Do you read Sutter Cane? They barely stepped off stage for a moment before returning and punching through a four-song encore that culminated with Carpenter advising everyone to “drive home safely this evening. Christine’s out there.” They ended their set with “Christine Attacks.” It was fantastic to see Mr. Carpenter bring his work to life in such a unique way. He seemed to be legitimately having a great time and proved that he is in fact a “master of horror.”

    Setlist: Escape from New York: Main Title, Assault on Precinct 13: Main Title, Village of the Damned: March of the Children, The Fog: Main Title Theme, Vortex, Mystery, They Live: Coming to L.A., Starman: Starman Leaves (Jack Nitzsche), The Thing: Main Theme – Desolation (Ennio Morricone), Distant Dream, Big Trouble in Little China: Pork Chop Express, Wraith, Halloween Theme – Main Title, In the Mouth of Madness: In the Mouth of Madness

    Encore: Body Bags, Vampires (Santiago), Prince of Darkness: Darkness Begins, Christine: Christine Attacks (Plymouth Fury)

  • Quixotic and the Desert Dwellers Astonish the Ogden Theatre in Denver

    A sense of wonder. It’s that wide-eyed gleam that happens when any other breed of dog spots a poodle for the first time.  It is that sixth sense so rare in adulthood that it has been referred to as the superpower of children.  It is so potent a gift that marine biologist, Rachel Carson once exclaimed, “If I had influence with a good fairy, I would ask that her gift to each child be a sense of wonder so indestructible that it would last throughout life.”

    Luckily, I have found that such magic does exist. One reminder came last week in form of Quixotic, an innovative performance art collective that fuses mind boggling imagination with technology, dance, aerials, projection mapping and live music. Quixotic started an an experimental artistic collaboration in Kansas City, Missouri in the mid-2000s has exploded into a worldwide performance phenomenon.

    Last week, Quixotic, along with world-beat electronic music group, the Desert Dwellers, transformed the Ogden Theatre into an awe-inspiring house of wonder imbued with fierce athleticism, grace, and lilting beauty. The performance, aptly titled, “Beyond”, explored the boundaries of what is commonly thought possible in visual/music performances. The performers challenged the boundaries of human limitation in a show that featured risky aerial hoop performances and astonishing contortionist dance movements accompanied by dramatic live and electronic music.

    If I had influence with a good fairy, I would ask that each adult have the opportunity to witness such a performance that possesses such an indestructible sense of wonder. Its effect would last a lifetime.

  • Hearing Aide: The Nice Ones “The Nice Ones”

    “If there’s one thing that can be said about the album, it is that it is brimming with emotion,” said guitarist Sam McGarrity. Boy, he wasn’t kidding. This emotional direction is a new concept for this group, but that doesn’t mean they still haven’t lost sight of their style. I only say this because as good as their first track sounds, it is very misleading in terms of the direction of the album. As for the rest of their work, it’s well orchestrated, produced perfectly and gives each member a chance to shine.  One of their most notable traits is their ability to build upon ideas while keeping things linear. With rock based bands, things can get a little repetitive. But The Nice Ones never get comfortable and can keep things interesting throughout the entirety of a track.

    “Siren Song” is a surprising first start for the group. They’ve released two albums prior to this one and none of them are styled in the way “Siren Song” is, but loyal fans can rest assured that they haven’t lost their roots. With delicate instrumentation and Patrick Surdam’s fragile voice, the song acts as prelude which attests to McGarrity’s claim of the collection being full of sentimentality.  

    “Know Better”  jumps right into their rock and roll style with the only similarity being Surdam’s voice. It’s a straightforward and completely contradictory song to the the prior track. It has a great instrumental hook in the chorus and, again, the group has done a stupendous job of building an arc worth waiting for. There’s plenty of highs and lows to keep thing interesting in an otherwise very rudimentary song.

    “Good Kids” is dance worthy, glowing with positive energy and is a track that would be a tremendous hit in a live setting. The guitar hook is an ear worm, in a good way.  And once again, they create an arc in their song that builds in a direction that a new listener would never expect. This is undoubtedly one of their key tracks.

    Don’t be fooled,  “Surfer Girl” is not what it seems. The tone switches back and forth several times and ends in a way that’s completely different than the intro in terms of instrumental and lyrical content. Surdam first speaks of a girl that he “thought of kissing” and ends the song talking about how he should have killed this girl when he had the chance. This one will be listed as another key track because of its contradictory style and, once again, the incredible rise and fall of emotion.

    What I’m loving most about the album is how their songs never finish the same way they start. The only similarity is the key, and even that’s arguable. “John Honre Burns!” is one of the most dynamic tracks on the album and has an incredibly misleading intro.  The only other time we hear the sultry riff of the intro is half way through the track when it repeats and that’s it. After the second verse, the feeling of rage grows exponentially until the end of the song when it comes crashing down.

    Lastly is “Burn it Down,” the most anxious and chaotic track on the album. It leaves a bit of a bitter taste in the listener’s mouth considering what the tone was at the start of the album. It’s fast, rambunctious, but oddly good. McGarrity said this was an emotional track and anger is the emotion that this album was missing. Well, listeners will sure get their fill of anger with this one. It just isn’t a track most groups would place at the end of an album. Looking past that, it’s well orchestrated and a fun listen. 

    Although the album is “brimming with emotion,” it is a little sporadic. This isn’t an album that people will listen to from beginning to end; it’s too all over the place. I encourage people to riffle through the album to find something they like because there really is something for everyone.

    Key Tracks: Siren Song, Good Kids, Burn it Down

  • GrooveSafe Seeks to Eliminate Assault at Shows

    It’s a Saturday night in your city and people all over town are making plans to hit up the most popular music venue to catch a prominent local band. Groups of friends meetup beforehand to plan outfits, shoot the shit or convince each other to stop hermitting and be social. On this particular night, all walks of life turn up to see the band, and it’s a blast. The room is alive with energy, nearly everyone is dancing. Most people leave at the end of the night feeling invigorated. But there are a few music-goers whose night was clouded by discomfort. Why? Because another human inappropriately laid their hand on them without consent.

    Ew.groovesafe

    Many of us, both men and women, can share a story of a time someone invaded their personal space at a show by touching them without permission. Since I began writing this article, I attended a fantastic show and as I was dancing, a man walked up behind me and put his hand around my waist. I wheeled around and calmly but sternly told him to never do that without asking someone because it’s basic respect. After my friend continued to glare at him, he came up to me to apologize again. That experience was mild compared to what some show goers have experienced. Though alcohol or other drugs may be obscuring the boundaries of what is and is not appropriate interaction, it absolutely will never be an excuse for a complete lack of basic human decency.

    This abhorrent behavior goes far beyond the live music scene. The recent “Me Too” campaign spearheaded by actress Alyssa Milano against film producer Harvey Weinstein has ignited overwhelming support within the acting community, highlighting the prevalence of this inappropriate behavior within the larger population. It raises questions about why predators feel entitled to treat other human beings like items in the produce department of the local grocery store.

    That’s why Ashley Driscoll has spearheaded GrooveSafe, an initiative seeking to bring awareness to the need for consent before physical contact at shows. They have created an elegant and eye catching logo that when displayed, is a reminder that we all need to be conscious of the way we conduct ourselves around other people. When asked to describe what we can do to prevent these unwanted interactions she stated:

    Unfortunately prevention is a difficult word. The main goal of GrooveSafe is to spread awareness that these sorts of behaviors are happening all the time, all around us. I believe change in behavior starts in understanding how truly unwanted these advances are. Our true goal is to become obsolete someday. Nothing would make me happier than to go to a show and not have to constantly look over my shoulder and just be able to watch the show in peace. This is a difficult question because it is not as simple as going in groups or wearing a certain thing or another. Females and males alike should be able to look, feel and be whatever or whoever they want without being touched by a stranger or sometimes even a friend in a manner that they have not agreed to or have not welcomed. – Ashley Driscoll, founder of Groovesafe

    Perhaps one solution is to more effectively teach the importance of consent in early education, so our younger generations can grow up with a stronger understanding of consensual behavior. In the meantime, Driscoll is doing what she can to raise awareness through GrooveSafe. With a new website, Ashley is now selling stickers, pins and other merchandise so people can brandish the logo to bring attention to non consensual touching. The money she brings in from these sales will be used to keep producing gear to perpetuate her important message.

    To donate through PayPal, use teamgroovesafe@gmail.com

    Groove safe everybody.

  • Chris Frantz of Talking Heads interviews Emerging Artist Pierce Fulton ahead of FTC Performance Nov. 27

    On November 27 at Fairfield Theater Company, the Brody Wilkinson Emerging Artist Series will feature two electronic artists, Pierce Fulton and NVDES as they stop by The Warehouse at FTC on their “Better Places Tour.” Talking Heads alums Chris Frantz and Tina Weymouth, along with record producer Peter Katis will also be on hand for this performance.

    Chris Frantz, founder of the Talking Heads and Tom Tom Club, and one of the curators of the emerging artist series, interviewed Pierce Fulton to learn more about his roots, influences, and connection to Fairfield, Connecticut.

    chris frantzChris Frantz: We are looking forward to your upcoming show at FTC in our Emerging Artists Series. Have you ever been to Fairfield, CT before? Have you ever performed here?

    Pierce Fulton: I’m really looking forward to it too!! And it’s funny because I was born in Bridgeport, CT! I lived in Fairfield until I was 9 and then moved to Vermont for middle school, high school and
    college. A very large majority of my family lives in Fairfield so it’s always still felt like home and playing at FTC will be my first time playing in Fairfield which is big for me! The fact that it’s an all
    ages show means my entire extended family can come and see me play, young cousins, aunts, uncles etc!

    CF: How would you describe your musical style at the moment or do you prefer to avoid categorization?

    PF: Well a majority of my music falls under the Progressive House categorization, which is totally accurate and I’ve mostly made Progressive House over my years pursuing music full time. I’ve been playing music my entire life though; well before producing electronic music I was playing guitar in bands and picking up various instruments in school music classes. 3 years ago, after I’d
    established myself in the electronic scene a bit, I decided to bring back those early influences by injecting more recorded music into my electronic songs. The combination is what I describe as “electronic music with a live band feel” because typically I play and sing all of the recorded parts on my songs so it’s basically a band of myself with featured vocalists from time to time.

    CF: Do you have any musical heroes, influences or mentors that people should know about?

    PF: Like my past, my influences totally come from opposite sides of the spectrum. I was very fortunate to be raised by parents that have an excellent ear for music. My childhood was filled with the Rolling Stones, The Doors, Grateful Dead, Neil Young, and lots of really timeless rock music. And on the flip side, what got me into electronic music were artists like Eric Prydz, Above & Beyond, Paul Kalkbrenner and a lot of the more melodic house and trance sounds that came out of 2007-2010. After years of experimenting and teaching myself the ins and outs of producing and engineering on the computer, all of those influences started blending together unintentionally.

    CF: How do you feel about protest music and people expressing their political views in song?

    PF: I think it’s both very good and very bad. There are a lot of issues that people are too afraid to even think about, let alone talk about, and to be able to express that with music is so powerful in the really good way. But then I think about all of the mixed messages that one person can take in between the media, the art world, their family, friends, colleges, etc. Anyone’s opinion can get in front of millions of people these days so it scares me to think about how many are flying around the internet and how people who have a hard time having their own opinion might latch onto someone else’s.

    CF: What can people expect from your show production wise?

    PF: So I’ve been building up to a tour like this since I first started sprinkling live instruments into my electronic music. I’ve been collecting gear, learning live show tips, and slowly preparing my
    songs to be played live rather than on turntables for close to 3 years. I even did some mock up sets in private years ago just to test techniques out that I was positive I’d one day turn into my actual show. And that was all just preparation for the past 3 months that I’ve spent deconstructing my entire catalog for a completely live and unique show experience each night, programing a light show that is tied to each musical element of each individual song (which means I can rearrange my set at any given moment wooo!), and simply practicing playing and singing my songs. As I said, I’ve been planning to make my show like this for a very long time so I’m putting 110% of myself into this tour and so far it feels incredible.

    Join Chris Frantz, Tina Weymouth, and record producer Peter Katis for Pierce Fulton and NVDES’ debut in The Warehouse on Monday, November 27. Tickets, information, and samples of the music can be found at Fairfieldtheatre.org.

  • A Perfect Circle and The Beta Machine Deliver Powerful Performance

    A Perfect Circle made a stop on their current North American tour at the War Memorial at the Oncenter in Syracuse, NY on Sunday. The band is on the road as a prelude to their touted upcoming album to be released sometime in 2018. A new single, “Doomed,” was issued this past October to pacify the anxious fans. APC has not released an album since their 2004 collection of covers titled Emotive.

    The show started promptly at 7:30. Opening act The Beta Machine is on tour in support of their debut EP release All This Time. Despite a few technical difficulties, the band stayed calm and worked their way through a melodic and harmonious set. Bassist Matt McJunkins promised that he and drummer Jeff Friedl would be back in a few minutes before leaving the stage since they’re both in Keenan’s other spin off band, Puscifer, as well as A Perfect Circle.

    Between sets there were multiple warnings about the use of cell phones, cameras and other electronic devices resulting in ejection. This policy was hardcore. I got yelled at for trying to send a quick message to my son’s sitter in between the sets. Not sure who or what I was taking pictures or videos of when there was no one on stage, but be warned, they are very serious about this policy.

    A Perfect Circle took the stage behind a semitransparent curtain and led off with “The Package” from Thirteenth Step. The shadows of band members Billy Howerdel, James Iha, Maynard James Keenan, Matt McJunkins and Jeff Friedl could be seen moving around the stage; it was a pretty cool effect. A few notes into the second song, “The Hollow,” the curtain dropped. Howerdel was the most active, running around the stage, engaging fans. Maynard remained hidden in low lights and a cloud of smoke for much of the show. James Iha also remained in the background allowing McJunkins to take the lead.

    APC worked their way through a nineteen song setlist. Keenan’s vocals melded flawlessly with Howerdel’s and McJunkin’s on the John Lennon cover “Imagine” and the Brinsley Schwartz cover “(What’s So Funny ‘Bout) Peace, Love and Understanding.” The guitars and drums created a rhythmic grind in the politically charged “Counting Bodies Like Sheep to the Rhythm of the War Drums.” The live version gave me chills.

    The band did not take any breaks. Keenan paused only for a moment to introduce the band. Iha took the spotlight for a quick satire on the cold weather in Syracuse and they were right back to the music. They played a two-hour set that culminated with their new single, “The Doomed,” followed by “The Outsider” and they ended the evening with the softer melodic tune “Feathers.”

    Setlist: The Package, The Hollow, The Noose, Weak and Powerless, Rose, Imagine (John Lennon cover), By and Down, Thomas, (What’s So Funny ‘Bout) Peace, Love and Understanding (Brinsley Schwartz cover), Orestes, Vanishing, Magdalena, A Stranger, 3 Libras (All Main Courses Mix), Hourglass, Counting Bodies Like Sheep to the Rhythm of the War Drums, The Doomed, The Outsider, Feathers

  • Dave DiPrimo Band’s Latest Single “Know You Best”

    Rochester alternative folk group Dave DiPrimo Band has released their latest single, “Know You Best.” The song comes from their forthcoming sophomore album Reflections, which is set to release on Saturday, November 25.

    “Know You Best” is the first track on the new full-length LP. In this intensely emotional tale of longing for connection, pleading lyrics give way to bellowing vocals in the chorus. The song establishes the nostalgic tone that pervades the entire album.

    Dave DiPrimo Band is: Dave DiPrimo on vocals/guitar/keys, Reid Hoffmeier on drums, Ian Benz on bass, and Karis Gregory on saxophone (and sometimes guitar). While based in the folk tradition, DDB weaves in influences from genres as far flung as soul and punk to create a sound that’s both timeless and contemporary.

    https://soundcloud.com/nysmusic/know-you-best

  • Brian Johnson Says Goodbye to Friend, Bandmate, Malcolm Young

    As our favorite legendary artists grow older, its only inevitable, that one day we will hear the sad news that one has passed away. Sadly, AC/DC guitarist Malcolm Young will join several other legendary artists at the “Music Festival in Heaven.”

    Longtime bandmate, friend, and AC/DC frontman, Brian Johnson, posted a statement on his website about the passing of Young titled, “For 32 years, we stood side by side on stage.” His letter stated:

    I am saddened by the passing of my friend Malcolm Young, I can’t believe he’s gone.
    We had such great times on the road.
    I was always aware that he was a genius on guitar, his riffs have become legend, as has he.
    I send out my love and sympathy to his wife Linda, his children Cara and Ross,
    and Angus, who will all be devastated…. as we all are.
    He has left a legacy that I don’t think many can match.
    He never liked the celebrity side of fame, he was too humble for that.
    He was the man who created AC/DC because he said “there was no Rock,n,Roll” out there.
    I am proud to have known him and call him a friend, and I’m going to miss him so much.
    I salute you, Malcolm Young.
    – Brain Johnson, November 2017

    Malcolm Young passed away on Nov. 18 at the age of 64, after suffering from dementia for the past few years. He formed AC/DC with his brother Angus in 1973. Besides playing guitar, Malcolm was a producer and songwriter, who help create some of the biggest rock and roll anthems in history, such as “Hells Bells,” “Back In Black,” “Highway To Hell,” and “You Shook Me All Night Long,” to name a few. He retired from the band in Sept. 2014, after being diagnosed with dementia in April 2014. Young and his AC/DC bandmates have sold over 110 million albums, are were inducted into the Rock and Roll Hall of Fame in 2003.

    Rolling Stone posted several comments from various artist, once the news of Malcolm’s death started to circulate throughout the music industry including Eddie Van Halen, Nancy Wilson and Slash. You can read those comments below:

    Steven Van Zandt (E Street Band): “Malcolm was the essential rhythm guitarist of the world’s greatest working class hard rock band. An irreplaceable loss.”

    Slash (Guns N’ Roses): “Malcolm Young was one of the best ever rhythm guitarists in rock and roll. He was a fantastic songwriter and he had a great work ethic too. I toured with AC/DC on their ‘Stiff Upper Lip’ tour. I found Malcolm to be a really cool, down to earth fellow. The entire rock and roll community is heartbroken by his passing.”

    Nancy Wilson (Heart) “Malcom Young was the embodiment of rock itself. His rhythm guitar style needed no embellishment. He laid down the simple solid guitar truth that taught us all about the ‘less is more ethic.’ The wild power of simplicity and the head banging hair flipping joys of turning it up really loud and dancing with the vibrations. Thank you, Malcom for being the real deal. We are all going to miss that shredding music that only you and your brother could make together.”

    Eddie Van Halen: “It is a sad day in rock and roll. Malcolm Young was my friend and the heart and soul of AC/DC. I had some of the best times of my life with him on our 1984 European tour. He will be missed and my deepest condolences to his family, bandmates and friends.”

    Dave Mustaine: “I have to go…I am losing it that Malcolm is gone. I hate this…” Kiss’ Paul Stanley added, “The driving engine of AC/DC has died. A tragic end for a sometimes unsung icon. One of the true greats. RIP.” Tom Morello praised Young as “#1 greatest rhythm guitarist in the entire history of rock n roll.”

    https://youtu.be/evqsl8smnYE

  • The Monopole in Plattsburgh Celebrates 120 years

    The Monopole, Plattsburgh‘s historic bar known for its live music will celebrate 120 years later this month. First opened in 1897, the bar has withstood prohibition, bitter winters and thousands of customers over the years, with live music a staple of the ‘single stick’ for the past 30.  On November 30, West End Blend will be part of a night long celebration of The Monopole reaching the ripe old age of 120, with many years of live music and revelry yet to come.

    To discuss the legacy of The Monopole, NYS Music talked to owner Corey Rosoff about the notable history of the venue, live music memories and how they’re celebrating 120. Photos courtesy of The Monopole.

    the monopole

    Pete Mason: The Monopole has a history spanning over a century that few institutions reach. What do you credit this longevity to?

    Corey Rosoff: I think a big part of the longevity has a lot to do with staff and how no matter who you are, we make you feel welcome. The Monopole has always been a melting pot of diverse clientele including doctors, lawyers, contractors, locals, college and also visitors to the area that all are made to feel comfortable here. We also have been very aware of the history and have worked hard to keep as many original features of the building and the bar. We still have the original woodwork and stained glass and mirrors.

    PM: Among the decades found in the walls of The Monopole, what is your favorite anecdote about the bar’s history?

    CR: I think one of the best story is how Theodore Roosevelt would be here every time he visited the barracks in Plattsburgh. I am still amazed of the amount of couples that come in or email about how they met their husband or wife at the Monopole.

    the monopolePM: How has the role of music changed in the history of The Monopole? What was the earliest music performed here?

    CR: I started working here in the late 70’s when I came to college up here and the Monopole was the first place to install high end stereo equipment. In fact the speakers were such high end they still are in use today. We started doing live music upstairs in the early 80’s with mostly acoustic acts and then evolved into what we have today.

    PM: Who are some of the most notable bands to gain their start playing The Monopole?

    CR: Some of the more notable bands that got their start here would be the Ominous Seapods (one of their songs is titled “Leaving The Monopole”) the South Catherine Street Jug Band and Christine Santelli (Grammy nominee for Songwriting & NYC Blues Hall of Fame ) who got her start in music hosting Open Mic with Matt Mousseau (NYC Blues Hall of Fame here in the early start of Open Mics at The Monopole which is still running every Wednesday night. Also Dave Grippo who is a saxophone player on some of Phish’s albums was a regular performer here back in the early 80’s.

    PM: Why is West End Blend a good choice for a 120th birthday party?

    CR: We chose to do this with West End Blend because after their initial performances in Plattsburgh (once for a city festival & then here in the early fall) everyone who saw them were impressed with their talent so we had been trying to fit a date where they could come back to the venue. We wanted to do this event with a band that we don’t get in the area much to create some extra hype for the special occasion.

    Stay tuned for our interview with West End Blend next week and see what’s in store for November 30th. And if you’re looking for a New Year’s Eve show in Plattsburgh, don’t miss Groovestick with the venue staying open until 8:00am for a New Years party.