Category: Features

  • A Friend in the Berkshires: James Taylor Doesn’t Disappoint Fans in Timeless Concert

    Berkshires resident and world-loved music legend James Taylor crooned to a sold-out crowd at Tanglewood July 3, the first night of his traditional two nights at the rural venue near his summer home. The crowd filled every inch of the manicured lawn with blankets, tables, chairs and fine dining accessories, clearly reflecting that this wasn’t the first JT concert attended by most fans. Inside seats were filled as the crowd sat in high humidity and heat, waiting with anticipation for the first set.

    James Taylor was the first artist to set foot on the stage a little after 8:00, and he was met by cheering fans who quickly forgave the brief tardiness. The 70-year-old star appeared in his long pants, dress shirt and cap, and after brief waves, he slung his guitar over his shoulder as he sang “Carolina on My Mind.”

    Photo by Jim ‘JT’ Gilbert

    Taylor transitioned through both well-known pieces and some lesser-known songs in the first set. The light show, coordinated with the chorus and highlights of “Country Road,” seemed intent to remind the audience that they are indeed at a rock concert, not a folk concert.

    It would be a bumpy first set, though, marked by amp problems, some pacing issues, and low energy from artist and crowd alike. At one point after “Frozen Man,” seasoned Taylor matched the key of the reverb from the amp and joked, “Do we have any songs in that key?” Using humor and his incredibly flexible vocals, Taylor kept the crowd engaged through some slower moments. He introduced band members throughout the first set, and indeed the band members, including 2 percussionists, a trumpet player, flute and saxophone player, three backup singers, pianist, fiddle and of course the customary guitar and bass, are an all-star band.  Taylor turned to look at each artist as he or she performed, and genuinely reflected an appreciation for sharing the music with the artists.

    Folksy and dancing little jigs, Taylor covered “(I’m a) Road Runner” and danced around the stage. This seemed to wake the audience back up, but there was a bit wrong with the rhythm section and the band seemed off the pace with one another. “Copperline” saved the set, though, with Taylor’s infallible voice finding its vertical pitches with beautiful ease. They rolled into “Handyman” and “Mexico,” bringing the crowd to it’s feet.

    Before breaking for intermission, Taylor looked at the setlist and joked with the audience, pacing them for the twenty-minute break and promising “a lot of hits” in the second set. In between, he was on stage, signing autographs and taking pictures with fans.

    The second set delivered on the hits, and more than compensated for any troubling moments from earlier in the night. Fans sang along to the most famous James Taylor tunes, swaying in the heat to “Something in the Way She Moves.” Taylor impossibly made himself even more human and relatable with a song about his dog, Sunny, and shared adorable pictures of the pug. Each song in the second set related to the human experience: loving someone, losing someone, having a dog, being a friend.

    Photo by Jim ‘JT’ Gilbert

    And that’s really why people go to see James Taylor – the articulation of their own very human experience. We go to be reminded that we aren’t alone in these hard emotions, and in fact everyone struggles with sadness, joy, and how to show love. “Shower the People You Love” brought the crowd to its feet, singing along and encouraging folks to do just that – show the love to those around you.

    From “Sunny Skies” and “Walking Man,”the set transitioned to the faster, more intense rock feel of “Steam Roller.” Playing on a baby blue electric guitar, Taylor’s only electric guitar song featured some impressive riffs by the pianist, bassist, and sax players. Taylor waved his cap over the instruments, and jumped on one leg like an old time rock star, bringing gasps of joy and screams of love from the audience.

    Filled with folks who had traveled long distances to get to Tanglewood, the crowd talked to each other with civility, gentleness, and a genuine interest in one another in the shed. Couples surrounding this reviewer came from New Haven, Rochester, and even Philadelphia. It had become an annual pilgrimage for many of them. When asked why the same smile crossed their lips, heads shook a bit in disbelief, and no one could really articulate a specific reason beyond loving the music. But with the encore of “You’ve Got a Friend,” fans were truly speaking their hearts. James Taylor is their friend, their company in easy and hard times alike.

    Photo by Jim ‘JT’ Gilbert

    During this time of low civility, isolation, and sad news of disparities in our country, the concert offered a quaint respite in songs lending empathy, kindness, and intelligence. As long as he’s performing at Tanglewood, clearly James Taylor has thousands of friends overjoyed to have him – and each other – on this American holiday weekend.

    Setlist

    Set One: Carolina in My Mind, Country Road, The Frozen Man, Never Die Young, Don’t Let Me Be Lonely Tonight, Road Runner, Nothing Like a Hundred Miles, Raised Up Family, Copperline, Handyman, Mexico

    Set Two: Something in the Way She Moves, Sunny Skies, Walking Man, Up on the Roof, Steamroller, Sweet Baby James, Fire and Rain, Your Smiling Face, Shower the People, How Sweet it Is

    Encore: Shed a Little Light, In the Midnight Hour, You’ve Got a Friend

  • Hearing Aide: Florence and the Machine’s ‘High as Hope’

    Florence and the Machine released their newest album High as Hope on June 29 and it feels like a blast from the past, still holding that classic Florence and the Machine sound known and loved by fans. This fourth studio album by the them was released by Republic Records and Virgin EMI Records. Being a big Florence and the Machine fan, like many others, I waited to see what this new album would hold with a slightly skeptical eye. Not having been as impressed with their 2015 album How Big, How Blue, How Beautiful as much as I would have hoped, I wasn’t sure how the new album would sound, but to my delight it didn’t disappoint in the slightest.

    Florence Welch courtesy of Florence and the Machine’s Instagram.

    The ten song album, which was produced by Welch herself along with Emile Haynie, had a very minimalistic feel to it that grounded it. The album started with the song, “June” which has these lines that say, “And you’re so high, you’re so high, you had to be an angel/ And I’m so high, I’m so high, I can see an angel” which immediately tells the listener what this album is about. It’s about struggle, it’s about belief or lack thereof, it’s about love, it’s about drugs. The song then moves on to one of its singles, “Hunger,” which focuses on all these points. It talks about Welch’s struggle with an eating disorder and has the lines saying, “We all have a hunger” over and over, showing that every person has some struggle in their life. For her, it was an eating disorder but it could it be something different for someone else. Her voice leaves the listener with this aching feeling of knowing that’s what pain suffered in solitude feels like. It’s a pain we all know but seldom talk about.

    I could talk about each song in this much detail but then you would be left with a very long article so I’ll just talk about two more songs. The first song is “Big God” which was the other single off of the album and has the iconic lines, “You need a big god/ Big enough to hold your love/ You need a big god/ Big enough to fill you up.” This song really pulls into this minimal feeling of the album, having having the bass notes of a piano following it for half of the song before the rest of the ensemble comes in. But even this ensemble is a minimal one. This song, just like the others, has this continued theme of struggle and belief or lack thereof.

    The other song which needs to given some proper attention is “No Choir” which is the last song on the album. It starts by saying, “And it’s hard to write about being happy/ ‘Cause the older I get/ I find that happiness is an extremely uneventful subject/ And there will be no grand choirs to sing/ No chorus will come in/ About two people sitting doing nothing,” which really stuck out to me as a listener. The song has this very melancholy emptiness to it which I believe is this acceptance that the whole album rounds back on. It’s an understanding that happiness doesn’t feel as great as sadness feels awful. That struggle, belief or lack thereof, love, drugs – they all make an impact on us and it’s what we do with that impact that matters.

    Overall, I thought this was the best album Florence and the Machine has had since Between Two Lungs. It manages to keep an authentic Florence and the Machine sound with a more grown up set of topics. And it does this well, keeping itself well rounded between upbeat and mellow songs. The minimalist tracks throughout builds on this authenticity of the lyrics. It doesn’t need to be big and flashy to get it’s point across. In fact, being flashy would most likely only distract the listener from the main messages. You can listen to the entire album on Spotify.

    For more information visit Florence and the Machine’s website.

  • The Doobie Brothers and Steely Dan Turn the Heat up at SPAC

    The Doobie Brothers and Steely Dan stopped at SPAC on a scorching Saturday on June 30 during The Summer of Living Dangerously tour.

    Steely Dan Setlist: Kid Charlemagne, Hey Nineteen, Black Friday, Aja, Bodhisattv, Peg, My Old School, Dirty Work, Time Out of Mind, Black Cow, Rikki Don’t Lose That Number, Green Flower Street, Pretzel Logic, New Frontier

  • New York Series: Irving Berlin ‘God Bless America’

    Regardless of your political views, there is a general consensus among Americans that they love and support this great country and the ideals on which it was founded. Before nearly every sporting event, each person in attendance stands in solidarity and pays their respect to the flag and what it represents. They forget about their political positions for a brief moment and are silent as they listen to anyone from a pop singer to a youth choir give it everything they’ve got to deliver their most passionate ode to America.

    Depending on the game you’re attending, you’ll either hear “The National Anthem,” “God Bless America” or both songs sang as tribute to the men and women who serve in our military. Ironically, and unbeknownst to most in attendance, Irving Berlin’s 1918 patriotic song “God Bless America” was originally written as a “peace song” opposing the first world war, and later changed to a song in support of our troops.

    For a short time in the United States, nearly all published music came from a short group of blocks in the middle of Manhattan. The early 19th century saw a boom in songwriting and music publishing companies unlike the world had ever seen, and that area of New York was referred to as Tin Pan Alley.

    Songwriters from all over would swarm to the area to have a chance to write piano sheet music sold around the country or hits for Vaudeville or Broadway shows. The cream would rise to the crop and make a name for themselves, with no one more popular than Irving Berlin, a Russian immigrant who moved to the United States at the age of five.

    Tin Pan Alley in New York City, home to songwriters and music publishing companies
    Tin Pan Alley, then and now

    In 1918, while away from his piano in Manhattan and serving in the US Army at Camp Upton in Yaphank, NY, Irving wrote the first version of “God Bless America” in an attempt to write the perfect peaceful song that would help unite the world and inspire men to live in harmony, much like notable songwriters Bob Dylan and John Lennon years later. However, after a few versions, he decided that he wasn’t in love with the music and that peace songs were all that were flooding the market at the time, so he decided to put a pin in it for a while.

    Having come from Jewish descent and already living through one world war, in 1938, Irving decided take another look at “God Bless America” in response to Hitler’s unsettling rise in Europe.

    “I had to make one or two changes in the lyrics,” Irving said,” and they in turn led me to a slight change and improvement in the melody, one line in particular. The original ran: ‘Stand beside her and guide her to the right with a light from above.’ In 1918, the phrase ‘to the right’ had no political significance, as it has now. So, for obvious reasons, I changed the phrase to ‘Through the night with a light from above.’”

    Irving wrote the first version of "God Bless America" in an attempt to write the perfect peaceful song that would help unite the world and inspire men to live in harmony.
    Irving Berlin

    With the new revisions, the song took off instantly and was even hailed as the new national anthem to many. It was debuted to the public on Armistice Day in 1938 by Kate Smith on her radio show and was quickly spread around the country. In 1940, both Democrats and Republicans adopted the song as their theme, and the peaceful song was beginning to achieve exactly what Irving had intended – though it never did on a global level.

    Post-World War II, the song began to gain popularity at sporting events around the country. The trend originally started in Philadelphia at Philadelphia Flyers home games, often sung for good luck and to pay respect for the men and women who served in our country. It was also used at political rallies, schools and concerts across the country.

    Today “God Bless America” is not sang as wide spread at sporting events as it used to be, but the song is still heard on occasion to honor our troops. Some sporting teams will sing the song in place of “The National Anthem” and it is not uncommon for Canadian teams to also use the song in its place when honoring our country. The buildings in Tin Pan Alley where the song was full composed still exist today, however, they are no longer filled with clanking pianos and hopeful singers. There is currently a push to have some of the buildings on Tin Pan Alley preserved so the area is not built up like midtown, but as of recently no significant changes have been made from either side.

    ‘God Bless America’ Lyrics:

    God bless America
    Land that I love
    Stand beside her and guide her
    Thru the night with a light from above

    From the mountains, to the prairies
    To the oceans white with foam
    God bless America
    My home, sweet home
    God bless America
    My home, sweet home

  • Umphrey’s McGee: Welcome Back to Asbury Park

    For the eighth consecutive year, Umphrey’s McGee made The Stone Pony Summer Stage in Asbury Park New Jersey a part of their summer plans. Located in the lot behind the iconic Jersey shore rock venue The Stone Pony, the Summer Stage sets have historically showcased the metal and prog rock side of Umphrey’s Mcgee’s vast spectrum of musical influences. The 2018 installment continued this tradition by showcasing “Remind Me” as a first set closer followed by a “Wizard Burial Ground” into a  “Sludge & Death” second set opener. They would ultimately close out the second set by going back to “Wizard Burial Ground” as well.

    In past years, Umphrey’s McGee has taken the Asbury Park encore as an opportunity to bust out a cover. They have dropped both “Mother” by Danzig and “Last Caress” by the Misfits as band debuts in 2012 and 2016, respectively. And their 2014 “Front Porch” had a “Don’t Go Chasing Waterfalls” (reprise) mashed into it. “Don’t Go Chasing Front Porches” on Zonkey part 2 maybe? For 2018’s encore, Pantera’s “Walk” was played for the first time with this preamble from bassist Ryan Stasik; “What’s up, New Jersey!?!?!?!? Put your fists in the air! When we come to New Jersey, we come to kick fuckin’ ass and play rock and roll.  We lost a good one, we lost Vinnie. He’s up there with Dimebag. Pantera meant a lot to me growing up. Rest in peace, we’re gonna play some non-sissy type music. Let’s have some fun!”

    mm/

    Setlist:

    Set One: Nipple Trix, Roctopus, Pequod, Andy’s Last Beer, Seasons, It Doesn’t Matter, You and You Alone, Remind Me

    Set Two: Wizard Burial Ground, Sludge & Death, Xmas At Wartime, The Silent Type, Jessica, Cemetery Walk, Cemetery Walk II, August, Wizard Burial Ground

    Encore: Kula, Walk

  • Victor Wainwright Brings the Train to Funk ‘n Waffles

    Attention, passengers. This is your conductor speaking. Victor Wainwright and The Train is about to leave the station. Please stand clear of the Boogie Woogie and enjoy the ride.

    Victor Wainwright

    “The blues was bleeding the same blood as me. The blues didn’t have to explain the mystery of pain that I felt; it was there in the songs and voices of singers like Lonnie Johnson and Blind Lemon Jefferson, in the cries of their guitars.”

    B.B. King, Blues All Around Me: The Autobiography of B.B. King

    Four-time BMA Pinetop Perkins Piano Player of the Year winner (‘13,’14,’17,‘18) and BMA BB King Entertainer & Band of the Year recipient (‘16), Victor Wainwright sets out on his new endeavor, Victor Wainwright and the Train. The 12-track, band-titled album not only pays homage to the Blues, but also is a full-fledged attack on the music industry – a rebirth of the genre.

    Wainwright is an entertainer – period. “Musicality and the songs themself are second,” said Wainwright. Growing up, Victor idolized BB King. “Seeing King for the first time changed my life! When I watched him, right away I could put my finger on exactly what IT was.” Sheer musical talent and technical skills on stage can only be admired by musicians and artist alike. For the lay listener it is about seeing a great show. They want to be entertained.

    “Artists need to take up the mantle and use Blues as a tool to see past the 1-4-5 (a rudimental chord progression) of a guy sitting on a porch, singing about his dog,” said Wainwright. “I want to invite people in and get them to be apart of this community. It needs younger people to keep it alive.”

    As the highly anticipated Funk ‘n Waffles shows in Syracuse and Rochester approach later this week, diehards and Blues-fans-to-be will have their hands full. The steam train will take flight at Funk ‘n Waffles Downtown in Syracuse, Friday July 6. Showtime *8 pm (corrected from 6pm). And carry on Saturday July 7 at Funk ‘n Waffles Music Hall in Rochester, NY, beginning at 8 pm also. Tickets: $15. (advance), $20. (door). Info: (585) 448-0354 or visit https://www.funknwaffles.com/

    Victor Wainwright

    Musically people haven’t seen anything like this before. It touches on new and exciting, while being familiar and honoring the Blues,” said Wainwright. Victor hinted at a few surprises that will be in store for these gigs including more original music, familiar tunes from your childhood and songs outside the normal Blues repertoire. In addition, Doug Woolverton, who played on the record, will be joining the Train for these Funk ‘n Waffles dates. “Laughter is a huge part of our show. When people are laughing with you, in combination with slow songs, sung from the heart – it becomes a super powerful combo!”

    The record is a testament, backing the mountain of Wainwright’s accomplishments. It is a stout stew of Boogie Woogie, Blues, Rock ’n Roll, wailing horns and free-flowing expression from the drums, keys and bass. The opening track, “Healing” leaves no time for thought. In-your-face stride piano reverberates, before the track takes off in up-tempo eighth-notes topped with Wainwrights soaring voice. The Train is alive.

    Not only did Wainwright compose all of the record, but also produced it himself, with the help of Dave Gross in New Jersey. “What I tried to convey is power. Not in a Marvel comic book sense, but in the form of passion,” said Wainwright. “Exactly like a steam train.” All of the overwhelming energy captured on stage is heard on tape. The band feeds off each other collectively in the studio, achieving something monumental.

    “Wiltshire Grave” has a spooky, New Orleans second-line feel, featuring Pat Harrington on guitar. The tune lingers, allowing you to digest the beauty in each instrument. The raging horns punch through making way for sweeping keyboard licks and an edgy solo guitar. The track also features off-the-cuff percussion effects such as a baseball bat and bicycle bell. All listeners are stopped dead in their tracks. Likewise, “Money” sits back in the pocket, relatable in message – warranting payment to Uncle Sam without delay. Let’s hope he can catch the up-tempo localmotive.

    Notably, the album pays a direct tribute to Wainwright’s idol, BB King, in “Thank you Lucille.” For Victor, “some things deserve to be said as directly as possible.” Upon hearing of King’s passing, Wainwright rushed to the side of the road. His world came to a complete halt. “Lucille is a deity. King talks to her like it is human. I almost felt said for her,” said Wainwright. “She will live on!”

    Victor Wainwright and the Train was released March 9, 2018 and quickly topped the National Roots Music Report charts for Blues in April. It now sits sixth in the Top 50.

  • ¡Viva Mayhem! Takes on CFCU Summer Concert Series Again

    ¡Viva Mayhem!, commonly referred to as Viva, is an eight-piece post-wave ska band out of Ithaca, NY which are fan favorite at the CFCU Summer Concert Series that takes place at the Bernie Milton Pavilion stage in Bank Alley on the Ithaca Commons. Sean Bonney-Burrill is one of the original member and founders of the band and still an active participant when he’s not attending Berklee College of Music in Boston for Contemporary Writing and Production.

    Viva Mayhem’s drummer Sean Bonney-Burrill playing at the Ithaca Festival taken by Edna Brown Photography.

    Nora Hones: So tell me a little bit about your position in ¡Viva Mayhem! and how the band formed?

    Sean Bonney-Burrill: So my position in it is really weird because the band formed, I don’t remember exactly what year it was formed, but it was five or six years ago as Mayhem Attack Squad and at the time I was the drummer for the band. And at that point, it was just two horn players, guitar, bass, drums and vocals and it kind of went from there to what it is today. Over the years I have switched gears, switched instruments many times. I went from drums, to doing vocals, to doing both vocals and drums at one point, but I didn’t really feel like that had enough energy going on upfront. I felt like that we needed someone upfront to get the crowd excited so since we were having a hard time finding a vocalist that was sticking around in Ithaca, I decided to jump on doing the front man position for a while. Then when I went away to school, we got a new vocalist and a new drummer and I just sort of filled in on whatever instrument needed to be played when another member was out and besides that I would play aux percussion or keyboard. But right now, this summer, I am playing drums again which I haven’t done in almost five years with Viva which is really awesome.

    NH: So how long have you guys been performing at the CFCU summer concert series? Because I know this isn’t your first year.

    SBB: It’s not the first year. I think it was two years ago we started. I know we opened for SAMMUS the first year we did the concert series. It’s basically been since the series started at the Bernie Milton Pavilion after the Commons renovation ended. But we have a lot of fun each time. It seems like the CFCU concert series has been progressively growing a lot stronger each year and bringing in new and interesting bands and really getting some good talent from a bunch of different spots in New York.

    Photo courtesy of CFCU Concert Series website.

    NH: So what got you involved in it? Like did someone approach you or did you apply to be part of the concert series?

    SBB: We did let the CFCU people know about us a few years ago and then it sort of just happened organically over time. As Viva was playing more places around Ithaca and getting their name out more and more we started not as much looking for gigs but working with people to put gigs together. Like I said we opened for SAMMUS our first year that we played the CFCU concert series and that gig was an Ithaca Underground showcase which is actually what we are doing again this year as the headliner instead.

    NH: What is it about this concert series that keeps you coming back to keep performing at it?

    SBB: Well, it always pulls a really cool crowd. You see people that you wouldn’t necessarily see at other shows. It’s great that it’s free and a family event because there’s definitely some festivals around town and stuff like that, but it’s one of those few series that anyone can go and enjoy. You don’t have to pay to go there. you don’t have to be a certain age, we love that. We get to see a really diverse fan base from that. It also always feels like a really good way to connect with the community in a really cool way. It feels like a very quote unquote “Ithacan” thing to do. But besides that, like I said, they always bring in a lot of really cool talent so it’s awesome to be put in a lineup with so many other cool bands who are doing really interesting things with their music in Ithaca and the regional area around Ithaca.

    NH: So what do you think it is about you guys that makes this concert series want to keep bringing you guys back?

    SBB: I would say that the number one thing that we have going for us as a band is energy and excitement. I think that we do really good job engaging with the audience and I think the audience really enjoys engaging back. It doesn’t really feel like performer, audience, and like there’s a barrier between the two. We really want to interact and make people have a good time, get people dancing, and I think because of that people think, “Oh this band is playing on the Commons, should we go? Yeah, we always have a good time. It’s fun and dance-y.” I think that’s one of the reasons they enjoy us is because we are really excited to just go out and perform for people and show them the best time we can.

    NH: You already mentioned it a little bit while we have been talking but I was wondering, as a participant of these concert series, what do you think a concert series like this can bring to a city?

    SBB: Well one really cool thing they can do is make connections between different musicians that you wouldn’t necessarily get to see at some shows because it’s such a wide range of people coming to play these series. And I know, for myself, I love to check out all the other bands playing over the summer. And it’s a different thing than if we were just playing shows and looking for other bands that fit a similar style to us, it doesn’t necessarily work in the same way, which is really cool. Besides that, it’s a way to see people in Ithaca that you wouldn’t always see. It’s hard to have enough money to go see all the great bands in Ithaca, so being able to check out some people who you couldn’t make it to their normal shows at the concert series is really cool. It’s cool to have that showcase on a Thursday evening when there isn’t normally a lot else going on and they always have really quality acts so if you wanna go you know you’re going to have a good time.

    Photo courtesy of Viva Mayhem website.

    NH: Okay, so just to close us up, is there anything about Viva Mayhem we should keep an eye out for?

    SBB: Well on Tuesday, July 3 we will be on WVBR with Tuesdays With The Band at 6 and we will be playing some music off of our newest album, we will be playing music live in the studio and just sort of be talking about the show with the CFCU concert series on Thursday July 5. Besides that, our next big thing we are really looking forwards to is playing at Big Mean BBQ where we will be playing with a huge, awesome lineup of regional musicians like Big Mean Sound Machine, Giant Panda Guerilla Dub Squad, Ithaca Bottom Boys and a bunch of other really fun bands. And that will be August 24 and 25 and we are really pumped to do that right now. We have a lot of new music we are writing right now, which has started to be introduced through our last few weeks of shows, so if you come out on Thursday you will probably get to hear something by us you haven’t heard before.

    The CFCU Concert Series takes place Thursday evenings on the Ithaca Commons. The series is a free outdoor concert series which is open to the public held every Thursday evening from 6-8pm. The series started on June 21 and runs until September 6 (with the July 18 concert moving to Wednesday evening and a special Saturday afternoon show on August 18 at 1 pm.)

    July 5 – Viva Mayhem (Ska)
    July 12 – Maggie Koerner (Soul/Rock)
    July 18* – Taj Weekes & Adowa (Reggae/Afro Folk)
    July 26 – Searson (Canadian Celtic Pop)
    Aug. 2 – Fall Creek Brass Band (Brass Funk)
    Aug. 9 – Stone Cold Miracle (Soul)
    Aug. 16 – The Hilltoppers (Bluegrass)
    Aug. 18* – East Hill Classic Jazz Band (Jazz)
    Aug. 23 – The Blind Spots (Moxy Rock)
    Aug. 30 – Kwame Binea Shakedown (Roots Rock)
    Sept. 6 – Gunpoets (Hip-Hop)
    *Denotes non-Thursday shows. Taj Weekes is performing on a Wednesday evening and East Hill Classic Jazz Band is performing on a Saturday at 1 p.m.

    For more information on ¡Viva Mayhem! Visit their website.

    For more information on the CFCU Concert Series visit their website.

  • Photo Gallery: Lettuce at Blue Note Jazz Festival

    The Blue Note Jazz Club hosted Lettuce for an extraordinary 5-night residency for the tail-end of the Blue Note Jazz Festival.  Photos from June 29 10:30pm set are below!

  • Prepare yourself for Camp Bisco Color War XIII: The Over Bezerk

    With Camp Bisco less than two weeks away, it’s time to start preparing for Color War Xlll: The Over Bezerk! An homage to one of the greatest shows ever played by The Disco Biscuits and feature a remix of the classic Color Wars game that has been played for the past 12 Camp Biscos. For the 13th year of Color War, the games will be played following the rules of the only other game in existence that is as ruthless as the way Biscuits fans get down on the field.

    Known as “The game of games” on the streets of Philadelphia, this year will incorporate the rules of Chardee Macdennis from It’s Always Sunny in Philadelphia. Only the most savage players on Lot have a chance to play the most savage game ever created and offered to the masses.

    Join the Color War teams – Orange, Purple, Green and Blue on Friday, July 13 from Noon to 5pm at the Lazy River in the waterpark. Want to sign up? We got ya covered!

    Chardee Macdennis has three levels that dictate the order the games are played in, and the traditional camp games will be reworked to fit under these guidelines:

    Level 1 (Mind)- Trivia, Puzzles and Artistry

    Level 2 (Body)- Physical Challenge and Endurance

    Level 3 (Spirit)- Emotional Battery and Public Humiliation

    Color War is not just a war of games, it is a War of psychological warfare! All year long, rival teams take the time to get to know their opponents inside and out so they can use what they have learned to crush their spirits on the field. Just as in It’s Always Sunny, physical representation of the team Captains will assist in shaming the losers with the ceremonious destruction of their game pieces at the end of the game – an added bonus to the glory of winning the coveted Color War Cup!!!

  • Music as the Last Real Magic: Imagine Dragons Cast a Spell on Saratoga

    Imagine Dragons brought the sound, look, and energy of a big-time rock show to Saratoga Springs on Friday, June 29 on their EVOLVE Tour. With Grace Vanderwaal opening, the group rolled into town with high energy, showmanship, and a unifying message of music as healing.

    Grace Vanderwaal, the Upstate teenager who made it big on America’s Got Talent, opened promptly at 7pm, bopping onto the stage singing “Dancing in the Moonlight.” Families sang along with the upbeat and likable Grace, who chatted up the audience and reminded folks she was originally from the area. Playing the ukulele and dancing barefoot, she brought a wholesome and organic positive energy to the night.

    The crowd had to wait a bit for Imagine Dragon stars to take the stage but were entertained by a slowly building classical score in the backdrop as folks filed in. Then, with steam, smoke, lights and a wall of sound, musicians were lifted on a stage above the main stage as they sang the very well known “Radioactive.”

    With the energy of big-time stars and a larger venue, Imagine Dragons musicians danced, sang and transported their audience with hit after hit. Lead singer Dan Reynolds appeared shirtless, bringing screams and gasps from many in the audience as he sang and jumped across the stage. ‘High energy’ isn’t sufficient to describe the band’s excitement and mood as they welcomed their fans; dynamic and vigorous, the group members’ smiles were matched with the audiences’ powerful spirited responses.

    Reynolds thanked the audience early in the evening for joining the band, specifying that music is the last real magic that unites people. In a climate of divisiveness, the American born band was clearly making a statement about acceptance and unity at a time when racism and hatred are more pronounced than ever.

    The bands’ vivacious musicianship pounded through the night with a wall of sound paired thoughtfully with visuals to match. Reynolds acted as a conductor, engaging the audience in singing lines like “I’m never changing who I am.” Shaking his finger at the fans, squatting to get closer to the audience, and even rolling his arms toward him in a circle, he drew the magic directly from the young families, teens and older couples who screamed lyrics of hope and self-assurance.

    The love song “Next To Me” seemed to speak directly to anyone who has loved and received unconditional love regardless of errors. Reynolds spoke of lovers and loners, reminding everyone that love needs to start with themselves before it is shared with another.

    Guitarist Wayne Sermon’s riff screamed out his own intense talent during “I’ll Make it Up to You.” For a brief moment, we were back in the 1980s with guitarists whose talent could steal the entire show. Sermon’s control of his instrument and confidence in the vertical riff brought gasps from the audience; it almost didn’t belong in the pop feel of the night, except to remind us that Imagine Dragons is, in fact, a rock band.

    After a beautiful rendition of “Mouth of the River,” complete with backdrop visuals of sunset, the group moved to a second stage embedded in the audience for three acoustic songs. This set, if not moving simply due to the closeness to fans, ended with a heart rendering “I Bet My Life on You,” a song about how parents give up much for their children with little in return, and yet everything in return.

    As if all this emotion and movement wasn’t enough, the band returned to the stage for a powerfully intense version of “Demons.” With fans singing along, Reynolds spoke directly out about depression and seeking help rather than facing demons alone.

    The fevered pitch of the concert had multiple peaks, including confetti and balloon drop punctuated moments during songs about love, appreciation, and the vitality of life. Finishing with “On Top of the World” and “Believer,” fans were mesmerized.

    Imagine Dragons reminded us: music really is the last real magic in the world.

    It unifies us. It reminds us to care for ourselves. It connects us to others. It reminds us to hope. And it stays with us, even after the last note is played.

    Setlist: Radioactive, It’s Time, Whatever It Takes, Yesterday, Walking the Wire, Next to Me, Shots, I’ll Make It Up to You, Start Over, Rise Up, Gold, Don’t Know Why, Mouth of the River, Born to Be Yours, Amsterdam, I Bet My Life, Demons, Thunder, On Top of the World, Believer

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