Category: Media

  • Brandi Carlile Wrestled with Loss to Bring Back Joy at The Palace

    If you were seeking a little bit of country, a touch of rock, some moments reminiscent of church hymns and Irish music, and a whole lot of honesty, the Palace Theatre was the right place to be Sunday night. Brandi Carlile, with special guests Secret Sisters, filled the Palace Theatre with over 2,000 guests to hear authentic harmonies and sometimes almost “too honest to bear” lyrics that offered redemption, forgiveness and even joy.

    Brandi Carlile

    Secret Sisters Laura and Lydia opened the night with the promise that their music was primarily filled with sadness, and noted they were going to “wrestle joy away” from audience members with their harmonies. Their deadpan humor and teasing of one another juxtapositioned their swampy songs of longing perfectly. From Muscle Shoals, Grammy-nominated Laura Rogers and Lydia Slagle sang about loves lost, mistakes made and poor choices, mostly in minor keys. The women acknowledged the normalcy of loving the wrong person as both human and worth growing through. The sisters joked about how Laura named her previous lover in “He’s Fine,” bringing laughter when the sisters sang his name in the actual song.

    Secret Sisters was so welcomed by the audience that it was easy to forget they were just the opening act. Their easy rapport with the crowd, combined with the women’s amazingly clear vocals and Everly Brothers-like harmonies, struck a strong chord with the audience. The sisters closed with “You Don’t Own Me Anymore,” an original song with a nod in the bridge to Lesley Gore’s 1963 tune “You Don’t Own Me.” The audience responded with a standing ovation.

    The silent stage washed in purple lights opened up with a string trio joined by a French horn, teasing melodies from Brandi Carlile’s new album, By The Way, I Forgive You. The crowd cheered these classical musicians as they welcomed Brandi Carlile on stage with twin brothers Phil and Tim Hanseroth. Playing their most popular radio tune first thing, audience members had to notice: this was confidence. What would be left for the rest of the night?

    Brandi Carlile answered any doubts and questions immediately with her high energy jumping across the stage through 17 years of music. The band could play a Crosby, Stills and Nash sound and then jump into a more rock sound, alternating and enjoying the variety. This was true talent.

    Brandi Carlile

    The band’s newest album is full of hard songs to sing. Lyrics about loss, forgiveness, parenthood and survivorship didn’t sugar coat a moment. Two particular pieces, “Sugartooth” and “Fulton County Jane Doe,” touched upon the drug epidemic and violence against women. “The Joke” is a social advocacy song pushing people to be fearless in whom they are. And “The Mother” authentically tackled the normative ambivalence of becoming a parent.

    The twins and Brandi sang an unplugged acoustic version of “Cannonball” to its audience after declaring the Palace “a singing room.” The band members’ strongest pipes are clearly shared among the three vocalists; all three could fill the hall with equal harmony. If you closed your eyes, you could mistakenly believe you were in church. The screaming fans, of course, would ground you back to the theater.Brandi Carlile

    Sounding of country, rock and folk music, Brandi Carlile’s diversity and range was showing. And she was clearly having fun, jumping around the stage like a teen and sharing stories that charmed about her children. She even introduced her four-year-old daughter Evangeline to the audience, who waved and said, “Thank you Albany.”

    And just when you thought they had done everything possible, Brandi Carlile covered the Led Zeppelin tune “Babe, I’m Gonna Leave You” in quite possibly the sexiest and most compelling song of the evening. Brandi’s achingly gorgeous voice as she leaned into her vocals was a reminder: this band can do whatever it chooses to do.

    And it does. Brandi Carlile chose to make us cry and remember past loves. They reminded us to forgive our parents and love them regardless of faults. They cued listeners to be social activists who encouraged acts of goodwill. Brandi Carlile took the Albany audience on a very human journey Sunday night. With a diversity of style and sound, and generosity to include their opener in their later acts, Brandi Carlile wrestled with loss and pulled it away from Albany, leaving pure joy in its place.

    Setlist: Every Time I Hear That Song, Raise Hell, Harder to Forgive, The Eye, The Mother, The Joke, Have You Ever, Sugartooth, Mainstream Kid, Fulton County Jane Doe, Cannonball (front of stage, off mic), Most of All , Babe, I’m Gonna Leave You (Led Zeppelin cover), Secret Sisters song “Mississippi”, The Story, Whatever You Do, Party of One

    Encore: Hold Out Your Hand, Amazing Grace

  • Little Steven and the Disciples of Soul Bring Spiritual Nourishment to the Palace

    Little Steven and the Disciples of Soul brought a crowd of 900 to church on Friday, May 4. The full band of 14, including 5 horns, 2 pianos, 2 percussionists, 1 guitar, 1 bass and 3 back up singers, were joined on stage by Little Steven a little after 8 pm.  As the wall of sound overtook the Palace, it became immediately clear that the crowd was about to get some soul nourishment through old-fashioned big band live music.

    Little Steven spoke to the crowd repeatedly through the concert, asking initially if the crowd liked “good music” as he pointed out dancing, head bobbing fans in the seats. As the band roared through their set list, memories of Little Steven’s history playing in the E Street Band and with Southside Johnny flooded the theatre. The top-notch musicians created chord progression after chord progression of satisfying sound, filling the space with covers and new songs alike and bringing the audience to a fevered pitch of joy.

    Ever the entertainer, Little Steven was in constant motion. Between removing his trench coat, pointing to band members to cue them to take solos, and dancing with his fans, the star powered his way through five songs before taking a break and instructing his audience to “sit and relax” too. He announced the release of the group’s live album and dedicated the night to the teaching profession, noting, “It is time to give them the respect due.” He added he probably should also dedicate it to those teachers he gave a hard time to in school, which drew laughter from the agreeable crowd.

    Steven graciously shared his stage and highlighted talent within his band, giving ample opportunities to each section for solos and audience applause. Generous and joyful, Steven reflected on how live music can nourish your soul.  “The world’s going crazy out there,” he mused, “ We need to gather in cathedrals like this to remember our common ground.”

    Soul music was the common ground for this band, and as they gave nods to Motown and Springsteen alike, they shared high-intensity energy and love for their craft.  They brought the audience with them; with hands clapping and the crowd jumping, as a frenzy of lights and a wall of music lifted spirits and grounded souls in Albany.

    Setlist: Sweet Soul Music (Arthur Conley cover), Soulfire (The Breakers cover), I’m Coming Back (Southside Johnny & The Asbury Jukes cover), The Blues Is My Business (Etta James cover), Love on the Wrong Side of Town (Southside Johnny & The Asbury Jukes cover),  Until the Good Is Gone, Angel Eyes, Some Things Just Don’t Change (Southside Johnny & The Asbury Jukes cover), St. Valentines Day, Standing in the Line of Fire (Gary “U.S.” Bonds cover), I Saw the Light (Little Steven cover), Salvation (Little Steven cover), The City Weeps Tonight (Little Steven cover), Down and Out in New York City (James Brown cover), Princess of Little Italy. Groovin’ Is Easy (The Electric Flag cover), Ride the Night Away (Jimmy Barnes cover), Bitter Fruit (Little Steven cover), Forever

    Encore: I Don’t Want to Go Home (Southside Johnny & The Asbury Jukes cover), Out of the Darkness (Little Steven cover)

  • Watch NYC Emcee/Producer EB Rebel Video for “12”

    EB Rebel, a New York City emcee, producer and lyricist, has released her latest music video for “Spiritual,” off her upcoming sophomore EP Mama, I’m OK. This powerfully uplifting track pays homage to EB’s Dallas, Texas roots and follows the success of her debut EP, TRANCE, which was featured in the BET documentary Stay Woke.

    EB Rebel had aspirations of a musical career since she was 10 years old, but chose a more practical profession and to become a lawyer. Thanks to the plummeting economy and a burning desire to create, EB Rebel decide to skip law school to become a hip hop artist. The inspiration behind Mama I’m OK was EB Rebel’s thoughts and feelings during her first year after moving from Dallas to NY and the emotions that came with being away from family and following her dreams. Mama I’m OK is meant to bring attention to mental illness and to remind people to take care of that part of themselves.

    EB will perform at Queer Abstract on May 18, the night of her EP release.

  • Deer Tick Storms into Buffalo

    Deer Tick may have been nearing the end of a lengthy tour but you wouldn’t have known it from the energy the Rhode Island based band brought to the stage of Buffalo Iron Works on Tuesday May 1st.

    They came out of the gate swinging and held the captivated audience entertained with their unique blend of americana soaked indie rock. To start the night off Nashville’s Liz Cooper and the Stampede played an intensely fun set that won over many in attendance.

  • Listen to Episode 3 of Empire State Music Podcast w/s/g Formula 5

    In Episode 3 of Empire State Music Podcast, host Andy Hogan talks with Albany’s Formula 5 about their Spring Tour, Rock the Dock Festival in July, and discuss the music scenes in New York and New England.

    https://soundcloud.com/empirestatepod/formula-5

  • Premiere: Listen to “Hyperbole” off Swimmer’s upcoming album “Throw It Out”

    Swimmer has premiered “Hyperbole” off their upcoming album Throw it Out, exclusively through NYS Music. The 11 minute track is a sojourn through tempo, winding through 70s rock with a disco beat, while jazz flows through the composition.

    Matt Dolliver (keys, sax) says of the track “Hyperbole is a journey. It’s up and down. It’s left and right. It’s fast and slow. It’s here! Oh, look! It’s over there! It’s a tune we wrote collaboratively and has proven over time to be a highlight in a live setting.” Catch Swimmer this summer at StrangeCreek Music Festival, as well as stops in Buffalo and Syracuse this month.

    Throw it Out will be released on Friday, May 4th on Swimmer’s Bandcamp.

  • Gallery: Formula 5 and Space Carnival at The Hollow, April 28

    Formula 5 and Space Carnival packed The Hollow in Albany on Saturday, April 28 as part of a Disc Jam Music Festival pre-party. Filling in the crowd early, Space Carnival‘s heater of a set included the funky “Queen of Cups” and “Mooshbah,” threw in a crowd-pumping “Africa” by Toto and wrapped up with their classic “Moon Boots.” Formula 5 got the party going with “Trout Waters, Pt I & II”, then threw in a few covers over the course of the night, giving nods to Bob Dylan with “Tangled up in Blue,” Widespread Panic, Little Milton and wowed the crowd with their debut of Rush’s “La Villa Strangiato.” The energy from the crowd was electric and wrapped up with a 20+ minute version of “Sad Bed.”

    Formula 5 Space CarnivalCatch Space Carnival at Summer Camp Music Festival later this month, and Formula 5 at Sterling Stage Folk Fest on May 25. Both artists will appear at Disc Jam Music Festival, June 7-10 in Stephentown, MA.

    Space Carnival setlist
    Sirius Rising, Uh Oh, I slipped my Disco, Queen of Cups*, Mooshbah, Pleasure in Sin*, Africa^, Moon Boots
    *Moon Boots teases
    ^Toto cover

    Formula 5 setlist
    Set 1: Trout Waters, Pt. I & II, Blue -> Booher’s Pass, Tangled Up In Blue^, Albatross and Wolves, La Villa Strangiato•

    Set 2: Tall Boy+, Breaking Glass, That’s What Love Will Make You Do^^, Sad Bed*

    Encore: Come Along~

    ^ Bob Dylan cover
    • Rush cover, FTP
    + Widespread Panic
    ^^ Little Milton cover
    ~ w/ extended outro and chorus reprise

  • moe. Delivers Heater of a Spring Tour Closer in Northampton

    On a warm and sunny Saturday, moe.rons from all across New England gathered in Northampton, MA for moe.’s spring tour closer at the Calvin Theatre. Many .rons traveled down from Burlington, VT, fresh off an impressive 2-night run at Higher Ground from the recently rejuvenated band. If fans were to expect anything after last year’s fiery winter tour closer at the Calvin, they were in for a good time.

    moe northampton

    The first set took off quickly as Rob Derhak broke into the first words of fan favorite “Captain America,” which was met with a huge cheer from the crowd. The song set a very upbeat mood for the beginning of first set, and was a strong song to open with in the band’s return to the Calvin. The band got to jamming swiftly, seemingly very well practiced from the previous 2 nights in Burlington, and very smoothly transitioned into “ATL,” which really showcased Al Schnier and Vinnie Amico’s ability to work as a unit. During “ATL” it was very apparent that the band was having lots of fun and ready to have tons more. After a very energetic ending of “ATL,” the band took a break filled with lots of banter between the whole band, mainly focused on Rob poking fun at guitarist Chuck Garvey’s crowd work skills. The group broke into one of percussionist Jim Loughlin’s originals, “Chromatic Nightmare,” which is an extremely impressive showcase of the musicianship in the band. Chuck took the helm towards the end of the song with a crushing solo before the band did a “no huddle” transition into “Annihilation Blues.” This version of “Annihilation Blues” was pretty standard, and helped bring up the mood after the weird jazziness of “Chromatic Nightmare.” After a rather quick jam section, the band brought the song into “Seat of my Pants,” one of three repeats from last year’s Calvin Theatre show. This “Seat of my Pants” featured the first big peak of the night, led by Al Schnier, who was in full rockstar mode. Any moe.rons who attended last year’s Calvin show will remember Al soloing right on the edge of stage and using a guy’s head as a guitar slide, which Al paid homage to by performing another killer solo on the edge of the stage, sans guitar head-slide. The band brought the jam into one more verse and chorus before ending the segment.

    To close out the set, the band presented the first big highlight of the night, “Montego” > “Kyle’s Song” > “head.” “Montego”’s Latin sound switched the mood up after the very upbeat and reggae-esque “Seat of My Pants,” and featured a very trippy jam led by Loughlin and Schnier. The band transitioned into the slow, but warm, “Kyle’s Song,” kicking it off with Derhak playing the very recognizable intro bass riff. The whole crowd was singing along and participating in the usual clapping, even joined by Schnier for most sections. Lighting Director Preston Hoffman was flexing his lighting muscles during this “Kyle’s Song,” putting on one of the more impressive lighting performances of the show. Chuck Garvey took the helm of this jam, taking a lengthy but impressive solo tensely leading the whole band into one last chorus, before they started energetically building into “head.” The jam into “head.” featured a big Rob solo before starting into the main riff of the song. “head.” was met with a roar from the crowd and got everyone in the room pumped up as the band was steaming ahead like a freight train on stage. The jam featured an Al-Jim call and response section initiated by Rob, and a killer slide solo from Chuck before they ended the song.

    moe northampton

    The group opened the second set with their bluegrass tune “Queen of Everything,” which was an interesting way to start off set 2 after the high energy “head.” first set closer. After an energetic ending, the band “no huddle” segued into one of Garvey’s new songs, “Who You Calling Scared,” which was debuted at the State Theater in Maine this past February. “Who You Calling Scared” featured a very fun blues jam to close out the segment. The group wasted no time as they broke into one of my favorite moe. songs, “Four,” another repeat from last February’s Calvin Theater show. This version of “Four” was really solid, and the second big highlight of the show. “Four” featured a lot of .rons’ favorite moment from Saturday’s show: a great extended solo from Rob that featured some strange but cool synth bass tones. After Rob’s solo, the group brought the song into the third big peak of the night before one more chorus that had the whole theater singing along. “Four” smoothly transitioned into the rocker “Deep This Time,” the last of the repeats from last year’s show. Chuck broke out the slide again, starting a trend in his playing throughout the set. This version of “Deep This Time” was fairly standard and brought to close with no big jam section.

    The band started into another one of the post-hiatus debuts, Loughlin’s soulful “I Can Never Remember.” This is one of my favorites of all the new songs they’ve debuted since their return as it really allows for a chance to let Jim’s voice shine and its slow, somber feel serves as a nice break between all the big peaks moe. sets tend to contain. Chuck took a great solo to end the song, rounding out this extremely solid version of “I Can Never Remember.” “Not Coming Down” started off the last segment of the night, bringing the mood up and featuring Rob Derhak’s slapping capabilities. The song had another big crowd sing along moment before taking a lesson from Wormwood’s track listing and transitioning into “Wormwood,” which brought the set back into the slower mood that “I Can Never Remember” was evoking. “Wormwood” is a great showcase of Chuck’s slide playing, which he was already showing off earlier in the show. After a pretty standard version of “Wormwood”, the band segued into “Puebla” > “St. Augustine,” the last big highlight of the show. “Puebla” set a mysterious mood in the theater, and the band made quick work of getting to the jam. This jam section started off slowly but heavily featured Rob and Vinnie’s impressiveness as a rhythm section, as the duo kept driving the jam faster and faster until they had built up enough tension to transition into “St. Augustine.” Schnier also played very heavily into “Puebla”’s jam section, taking his solo to shred city as the band steamed on behind him. The segue into “St. Augustine” was very energetic and made the crowd go wild. This song quickly picked up the pace from “Puebla” and served as a great second set closer, as the crowd sang along and the band had fun with a bluegrass-y jam towards the end. The band brought “St. Augustine” into one last chorus sing along with the crowd before ending the segment.

    moe northampton

    The group encored with the heavy but energetic Wormwood cut, “Crab Eyes” which was a great way to end this burner of a show. Two years in a row now, moe. has served up absolute heaters in Northampton! Seems like they should keep ending all their tours down at the Calvin Theatre, as one moe.ron put it, “Never miss a Calvin show!”

    Setlist: 

    Set 1: Captain America > ATL, Chromatic Nightmare (nh) > Annihilation Blues > Seat of my Pants, Montego > Kyle’s Song > head.

    Set 2: Queen of Everything (nh) > Who You Calling Scared, Four > Deep This Time, I Can Never Remember, Not Coming Down > Wormwood > Puebla > St. Augustine

    Encore: Crab Eyes

    Purchase & Listen to the show on Nugs.net.

  • Gallery: Cousin Earth celebrates release of “Human Music” at Bowery Electric

    Cousin Earth celebrated the release of Human Music on Friday, April 27 at Bowery Electric. Check out photos from the night and read our review of this fantastic album!

  • ‘My Favorite Band’ Podcast looks at unwanted touching at shows

    Allie Wenner had an idea for the second episode of her podcast ‘My Favorite Band‘: to interview Phish fans over the recent New Years run at Madison Square Garden, and see what happened. But before she headed to to MSG, she came across NYS Music’s article on Groovesafe, an organization formed to combat unwanted touching at concerts and shows. It struck a cord for Wenner who says “I have been touched in ways that made me feel uncomfortable many times, but this was the first time I had heard about anyone really talking about it.”

    https://myfavoriteband.co/episode-2-phans-punks/

    Wenner reached out to Ashley Driscoll, founder of Groovesafe, and met at American Beauty for an interview, finding what she had to say quiet shocking, especially “the liability issues around this and how venues and promoters are dragging their feet when it comes to establishing policies to protect patrons from sexual violence.”  Ashley emphasized that this kind of unwanted touching was not just happening at Phish shows and not just happening to women, so the next day she decided to interview some fans at the Hotel Penn PhanArt show and found out that she was 100% right: “Men, women, gay, straight, old, young — nearly every person I talked to had a story to tell about being touched at a concert, and it was pretty striking.”

    “Some people had had it happen to them personally, but many people also told me stories about people harassing their significant others or friends as well. And the fans I talked to also confirmed that it wasn’t only happening at Phish, or even just at jam band shows. So after I got back from the NYE run I started doing some research about how other scenes are trying to combat sexual violence, and found some articles about last year’s Warped Tour, the SaferScenes booth, and War on Women, and things kind of went from there.

    Listen to the second episode of My Favorite Band Podcast, and check out the first episode where Wenner looks at Insane Clown Posse fans (Juggalos) and how the FBI has labeled the entire fanbase of ICP a gang, alongside the Bloods and Crips etc.

    Wenner is a multimedia journalist based on Princeton, N.J., who is passionate about live music and storytelling. She created My Favorite Band to give music fans a platform to talk about issues that matter to them and how those issues impact both their concert-going experiences and lives in general.

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