As we continue our look at the best of and the brightest in music in 2017, we shift our focus to up and coming bands that are ready to burst on to the national stage. While our staff picks may mirror those of last year, NYS Music readers have voted for a new act that’s ready to join the ranks of other popular New York bands with bight futures.
And if you’ve missed any of our previous voting results from earlier this week, check out our winners for Best Venues, Best Albums and Best Festivals.
For the second year in a row, our staff has selected Aqueous as a band on the rise as the Buffalo, NY quartet continues their steady progression towards national relevancy. Playing bigger festivals, opening for acts like The Disco Biscuits, and collaborating with members of moe., fellow Upstate New Yorkers, in addition to a steady touring schedule have all contributed to this band’s surge in popularity. This should come as no surprise to Buffalo area music fans who have been singing the group’s praises for years now. They’ll get to enjoy Aqueous back in their hometown as they ring in the new year at Town Ballroom. Tickets are still available and can be purchased here.
At least the readers of NYS Music have offered up a new taste this year for their Band on the Rise selection as they’ve chosen The Other Brothers. Fresh off the heels of their recently released EP Jones, this band has seen a steady rise in prominence in 2017 thanks to increased exposure this summer at local festivals like Disc Jam and strong word of mouth. They hang their hat on being able to mix delicate ballad-like songs with focused and heavy jamming in the live setting.
Artists You Should Know
We’re always looking for new music, especially bands from New York State, and this year we stepped up our game and found bands from all corners of the state playing our local bars and clubs, just getting started.
We checked in with our readers, and they overwhelmingly suggested three New York artists: The Backseat Bullets (for fans of shoegaze and a 90s grunge influence), Aqueous (jam stalwarts of Buffalo), and Hartley’s Encore, the new funk powerhouse in Albany.
Meanwhile, we asked the staff who were some artists readers should know about, and we ended up with an impressive list of 21 different artists to check out. There’s no sense in sending you off to listen to three or four bands worth checking out when there is so much variety in store. So here’s the NYS Music Staff list of Best Artists You Should Know for 2017.
The third edition of Tedeschi Trucks Band‘s summer bonanza known as the Wheels of Soul rolled through Rochester, a city that has been lucky enough to have hosted the tour all three years. This year, as last, Highland Bowl, the criminally underused natural amphitheater right in the city, served as the venue.
Classic blues rock trio, and Jefferson Airplane offshoot, Hot Tuna brought their “electric” version to kick things off. Running through a set of oldies but goodies, the band found plenty of room for rocking out. The crowd, near capacity at showtime, was raring to go from the start and these boys certainly satisfied. Guitarist Jorma Kaukonen played right to the local crowd’s hearts, “People say to me, Rochester? Isn’t it bleak up there? Not today it ain’t!” It was sunny and 72, quite literally, so he wasn’t lying. Kaukonen ground out some gritty guitar action on most every tune, but in the closing “Funky #7,” bassist Jack Casady took the reins blasting fuzzy bass bombs in a massive set sendoff. Legends in their own right, if they’re opening on a three-band bill it must be quite a bill. And, of course, it was!
The Wood Brothers were up next. It started eerily with bassist Chris Wood bowing his upright while bending the strings with a stick, creating a cool Theremin-like sound. “You give me chills when you sing so sweet,” sang guitarist Oliver Wood on the opening “Stumbled In.” Their sweet tooth would continue to show throughout the set. “I just heard National Chocolate Day was yesterday. We have a song for that.” he exclaimed before kicking into “Chocolate On My Tongue.” Then later they were baking some “Shoofly Pie.” Then the band invited Susan Tedeschi to sing on “Never and Always.” Talk about sweet! It would be the first of many sit-ins on the night. Chris Wood didn’t pick up his electric bass during their short set, but he did do some wild dancing, both with his acoustic bass, on “Snake Eyes,” and solo, all over the stage on the set closing “One More Day.” When Oliver introduced the band members, dancing was on his brother Chris’ list of instruments. Is dancing an instrument? One issue with such a fantastic lineup, the sets all felt too short. The Wood Brothers seemed to be leaving the stage just as they were getting going.
Tedeschi Trucks Band took the stage and immediately asked, “Are You Ready?” The crowd, fully up and dancing for the first time of the evening, answered with a resounding “Yes!” before the band quickly jumped into “Made Up Mind.” After two straight trios, the twelve-man rightly seemed enormous. They have amassed a monster of a band with enough talent to power multiple smaller bands. They are the Wall of Sound of bands. They are incredibly tight, stopping on a dime, morphing from song to song, jam to jam, following guitarist Derek Trucks through every masterful and adventurous solo, expanding and contracting through the setlist like a well-oiled machine.
Somehow, in about 90 minutes time, they also managed to ensure every member got it’s day in the sun without it feeling like a round robin of solos. A free form fusion-y breakdown in “Don’t Know What It Means” featured incredible sax work by Kebbi Williams and low end wizardry by bassist Tim Lefebvre. Trumpeter Ephraim Owens got his turn in a funky jam during “I Wish I Knew,” which also featured Alecia Chakour and Mark Rivers trading vocal solos. Of course longtime Trucks vocalist Mike Mattison took the lead vocals from Susan Tedeschi on a few numbers, including a ripping take on the Derek and the Dominoes classic, “Anyday.”
Toward the end of the show the band received even more players. All three Wood Brothers sat in for the band’s debut of the Rolling Stone’s “Sweet Virginia.” Oliver Wood and Tedeschi shared vocal duties while Chris Wood replaced Lefebvre on bass. Immediately following, Hot Tuna came on stage for their turn, this time to help on a cover of the blues classic “The Sky Is Crying.” Lefebvre and Casady shared bass duties, eyeing each other from across the stage, while Kaukonen and Trucks jawed with a tangle of blues licks.
The set once again seemed to end way too early. But the final band had the advantage of coming out for an encore. And the Tedeschi Trucks Band saved the best for last. If you were there to see Derek Trucks play guitar, you got what you paid for in the encore alone, so hopefully you stayed until the end. Trucks fired off some impossibly quick notes and blazed onward and upward from there. Eventually he came back down to earth, only to arrive at heavy teases of the Allman Brothers “Les Brers,” which the rest of the band picked up for a short jam. A one-song near fifteen minute encore sated the excited crowd. As the show came to a close, a full moon emerged over the tree line to guide everyone home after a smoking night in the Highland Bowl.
Set Lists
Hot Tuna
Living Just For You, Sea Child, I Can’t Be Satisfied, Come Back Baby, Water Song, Funky #7
The Wood Brothers
Stumbled In, Tried and Tempted, Chocolate On My Tongue, Snake Eyes, Keep Me Around, Shoofly Pie, Never and Always*, One More Day
* with Susan Tedeschi on vocals
Tedeschi Trucks Band
Are You Ready > Made Up Mind, Don’t Know What It Means, Anyday, Midnight in Harlem, Get Outta My Life Woman, Let Me Get By, Sweet Virginia*, The Sky Is Crying**, I Wish I Knew E: I Want More
*with Chris Wood on bass, Oliver Wood on guitar and vocals, Jano Rix on keys
**with Jorma Kaukonen on guitar, Jack Casady on bass
“And they’re off!” On Friday, May 19 the gates lifted in Scranton, Pennsylvania and campers raced to grab the flattest and grassiest space on the The Pavilion Lawn at Montage Mountain. They were not there for the 142nd Preakness Stakes, which traditionally takes place in Maryland every third Saturday in May, but instead were celebrating a new bluegrass tradition, the 5th annual Susquehanna Breakdown. Some attendees dressed in jockey-like colors and patterns with ridiculous hats and clothing combinations. Others wore graphic t-shirts splattered with band names like Cabinet, Umphrey’s Mcgee, Greensky Bluegrass and Phish. By the beginning of the first set at 6:30pm, one thing was clear… everyone was there to place their bets on a winning weekend.
The Dishonest Fiddlers, orchestrated by founder Dave Brown, are a Scranton local bluegrass act that switches up the bill every time they perform. The lightweight and easy listening bluegrass invited campers to put down their tent poles and join in the music at the smaller “Breakdown Stage.” Breakdowners were delighted to discover that Cabinet’s own fiddle player, Todd Kopec, was sitting in during the festival’s opening act. The Dishonest Fiddler’s performance marked the first of many expected Cabinet sit-ins over the weekend, but that comes as no surprise as the festival is named after one of their songs! Next up on the bill was the American-festival veteran Keller Williams. It is hard to think of the word “bluegrass” or just “grass” in general and not think of the pumpkin pie hair-cutted freak bouncing around stage barefoot from instrument to instrument. Once you have seen one Keller show, you have seen them all, but that doesn’t stop anyone from attending. Keller Williams got his start in parking lots playing to the energetic crowds that gathered before the main attraction, The Grateful Dead. For over 20 years, he has been marching to the beat of his own drum, guitar, synth and whatever else he decides to bring on stage. The completely improvised sets travel through space and time reminiscent of a spun-out music junky that can’t decide which radio station to listen to as they station hop. Keller closed his roots-filled funky set with a cover of Marian Hill’s “Down,” which lyrically is the most genius song to kick off a festival. If you hate on modern pop music, give this one a listen.
As the sun finally disappeared on Day 1 of the festival, the audience was treated to more Keller Williams for the first semi-official Cabinet set of the weekend entitled “Keller & Cabinet.” Launching into the bluegrass traditional tune, “My Grass Is Blue,” got the fans boppin’ and air pickin’ before a cover of “Float On” by Modest Mouse. As more and more non-camping 2-day-pass holders made their way into the venue, the atmosphere began to feel less like a backyard BBQ and more like a full-fledged festival. The communal body heat kept everyone warm as “Ain’t Gonna Work Tomorrow” served as a reminder that Montage Mountain was home for the next 36 hours. It wouldn’t be Night 1 of a festival without some minor technical difficulties. After three minutes of tinkering, the stage was back on track and Cabinet allowed Keller to take the wheel for his originals, “Alligator Alley” and “Sing for My Dinner.” Before the final track of the collaborative set, Keller commented that he wanted to do a reggae version of the upcoming tune but Cabinet insisted on playing it fast. Much like Ricky Bobby in Talledega Nights, they wanted to go fast, and fast they went through Amy Winehouse’s “Rehab.” Ironically enough, ambulance lights flickered through the crowd during the Winehouse cover as the first festival attendee maybe had too much too fast. Members of the crowd looked on in hopes that this would be the one and only emergency rescue of the weekend.
On a brighter note, Cabinet came out swinging for their first major set of the weekend, tackling their catalog of reggae, bluegrass, roots and rock. “The Smile” breezed into the first slot as the symbolic greeting tune of the evening. “Hey Baby” gave Mickey Coviello’s guitar and Pappy Biondo’s banjo some focus in the spotlight and afterward they modestly commented it was “groovy as all hell.” Pappy was once again the center of attention during their rendition of “Diamond Joe.” Building the song up with some fantastic peaks and valleys via JP Biondo’s mandolin and Todd Kopec’s fiddle, the 6-piece band transformed the poetic country tune into a jam-grass meltdown. The “Diamond Joe” lyrics feature horses, betrayal and payback which are central themes in many old-timey tunes and Cabinet made this timeless piece their own to showcase their talent during this set. The band mentioned that the crowd size was much larger compared to years past and I took it as a sign of festival growth, strength and some perfect weather. The friendly fireside vibe of the Cabinet set was not complete without a singalong and “Pine Billy” served as a fitting choice. The “way up on a mountain” lyrics got extra howls as families and friends belted out “Pine Billy” during the second half the short set. “Sunday 60 Breakdown” finished off the set and the crowd significantly thinned as their beloved Cabinet went to get some rest before a big Day 2.
The evening was not over yet as late night funk trio Organ Freeman treated the mountain to an ass shaking dance party. Drummer Rob Humphreys, organist Trevor Steer and Erik Carlson on guitar answered the age-old question “Won’t you take me to Funkytown?” For those in attendance looking for poppy instrumental jazz or experimental and danceable funk, they found it right off the bat with “We’re On Our Way.” The band tested out several new songs during their set and considering most in the audience didn’t know the names to their originals anyway, it was all new and exciting to us. The first cover came in the form of Stanton Moore Trio’s “Pie Eyed Manc.” It was clear that Moore’s sound has a strong influence on Organ Freeman as they worked their layered grooves into every jam they went into. My one critique is that at 1:30 in the morning, instrumental jazz begins to all sound the same. As many non-campers such as myself began exiting the venue, it was incredible to clearly hear the echoes of funk during the entire walk back to the parking area thanks to mountain’s valley walls, which acted as natural amplifiers. The successful first night of music was complete and the main attraction was only hours away. The Breakdowners were nestled all snug in their beds, while visions of mandolins played in their heads.
CABINET FRIDAY NIGHT SETLIST:
A Smile, Treat Me So Bad, Hey Baby, Diamond Joe, Mysterio, Eleanor, The Dove %, Pine Billy, Sunday 60 Breakdown
% Brief Power Failure occurred twice during The Dove
KELLER WILLIAMS SETLIST:
My Grass is Blue, Float On*, Ripped 6 Pack, Ain’t Gonna Work Tomorrow, AGWT Reprise (post Power Failure), Alligator Alley, The Tower, Sing For My Dinner, Rehab **
* Modest Mouse Cover ** Amy Winehouse Cover (Setlist credit: Rich Stoler)
ORGAN FREEMAN SETLIST:
We’re On Our Way, (New Track 1), Only If You Mean It, Putin And I Get Along Fantastic, Life’s A Bench, Reptile Moonshine, Pie Eyed Manc*, Change For A Nickel, The Green Green Grapes, You Said You Quit Drinkin’, (New Track 2), Verve, Byrd vs Fish, (New Track 3), Go By Richard, Not By Dick ENCORE: Hit The Ground Running, Come out Swinging
*- Stanton Moore Trio
What can you do with $50 in Scranton, PA this weekend? How about two days of incredible bluegrass, folk, and funk? The 5th Annual Susquehanna Breakdown begins Friday, May 19 with local act, The Dishonest Fiddlers taking the stage at 6:30pm followed by most Deadhead’s favorite one-man band, Keller Williams, at 8pm. Members of Northeastern Pennsylvania’s own Cabinetwill be joining Williams on stage for the 9:30pm “Keller & Cabinet” set which is sure to be full of surprises. Cabinet will then take over the stage at 10:45 for the first of three weekend sets.
When Susquehanna Breakdown was founded in 2013 by Cabinet and Live Nation Entertainment, their aim was to shine a light on the regional artists, farmers and craft vendors of Scranton, PA. Over the years the festival has added bigger names and larger crowds to their Montage Mountain home, yet the tight-knit friendly vibe, cheap ticket price, and local sponsorship has remained. While Cabinet continues to be at the nucleus of the event, bluegrass juggernauts, Greensky Bluegrass, have taken over 2017’s headlining slot at 9pm on Saturday night. Other sets to check out on Saturday include Binghamton, New York’s Driftwood at 12:30pm, a daytime acoustic set from Cabinet at 2:15pm, the soulful folkie Wood Brothers at 4pm and Billy Strings tearing things up at 8pm!
The full schedule is posted and as in years past, the festival organizers have set the separate stage times so that attendees are able to catch a glimpse of every band with little to no overlap. And did we mention the late night acts? The funky West Coast trio, Organ Freeman, will be taking over the party on Friday night and the traveling powerhouse, Turkuaz, will be sending Breakdowners home after one more Saturday night set. Sandwiched in between all this funkiness is Tom Hamilton’s Breakdown All Stars at 11pm on the second day which will be full of festival-wide collaborations.
The Northeastern festival season is now upon us and this showcase might be the best bang for your buck you will find this year. Whether you plan to attend on Saturday only or camp for both nights on the pavilion lawn, there is plenty to do and hear at this year’s Breakdown. An eclectic collection of acts from around the country sharing the space with local bands and vendors makes this the perfect practice run for the rest of the summer’s events. The Susquehanna Breakdown shares the same space as Montage Mountain’s larger summer extravaganza, The Peach Festival, but at a fraction of the cost. While Scranton locals may consider Peach to be the big brother of the mountain’s two jam-heavy festivals, the Breakdown just hit another growth spurt and is ready to rival its older sibling in 2017.
NYS Music had the chance to sit down with The Dishonest Fiddlers founder, Dave Brown to discover what makes “The Electric City” the perfect place for a breakdown…
Ben Boivin: What is the concept behind The Dishonest Fiddlers and where did you first come up with this unique idea to play with different artists at every show?
Dave Brown: Well, I played solo prior to forming the band and I still enjoy the solo sets very much but the band has given my music a chance to take a different shape and myself a chance to play with and learn from a lot of different musicians along the way.
BB: What is your connection with Cabinet, the band that founded the Breakdown?
DB: Well my introduction to Cabinet came maybe 4 or 5 years ago in Scranton. I ordered lunch from Pizza by Pappa’s, and JP [Biondo] delivered it. I was not expecting him, nor was I expecting the pizza to have several bites out of it either. JP agreed to let me take a few bites of the next pizza he had to deliver, and after playing a few tunes I agreed we were square. Since then I started picking up my orders from Pappa’s and listening to Cabinet. Lately I’ve been fortunate enough to have Todd Kopec, from Cabinet, playing fiddle with us and he’ll be on stage with me at the Breakdown too.
BB: I know that you are on the road all summer and visiting many different festivals. What do you feel is so special about the Susquehanna Breakdown?
DB: The Breakdown has really evolved into something a lot of people really look forward too. I’ve met people from all over the country at the Susquehanna Breakdown over the years. I was a spectator at the first one and its definitely special to have the opportunity to be playing this year. It’s also nice that our family and friends have a chance to be there and share the day with us
BB: What is the band you are most looking forward to seeing at this festival?
DB: I recently had a show with Driftwood and I got a copy of their new album so I’m looking forward to hearing some of those tunes again. I’m also interested in hearing Billy Strings for the first time.
BB: What would you like to see for The Dishonest Fiddlers?
DB: Well tours and new albums all sound great but mainly I want to keep having fun and keep writing music. If I can manage to keep enough air in my tires and the lights on at home, the rest will fall in place.
On Friday, February 10 at Webster Hall in Manhattan, The Wood Brothers brought their unique blend of soul, folk and rock to a packed house. In a venue known for DJs and dance parties, the rare bill featured an Oakland based indie-Americana band known as The T Sisters. A short opening set from the ladies warmed the room up for the main family act of the evening and created a comfortable space for everyone in the room.
As the stage darkened and The Wood Brothers appeared in the shadows, the heartbeat of “Stop That Train” began pulsating on stage. The song, popularized by Bob Marley and The Wailers, created a fantastic segue for “Two Places” off their newest studio album Paradise. The topics of lost love and the urge to embark on a new adventure are etched into the lyrics of both songs. “All my life, I’ve been a lonely man,” paralleled with “I’m livin’ a beautiful dream while I’m chasing another” made this opening combo one of the most delicately crafted surprises of the show, and we had only just begun.
Couples began embracing each other during the always-beautiful “Keep Me Around” as Jano Rix gave the song something extra with his self-made instrument, the Shuitar. Friday night partiers at the venue bar slammed rounds of shots after Oliver Wood announced that the song, “Loaded” was on their newest live album, Live at the Barn. Much like the recorded rendition, Oliver asked for assistance from the rowdy audience and we were happy to belt out the playful lyrics along with them.
The trio always does an outstanding job of cleverly crafting their set lists and digging deep into the twelve-year-old catalog. Friday night was no exception. “Tried and Tempted,” which found its way into the sixth spot of the set list, can be heard on their debut record, Ways Not To Lose. In only a half dozen tunes, they had played a new cover and songs from each and every one of their five studio releases. Chris Wood showed off his moves during “Snakes Eyes” and got the crowd shaking along with him during this crisp and rocking version. Oliver unleashed a new song with a bluesy reggae feel and since they have been working on some new material in their hometown of Nashville, TN, one can only hope that a new studio album is on the horizon. The year 2016 sucked for so many reasons, and the lack of a Wood Brothers original release didn’t help.
Speaking of 2016, “American Heartache” was next up and lead into an uplifting “Atlas” which was one of the first songs the Wood Brothers ever played onstage nearly a dozen years ago in the same city. The somber “Blue and Green” mellowed Webster Hall out before “One More Day” brought the fire to a roar and allowed Oliver to show off some unusually bluesy chops at the end the tune.
To the crowd’s enthusiastic approval, the band brought out Big Mike (an old -timey stand-up microphone) and quietly played one of their loveliest pieces, “The Muse” off the 2013 album with the same name. Along with Big Mike, the brothers also welcomed their opening act, The T Sisters, to join them for another song off The Muse, “Sing About It.” After hearing the live NYC debut of this song at the Bowery Ballroom a few years prior, I knew there was something special about it, but Friday night’s version took it to a whole new level with the addition of female vocalists. In pop culture, three brothers and three sisters sharing the stage may remind you of rainbows, sunshine and dancing all through the night, but unlike the Brady Bunch, the six members on stage Friday night sang about the power of music in its most spiritual and rawest form.
As The T Sisters exited the stage, “Postcards From Hell” kept the relaxed and thought-provoking vibe present in the room. To finish the set, they executed two more songs from their southern rock influenced catalog with “Singin’ To Strangers” and “Honey Jar.” A new version of their old hit “Luckiest Man” brought smiles to faces throughout the room as part one of a two-song encore. The Band’s “Ophelia” closed out the show and gave the audience one more chance to sing along with the trio. In a recent interview, Oliver mentioned how much of an influence Levon Helm has been for the band’s development, and they certainly paid tribute during the well-received finale. The show started and ended with classic covers and gave long-time fans and strangers alike one more fantastic Wood Brothers show for the books.
Setlist: Stop That Train> Two Places, Keep Me Around, Loaded, Smoke Ring Halo, Tried and Tempted, Snake Eyes, (New Song), American Heartache, Atlas, Blue And Green, One More Day, Muse*, Sing About It*^, Postcards From Hell, Singin’ To Strangers, Honey Jar
NYS Music had the chance to sit down and interview with Oliver Wood of The Wood Brothers just days before they embarked on their 2017 Winter Tour, which is currently under way. Due to their familial connection, the Woods come from the same musical roots, but their talents grew in all different directions over the years prior to forming the soulful folk band that now has a worldwide following. Some dates on this tour are already sold out, so if the spirit of their music moves you, purchase your tickets today!
Ben Boivin: Let’s start from the very beginning…The Wood Brothers connection with the state of New York. Your first ever show was at Tonic in NYC and two of the first five shows were at Savannah’s in Albany. How did the Capital District wind up as your first stomping grounds?
Oliver Wood: Well, part of it was a matter of convenience because my brother [Chris Wood] used to live in Saugerties and in the early days of The Wood Brothers we were trying to find little gigs and do things that were realistic and convenient. I was living in Atlanta at the time so I would just go up there and hang out for a few days and work on music and then get a few gigs in the area. We played gigs nearby Atlanta for the same reason. My brother would come down and that just made the most sense. Sort of how we cut out teeth and started to figure out what The Wood Brothers was all about.
BB: What do you feel is different about playing in New York State compared to other parts of the country?
OW: Every region has its own unique vibe and certainly New York State has that. The first thing that comes to mind for me is obviously New York City. That’s where we got our record deal and where our management company is located and where we played our first gig. There’s a sentimental connection to it. Also, we played several times at Levon’s [Helm] barn, his rambles, while he was still alive. Besides Chris living in that part of the country, it certainly has some sentimental value to me as well. There is such a rich tradition there.
BB: Is there one band member that chooses the set lists or is it a group effort?
OW: We definitely tweak it as a group, but I would say Chris is the master set writer. He is the guy that masterminds it and really thinks it through. I don’t know why, it is just something he started doing and was really good at. I guess he is a better decision maker than me? We certainly consult each other and as a group make a list of songs, but Chris is really good at putting them all together.
BB: Do you ever consider cutting songs based on the crowd?
OW: Oh, absolutely. If the crowd is rowdy, we add some rowdier songs. Sometimes we try to tone it down for people and they might be rowdy, but what they don’t know is that they actually want to shut up for a minute and really be in the moment and that’s cool too because it brings them in. It gives them something they didn’t expect.
BB: I read something you said about touring with the Zac Brown Band in front of 20,000 people and how that is a much different level than the normal tours you do as a trio. What makes that different from the theaters and bars where you primarily play?
OW: In a large venue, it is more consistent, there is this one gear. But, I like the variety of small and medium places because they are all unique and you can play them in different ways. It is very satisfying to not just do the same thing every night.
BB: How does playing music with your brother help or hurt what it is you are trying to do?
OW: It is definitely a different dynamic. I mean when you play in a band for years and years with people they become brothers. It’s like a family. It’s like a marriage even. There are those kind of brothers and then something different and deeper with a real brother because you’re family and because you have a more shared experience. Your childhood and your growing up and your parents are all formidable things that you both have. I think also, there is that innate, intangible, yet genetic thing that Chris and I noticed right away. After years apart, being able to comfortably play together and have this telepathy that usually takes years to develop, we were kind of like,“Wow, we have it built in!”
BB: In recent tours you guys have been taking different versions of the same songs on the road. Does Jano Rix help you dissect and resurrect new versions of the same song?
OW: It’s very much a group effort. Part of that is for us. By rethinking a song it is keeping it fresh for us. If we have been playing a song for a couple of years, we may think people love this song but maybe we are getting kind of tired of it. Let’s do something different with it. There is a big rocking number, like the song “Shoefly Pie,” that’s a full electric one, but we made it more porch-y the next time around. We made it all acoustic and Jano was on percussion instead of drum kit, and that’s an example of how we can deconstruct a tune and put it back together in a completely different way. It keeps it fresh for us and for the audience too. We have had a lot of comments where people appreciate and enjoy that.
BB: I have seen you guys a lot and must have heard “Luckiest Man” about 100 times.
OW: Yeah me too, tell me about it.
BB: In the Winter 2016 tour, Jano came out and did a long piano intro before a very jazzy version of “Luckiest Man” and it was really special to hear a familiar song played differently for the first time.
OW: I think people like to get surprised and challenged a little bit and there’s nothing wrong with that on either side.
BB: Going back to the topic of New York, your most recent release, Live from the Barn, was recorded right in the heart of the Catskill music scene in Woodstock, NY. Why did you choose that spot and why is it so special to you?
OW: It’s a very sentimental place for us and Levon is a serious influence and indirectly like a mentor to us. We hadn’t been there in years. Since he passed away we have done stuff with Amy, his daughter, and felt that family connection with their family. When we made the plan to go back there to play, it felt like a special occasion and we wanted to record it all. You never know how it will turn out. Maybe that was okay or that was horrible, but as it turned out, if felt like a real special night. We were really happy and excited that we captured it. We were sort of tripping on being there. It was magical and brought back all these memories. I mean, we were there watching Levon play and standing two feet from his drum set. By the end of the night, we were singing songs with him and sitting around in his kitchen after the show. There are spirits there that you just don’t get anywhere else.
BB: What is the best piece of advice Levon gave you?
OW: He never really gave us any specific advice. I think we just learned by example. I will tell you the thing I get from him is to just be yourself. Just be real and be yourself. That’s what he was and sometimes it is hard to do that and remember that in this business. Sometimes you think, what can we do to survive and to sell more tickets? It’s not about that. If you can be yourself, that’s going to be the best art you can make.
BB: I am sure you are aware that “Big Pink,” the house that The Band rented to create their debut album, is located about 10 minutes outside of Woodstock. Do you, Chris and Jano have your own “Big Pink”? Is there a place that makes writing and creating music easier for you as a group?
OW: Not necessarily. We’ve had several spots, but it has been a challenge since Chris and I lived in different parts of the country for the first six or seven years of The Wood Brothers. I would go up to him and we would write and then he would come down to my place. We would write on the road, backstage, in dressing rooms and at sound checks. He would send me e-mails and we would go back and forth. I will say, since we all moved to Nashville a few years ago, it has been awesomeness because we have been able to hole up in someone’s basement or living room or even rehearsal space. Nashville has been a good place to gel in that regard and relax with our writing. It makes it fun.
BB: What was it about Nashville that drove you guys there?
OW: It was a combination of things. For one, it was somewhat in between New York and Atlanta. We wanted to stay on the east side of the country and I was in the South so long and I like the South, a lot! Part of it too is that we had a lot of great experiences before we lived here. Really cool times where we came to town and recorded with people and collaborated with people and had some shows we really enjoyed. At random, we got to know some good friends and we had kids in school and Nashville is a nice place to raise a family. The music industry here has a stigma that it is just a country music town but there is all sorts of stuff happening with great writers and great music. It is really inspiring just to be here. You can sit in your house and think, “Maybe my neighbors are writing great songs and making great music.” I love that part too.
BB: You will be returning to the Empire State this summer, hitting SPAC in Saratoga and the Highland Bowl in Rochester as well as over a dozen other cities with the Tedeschi Trucks Band & Hot Tuna for the 2017 “Wheels Of Soul” Tour. What’s it like touring with other well-known bands compared to being on the road as a trio?
OW: It’s real special because usually when you’re on the road alone you are crossing like ships in the night and you don’t get to hang out with your contemporaries and they’re all playing at the same time as you are in some other city or state. It is a real treat even at summer festivals to get to cross paths with some of our friends and to get to hang out for a few minutes if we’re lucky. To do a tour with Tedeschi Trucks and be with them every day for a month or two is a real privilege because not only do we get to hear them play every night, but we also get to play with them, eat meals with them and be close.
BB: Well, we are definitely looking forward to that tour.
Over the years, The Wood Brothers repeatedly visited Levon Helm at his barn in Woodstock, New York for the popular Midnight Ramble. These visits eventually led to a cherished friendship between the trio and Helm. The group made a trek back to the barn on August 19, 2016, for their first Ramble since the passing of Helm, where they recorded their latest album, Live At The Barn. Helms’ influence reached well beyond the notes of a song. Guitarist Oliver Wood named his son after the late Levon, adding that “since we actually got to know him, his influence was more than musical—it was personal. He was one of those unique and powerful personalities, and I’ll always remember how gracious he was.”
Live At The Barn revisits 9 songs that run the gamut of The Wood Brothers’ musical catalog. The trio also consists of bassist Chris Wood, and drummer Jano Rix. The opening track, “Mary Anna,” gracefully eases listeners into the album. The deep, rich tones fill the barn with warmth and purity, as whoops and hollers are chimed in from the audience. Right away the song brings you into the barn among the crowd sitting alongside the band. With eyes closed, the faintly familiar smell of barn wood and slight chimney smoke in the air also teases at the senses.
A spirited “I Got Loaded” captures the electrified audience as lyrics are playfully sung back and forth with enthusiasm. Mystifying tones gently tiptoe into “Tried & Tempted” before the melody curves into a head swaying blues jam. The vibe in the room can only be envisioned with a dancing crowd to this melody.
A crisp guitar cools off the barn with a gentle “Trouble In Mind.” Resonating with heavy, psychedelic undertones, this delicate melody keeps the ears filled with colorful imagery. Picking up the pace, “Who The Devil” is tightly stacked with thick bass, vigorous drums, and guitar that rocks the hell out of this soaker of a tune.
In your face bass bombs stealthily glide into “Wastin’ My Mind,” before picking up hitchhiking guitar and drums. The song builds with increasing intensity and mischievous rhythm, creating a musical ambiance filled with empty whiskey bottles and lingering cigar smoke. A massive fan favorite, “Postcards From Hell,” is fittingly dedicated to the memory of Levon Helm. This track takes its time building. Midway through it explodes with massive energy, pumping the live audience, as well as the listener, with shake your bones vibes. It’s impossible not to react to the intensity of this song, as swinging arms, bobbing heads, and dancing legs instinctively react to the beat. Expect to hit the repeat button over and over.
“Honey Jar” twists around funky rhythms to bluesy tones and back again. Crunchy guitar and full bodied bass envelop the melody, as drums keep the pace, creating a lush and smooth ride for the eardrums. Wrapping up the album, “Ophelia” takes the live experience at the barn to a close. This dynamic track strides along, with the notes practically high-fiving each audience member before closing out the music for the evening.
If you’ve never seen The Wood Brothers perform, this is the perfect album to capture their energy in a live setting. It’s highly suggested to throw on the headphones, crank the volume, and soak in the songs with eyes closed. Within the first few minutes, don’t be surprised to be tapping and shaking along to the beats. This is one album that will fit perfectly in any musical collection.
The Wood Brothers will be kicking off a U.S. tour in Philadelphia shortly following the release of their new album. Full tour dates and information can be found on their official website.
Key Tracks: I Got Loaded, Who The Devil, Postcards From Hell
