NYS Music 20​18

Category: Features

  • FLOTUS talk ‘Sundance’ EP ; New Music Video, CitrusTV

    A group of fresh faces by the name of FLOTUS are taking over the Syracuse, NY music scene. FLOTUS, consisting of guitarist and vocalist Eric Thompson, keyboardist Ryan McKeown, bassist Blake Trexler and drummer Sean Ferguson, took home the glory at an annual Battle of the Bands competition held by Orange Music Group (OMGSyracuse) at Syracuse University.

    FLOTUSThis landed the group 6 hours of free recording time at SubCat Studios in downtown Syracuse. With this prize, the group has launched their first EP, Sundance, which is available for listening on Spotify and iTunes. FLOTUS has also just dropped their first ever music video, “Swim To Me,” which is linked below. This video is fun for the summer and features bright, bold visuals, with vocalist Eric Thompson shot singing along to the tune. 

    Brianna Skelly: Hi, guys!! How are we doing here? 

    FLOTUS: Hey, it’s going good!! It’s great to be talking to you.

    BS: Great, it’s wonderful to become acquatinted with you all. Now, I’ve heard that the name “FLOTUS” was inspired by Michelle Obama’s Twitter handle. Would you mind telling me more about that? 

    Blake Trexler: Yeah, of course. Well, the guys and I were messing around at practice one day, just tossing names back and forth and FLOTUS was thrown into the mix. We liked it. It’s actually become a running joke between the band. We like to switch up the acronym at our shows. Keeps things interesting. 

    BS: That’s so unique! So, how did the four of you meet? 

    Sean Thompson: Well, we’re all music majors at Syracuse University, so we all happened to meet by chance in a class, but Ryan and I went to the same high school. 

    BS: That’s amazing. What are your majors underneath music? Are you all majoring in performance or something different?

    Ryan McKeown: Eric and I are sound recording technology majors. Blake and Sean are both majoring in music industry. 

    BS: Wonderful. Both great areas take up as a music major. Being students, do you find it hard to balance school work, shows, and band practices? 

    Eric Thompson: Time management is always tight, but we try our hardest to make it work and practice as much as we possibly can, even if we have to get together at night after classes. I think what helps us the most is that we became friends before the band formed. We met in class our first semester, and after that things came together. I think it’s important to have a personal connection with people you’re spending so much time with. There has to be a balance. Like, we’ll have practices where we need to buckle down and focus and then practices where we’re just hanging out while we play. Having fun with it. 

    BS: I think that’s important, too. A balance between work and play, if you will. You can’t have one without the other. Now, getting more into the music. Are there any venues or local cafés that your band frequents? 

    ET: Yes. We played our first gig as a band at Funk n’ Waffles. It was a good atmosphere. Super rough performance, but we made the most of it. We were opening for a friend and I went out on stage and I had to improvise for a long time. I just remember looking backstage and the guys couldn’t come out because this dude was telling us to move our car in this alleyway. It was definitely a gig the band won’t ever forget, but it was a good time in spite of everything.

    BS: Wow, that’s rough. I’m glad it worked out in the end, though. Do you guys have a permanent vehicle? 

    SF: No. We’re trying our hardest to save for a van. We’re lucky that we have loved ones in our lives that care for us, but there have been times where we’ve had to load equipment into taxis. I even remember a number of times where we’ve had to walk with heavy amplifiers and drum sets to shows because we didn’t have the transportation available that we need. 

    BS: Now, that is some serious dedication to your music. I’ve never heard anything like that. Keep up with that ambition and it will take you extremely far. 

    BT: Thank you so much. 

    BS: Of course. So, your EP Sundance came out this February. What inspired your EP, if anything? 

    ET: Well, the opportunity came along because our group won a Battle of the Bands competition at our university. The prize was 6 hours of recording time for free. We couldn’t afford any extra time in the studio, so we buckled down and actually got the entire EP recorded within that 6 hour time frame. We didn’t have any time for many editing technicalities, either, so we ran the songs and the recording quality came out sounding very homemade. It’s extremely similar to what you’ll get from a live performance of ours. Also, where we go to school, it’s incredibly cold. I remember once we played a house show in an attic, and it was so cold that you could see your breath throughout the entire performance. It was memorable, though, not just because of the cold, but because of the atmosphere. I think that’s what is most important to our band and the main idea of this EP, as well. We like making light of things and remembering the sunshine when times are hard. We want everyone to find a place in our music and to find the sun beyond the clouds. That was the main inspiration behind it. 

    BS: That’s an incredible message to express to your listeners. Also, incredible time management skills. Getting an EP done in 6 hours is impressive. You’re an ambitious group of guys. You mentioned wanting everyone to find a place in your music. Is there a specific musical influence driving your band? 

    RM: I think we all have personal influences musically, but that’s what makes it work. Each of us brings our own individual style to the group. 

    SF: Right. We also try to make music that is accessible for everyone, whether you like jazz or rock or funk. We want to make stuff that real musicians can appreciate and we try to be versatile. We’ll cover any song. We want to have a place for everything and everyone inside of our music. 

    BS: I like the inclusive mindset. Being versatile is a smart move. Can your listeners expect an album on the horizon anytime soon? 

    ET: Our listeners can expect new songs. We plan on writing and touring lots over the summer. Our goal is to be touring all around the country. An album is definitely in our thoughts, but its a long-term goal. 

    FLOTUS is a great live group with terrific energy onstage and a terrific stage presence, as well. Linked below is a video of FLOTUS where you can find the group performing, as well as talking new music with CitrusTV. FLOTUS has plans of touring throughout the summer, and they are a great new group to give some attention in the coming months.

  • Arkells Release Video for “People’s Champ,” Featured in This Year’s Stanley Cup Finals

    Arkells have released the video for “People’s Champ” via Last Gang Records. Directed by renowned photographer & creative Matt Barnes, the video brings the optimism sought within “People’s Champ” to life. Shot in the band’s hometown of Hamilton, Ontario, the video aims to find the joy at the at the heart of every-day, mundane surroundings. The song is set to debut this week as a key theme to the NHL’s Stanley Cup final.

    “‘People’s Champ’ is a political song, but also a joyful one,” says frontman, Max Kerman. “There’s a pulse to the song we wanted to capture. We wanted to see images of different kinds of people coming to life through music and the company of their friends and surroundings.” Arkells’ vision was realized through the direction of respected collaborator Matt Barnes. “Matt Barnes has a style of photography that is uniquely HIM. He always casts interesting subjects and is able to create a world within its own. We jumped at the opportunity to make a video with him – his effervescence makes for an amazing time on set,” added Kerman.

    “People’s Champ” is the first single to be announced off the upcoming fifth studio album from Arkells, set for release later this year. Written and recorded in Toronto by Arkells, produced by their previous collaborator, Eric Ratz (“Knocking at the Door” and “Leather Jacket”), and mixed by Mark Needham (The Killers, The 1975), “People’s Champ” is an upbeat, horn-infused, politically-charged anthem that is resonating deeply with listeners. CBC calls the song a “top contender for the title of 2018’s protest song of the year.”

    Earlier this year, Arkells announced “The Rally” on June 23, an official kick-off to the summer, live at Tim Hortons Field in Hamilton, with special guests Cold War Kids, Bishop Briggs and Elevator. Due to popular demand, the hometown show was shortly upgraded to a full stadium affair of up to 26,000 tickets, making it the band’s biggest headline show to-date, surpassing their 2017 summer show at Budweiser Stage in Toronto which sold out in three days. In partnership with PLUS 1, Arkells have already raised over $20K through ticket sales for “The Rally” that will be donated to Refuge: Hamilton Centre for Newcomer Health. More info and tickets can be found here.

    Notable Upcoming Shows and Festivals:
    June 23 – Hamilton, ON @ Tim Horton’s Field: The Rally w/ Special Guests Cold War Kids, Bishop Briggs
    Aug 25 – Cleveland, OH @ INCUYA Music Festival
    Aug 31 – Seattle, WA @ Seattle Centre – Bumbershoot Festival
    Oct 12 – Austin, TX @ Zilker Park – Austin City Limits
    Full tour schedule at arkellsmusic.com

  • Premiere: Black Mountain Symphony debut first single off “Peacetime”

    Black Mountain Symphony, a six-piece indie rock group from the Capital Region, today premieres “Walk to the Edge,” off their upcoming album Peacetime, due out June 2. Peacetime showcases the wide range of styles and influences that Black Mountain Symphony bring to their music, and is the first album with the current line up, representing three years’ worth of song writing and performance experience.

    Guitarist Chris Peppe shares some insight on “Walk to the Edge” and the arrangement of the song:

    “Walk to the Edge Is one of the songs that captures our unique sound and our take on music and songwriting. When people who haven’t heard us ask what kind of music we play, this song comes to mind as a prime example. Most of the music came from group songwriting sessions and jams. We liked the idea of a folksy sounding verse paired with a hard-hitting rock chorus. The music is dramatic. It’s melancholy but hopeful and has twists that draw you in. There are sharp dynamic shifts that keep you involved. We like to experiment with adding our own touch to different styles, but this tune has something we consider our own particular sound. It was one of the first songs we wrote together with the current line-up in 2015 after Paul Burke, on bass, and Jay Matthews, on drums, joined the band. We were all letting loose and finding ourselves in the mix and our individual talents really came through.”

    Black Mountain Symphony blend haunting violin melodies, prolific synth sounds and dance rhythms, and sprinkle sets with hand-picked covers from all over the musical spectrum. The rising artist most recently won NYS Music’s March Madness and have performed with several national rock icons including Rusted Root, Modest Mouse, Flaming Lips and Days of the New. Don’t miss their album release party on June 2 at Centre Street Pub in Schenectady.

  • Hearing Aide: Komrads ‘Resistor’

    Komrads 'Resistor'Before I start this review let me disclose that I am not well versed in electronic music, my expertise lies within metal so I will be reviewing this album from that perspective and will be comparing elements of songs to other groups in an attempt to best review the album.

    The first track “Resistor” is full of industrial glitchy instrumentals accompanied by drums in the back leading the beat. A little after halfway through vocals start chanting about the resistance. “Resistor” is definitely a great intro track while the second track “Midnight Sun” was an abrupt change from “Resistor”, with its slow paced and droning styled vocals and notes that echo.

    “Prom Dress” was one of my favorite tracks with vocals that are reminiscent of Marilyn Manson and Element A440 and has a rock sorta sound to match. Any fans of Manson style vocals should take a look.

    “Petra” felt like an experiment that was attempting the same thing as some doom metal projects with what sounds like a few bass strings and a deep bellowing whisper that is a departure from the rest of the tracks.

    “Sick Boy” instantly reminded me of “Plur Police” by Knife Party. It’s full of those edm sounds that I have no clue what they’re called and had humorous lyrics like “why you bring him to this office can’t you see he’s too big” and “can you do one thing for me?”  This track should definitely be a top contender for a single if Komrad decides to release any singles.

    “Lay Me Down”, “Pocket Full Of Knife” and “Midnight Sun” were completely out of my realm of music and I couldn’t find anything in them to personally latch onto.

    Overall this has more of a rock and roll sound than a metal sound but that’s not a bad thing- I enjoyed multiple tracks. I don’t know who to recommend this to me but my electronic music tastes are limited to Knife Party and Master Boot Record so if you are into either of them you might enjoy this album.

    Resistor was released online May 25. Head to their Bandcamp to purchase.

    Key Tracks: Petra, Sick Boy, Prom Dress

  • Interview: Tom Hamilton Talks Acoustic Duo Project Ahead of Capitol Theatre Show

    On Friday June 1, guitarist Tom Hamilton and pianist Holly Bowling will bring their acoustic duo project to The Capitol Theatre for what is sure to be a magnificent set of Grateful Dead material. The show is billed as ‘Acoustic Exploration of The Grateful Dead.’

    Currently, Hamilton and Bowling are touring together with Steve Lyons, Raina Mullen and Scotty Zwang as the highly received jam outfit Ghost Light. Given that but also given both Hamilton and Bowling’s extensive backgrounds in bringing new life to The Grateful Dead songbook, this Capitol Theatre show should be one of those shows to get out and see at all costs. For more info, visit The Capitol Theatre’s website.

    In our excitement for the show, NYS Music sat down with Tom Hamilton and discussed in depth the nature of improvisation in today’s modern music climate.

    Miles Hurley: So I understand that you’ve been playing with Holly Bowling since her many sit-ins with American Babies. And then of course there’s Ghost Light, and now this duo project. What draws the two of you together musically?

    Tom Hamilton: I’d say we both respect the idea of improvising, and of really trying to go places. And seeing how far away from an origin we can take things out. And we listen. The whole thing for me, and for a lot of people I think, when it comes to improvising, is listening to what each other is saying, and giving each other the time and space to say what they have to say, and then reacting accordingly.

    MH: What do find is different about improvising in a two-person setting as opposed to with a full band?

    TH: Well the principle is always the same, and…well with the acoustic thing, there are just different variables, you know? The acoustic thing is interesting because, not only is it just two of us, but it’s an acoustic guitar instead of an electric guitar, and the pallet that I get to choose from is different. Different than what there normally would be with a band. So I guess it’s kind of doubly-different then. And I think for Holly, you could pretty much say the same thing, because in the band she’s using the keyboards, and not an actual grand piano. And there’s an enormous difference between the way she plays those two.

    It’s like having any kind of conversation. The best kind of conversations a person will have, it’s not just the other person waiting to say what they want to say, it’s: “okay, I have heard what you’ve said, and I will retort.” A real back and forth. So with Holly and I, there’s a lot of respect, and a lot of listening.

    MH: I got to catch Ghost Light’s show at The Acoustic in Bridgeport, and I could see what you’re explaining going on. Seeing the way you guys interact when building jams was almost as good as hearing it.

    TH: Yeah, the thing I always try to stress is, let’s try to write a song right here on the spot. Let’s try to write a Radiohead tune right now. And see what happens, and if it goes somewhere it goes somewhere, if it doesn’t, it doesn’t. It’s about making choices. I think that’s the difference between bands that can get around, and bands that kind of just noodle. It’s a thing of saying things with a period on the end, rather than a question mark. “You said this, so this is what I say.” You keep making things happen. And sometimes it’s complete dogshit, and that’s totally fine. That’s the point of it, that it can go either way, and I think people respond to that. I think that’s why people come, because it could be the greatest thing ever, or the worst thing ever, and they think, “I want to see which way it goes today.” As long as everybody’s making choices, it’s always going to be a good outcome.

    MH: One thing I think is interesting is that Holly started out doing the tribute thing, and I remember asking her about writing her own music, which Ghost Light has now given her the opportunity to do. But this acoustic project and now The Capitol Theatre Show will almost kind of bring both of you guys back full circle.

    TH: Yeah, you know The Capitol and the Dead are both that common thread between us two. When we were asked about doing this, we just said absolutely. For me, the thing that makes it super not a problem is that…as long as we’re still chasing original music. And I mean original music, not like, “oh I’m going to take music that’s pretty been written a thousand times and put different words over it,” or something. No, like original songs and doing original things. As long as we’re using our other time to doing that, and contributing to the lexicon, I think it’s great. It’s great that we get to have the best of both worlds.

    MH: This will be another one of several different Dead related projects you’ve been involved with. I think there’s something to be said for the fact of people coming to see you tribute The Grateful Dead in not just one but multiple different projects.

    TH: I mean it’s certainly flattering, I will say that. It’s an honor that people care. And we’re lucky enough that with that songbook, you can keep it fresh, as has been proven over the last fifty years. Those songs are living documents that are always going to be growing, and as long as you’re helping that, and keeping it moving in a forward direction, it’s a wonderful thing, and I’m glad to be doing it.

    MH: Thinking outside the Dead, were there any particular music artists that you and the other members of Ghost Light have bonded over?

    TH: The fun thing about Ghost Light, I think, is it’s five pretty different points of view. I mean, yes, there’s bands that we all agree on. Like Radiohead is fucking Radiohead. They’re the Beatles of our time, and The Beatles are The Beatles of everybody’s time. There’s certain truths you can’t escape.

    But there is like…we do a couple of Rolling Stones tunes, and it’s not that I don’t like The Stones, but I wouldn’t have brought that it, and Holly did, and that’s awesome. I brought in a Derek and The Dominoes tune that we do, that probably nobody else in the band would’ve brought that in. Raina brought in this song called “Wild One” that’s just this awesome punk tune, that none of us would’ve thought of. Scotty brought in “Head over Heels” from Tears for Fears.

    We all have our own place we’re coming from. That’s the thing that turns me on about the band, and about people in general. It’s a weird time we’re in that most people, through either social media or in social situations, they surround themselves with sicophants. Surrounding yourself with people that are just going to say yes, or agree with what you’re saying, or have the exact same tastes as you. Where it’s like, “well if you don’t listen to what I listen to or believe what I believe, then I can’t hang out with you.” And I get it, but it’s also bullshit, and you’re not going to bring anything new to the world, by a bunch of people just agreeing with each other. And this is bigger than just music I guess, but differing opinions need to touch each other to create a new opinion, to bring understanding and to broaden horizons.

    Like, everybody in the band, we all got together because we all love Neil Diamond, okay? And, more than likely, we’re going to end up making a shitty version of Neil Diamond. Which, A) nobody needs, because nobody needs a shitty version of Neil Diamond, and B) Neil Diamond already exists, you know what I mean? I think, putting together this group of people, the fact that everybody is coming from five pretty different places, that’s what’s making this band good, and that’s why people are reacting to it. It’s not something that just like what already exists.

    MH: I feel that we’ve reached a bit of an influx, in the sense that there’s so many bands out there today, doing the jam thing, but it’s getting harder to do that jam thing without sounding unoriginal.

    TH: Well I think it is easy to do that, if you just work at it. That’s the thing. It’s harder, obviously. But who the fuck said it was supposed to be easy? If it’s easy then you get a lot of what’s going on, which is just a photocopy of a photocopy of a photocopy. If you look at JRAD, that’s five super different folks, trying to sound original every time they walk on stage. You know, for being a band that covers the Grateful Dead, I feel like we’re more original than a lot of bands going, because we openly say, “listen, the songs aren’t ours, but the jams are.” You have some of these jambands that claim to have original music, but it’s a Phish song with different words, or executed poorly.

    And it’s hard, it’s not easy. When we were writing this Ghost Light record, I was banging my head against the wall for months and months. That’s the nature of the gig, you have to try and navigate through an ocean of stuff that’s already happened. This Ghost Light record, there’s a lot of tracks where I just think, this sounds like us. I’m really proud of it.

  • Local Folk Singer Zan Strumfeld Serves a Cold Dish of Folk Music

    The bottom of Zan Strumfeld’s Bandcamp page says it all. She describes her music through hashtags — acoustic, fingerpicking, folk, indie. Familiar adjectives and verbs used to help draw fans into her book of belonging; the last of which, however, is something that’s less likely to be typed into any search box: winter folk.

    Her tags don’t mislead you. Her 2017 release Book of Belonging is a string of soulful songs about heartbreak, loss, and often times tripping over the mistakes of falling back into the bed of an ex-lover.

    “While all my songs are personal to me and often specific, I want people to walk away with feeling connected to them through their own experiences,” said Strumfeld. “Which is usually the case for all music anyway.”

    Book of Belonging:
    This is my book of belonging:
    How I’ve never belonged to anyone, any place, any time.
    This is my story of longing:
    How I’ve longed for someone every day of my life.
    And then I met you.
    I’m lost from that,
    And I hold onto that,
    So this whole damn thing is for you.

    Strumfeld’s voice and acoustic guitar dominate in each recording, with a little bit of bluegrass and a smidge of Gillian Welch, whose name she drops on the second track “New Girl.”

    “I love Gillian. She’s ballsy,” said Strumfeld. “[She] sings about beauty and darkness, all with this gorgeous voice that truly never gets old. And her musical chemistry with her guitarist Dave Rawlings is the kind of musical relationship I crave. It’s flawless.” Strumfeld said the song was inspired after a night of running into not one, but two ex-partners. Michael Gregg, who plays banjo with the band, was listening to Welch with her that night. In addition to Welch, Strumfeld listens to mostly female songwriters — Joni Mitchell, Carly Simon, Laura Marling, June Carter.

    This winter folk music lulls you in like a hot cup of coffee next to a warm fire in February. But, like the cruelest of fates, the point of the year that promises love on Valentine’s Day is also the month when most couples split. “Second Plate” wraps you into a false sense of security being alone, never minding you’re stuck in the same routines of brewing coffee and fixing dinner for two.

    Strumfeld is a writer. The metronome for her speech sways a little slower. With a pensive stare, she takes in her surroundings while fully engaged in conversation. Like the late Tom Wolfe, she is saturated into the moments that surround her so she can later write about it. When her stint with newspaper journalism ended at Spotlight News, she picked up and moved to Iceland to be a farm hand. She said she wanted to know how it felt.

    Strumfeld gets to writing only when she’s inspired. That inspiration comes in spurts that maybe spans once every two years or so. Not by coincidence, that’s about the same time interval between each of her broken relationships. The raw emotion from each romantic bond severed is poured into lyrics. She said it’s almost understood now that when a man comes into her life he is committed to one of two outcomes: a relationship, or a song.

    Part of that emotional cycle includes what had been an on-again, off-again relationship with live performances. The songs would come, followed by the performances, and then it would stop until the inspiration came back again. Last year, Strumfeld deviated from that pattern. Last September, she was asked to perform at Sydney Worthley’s CD-release party at Jupiter Hall. The band she had asked to perform on her own CD agreed to perform. A few more pieces were added to the band as a one-time fling for the live performance, but afterward, they all wanted something more. Practices were scheduled and more gigs were planned. They fooled around and fell into a band.

    This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSmusic. TheSpot518 and NYSmusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Listen: Karolina Rose “Goodnight, Mr. Moon,” an electro-pop gem

    Karolina Rose, a Polish-American singer-songwriter based in Brooklyn today released her second single “Goodnight, Mr. Moon.” The midtempo and dark electro-pop gem explores grief through dreams while pulling on the moon as a muse. Rose will release her debut EP, produced by Andros Rodriguez (Florence and The Machine, Madonna) on August 10, and is already hard at work on her second EP with producer Elliot Jacobson (vérité, KAYE).

    The lyrical spark for “Goodnight, Mr. Moon” came from a conversation with experimental artist Heide Hatry, about her work with human ashes, and asked Karolina if she could write a song about death and perform it in her end of year showcase.  “As soon as I left the concert in the LES where she and I had met up, I had the song coming to me in my head and was singing it as I was walking down the street. Initially, it was just “How do I get you back? All the pieces in one. How do I get you back? All the pieces came undone.” I kept thinking about the theme of putting the pieces together to bring one’s loved one back,” recalls Rose. Coupling this concept with Karolina’s frequent nightmares, the first verse takes inspiration from a nightmare she woke from to see the moon projecting a spotlight onto the wall. Combining these two concepts led to her writing a song about a woman who processes her grief in dreams. “She thinks it is totally real until the end of the song when she wakes up from the dream and knows that it’s really time to say goodbye, indicated by the last lyrics: “Goodnight, Mr. Moon, you gave a kiss of peace, sweet gentle release.”

    With this dark seed of inspiration planted, thoughts of grief and delirium began to dance in Karolina’s head. ‘Goodnight, Mr. Moon’ is a grieving lunar daydream. After meeting producer Andros Rodriguez (Madonna, Florence and the Machine) last year, the two began collaborating shortly after and the Polish-American artist swapped the mundane for the magical, rediscovering her romantic soul. Now, with quixotic passion, Karolina explores a celestial grief. Listen to “Goodnight, Mr. Moon” on Spotify.

  • Domefest 2018 Recap and Gallery

    A good music festival can be just as much about the patrons as it is the bands that are playing. Sometimes you’re lucky enough to find the perfect mix of the two. When that happens, it creates a truly harmonious feeling that every single attendee will take with them even after they leave the festival grounds. This pretty much sums up what Domefest is every year, especially in 2018.

    This would be the 9th version of Pigeons Playing Ping Pong’s annual event, and it would prove to be the biggest and best one so far. With a sellout crowd of 1500 smiling faces ready to dance and have a good time, this flock would provide more than enough sunshine despite the rainy conditions that would persist throughout the fest.

    Domefest 2018

    The opening Thursday night music got the weekend started off with a bang. The Magic Beans, Formula 5, and Strange Machines warmed up the hungry crowd on the main stage while Shwizz took the set break duties on the side stage. Of course, this is the Pigeons’ festival, and they let everyone know who the headliners were when they took the stage Thursday night.

    Playing to the theme of “Throwback Thursday,” the band’s only one-set show of the weekend would not disappoint. This was also lead guitarist Jeremy Schon’s actual birthday, so fittingly, the band started off the set with some birthday wishes. Most notable in this set was the bust out of two songs, “Candy” and “Dutchmaster,” both of which hadn’t been played since 2012 and 2011, respectively. Just to pull the curtain back on this moment for the readers a little, there’s a very good friend of mine (and the band’s) named Mike. He is, quite probably, Pigeons fan number 1 and “Dutchmaster” was his golden goose that he had basically resigned to the band never playing again. So when they called him out by name and dedicated the song to him, it was one of those special band/fan moments that you just can’t help but smile and feel good about. After the Pigeons set, The Mantras would take the crowd deep on the late night stage well into the night. Needless to say, despite the wetness and mud, day 1 was a great indicator of what the rest of the weekend would entail.

    Domefest 2018

    Friday would bring more rain and mud, but more importantly, more great music and good vibes. I’ve never seen a festival crowd happier to be out in the rain and sloshing around in the mud. It seemed like a literal afterthought on everyone’s mind and that feeling was infectious. It was rainy in the campgrounds, but sunny in our hearts.

    The music on Friday afternoon featured Flux Capacitor, Joe Hertler and the Rainbow Seekers, West End Blend, and Headless Robot. Mateo Monk and Cycles would take care of music during the setlist breaks, save for one set break featuring Schwa, which is the side project of Pigeons’ bassist Ben Carrey. Broccoli Samurai then set the stage for the first two-set P4 show of the weekend.

    As the first Pigeons set started, it started to become apparent that something wasn’t right with Greg’s voice. He basically let the crowd sing the whole first verse of “Poseidon” before it was clear that he wouldn’t be able to keep singing without completely losing his voice for the weekend. After pushing through the rest of the first set with superb versions of “Schwanthem” and “King Kong,” even a bust out of the Jefferson Airplane classic “White Rabbit” was sung by drummer Alex Petropulos, and impressively nailed at that.

    During setbreak we were all wondering how the second set would play out without a lead singer. Would they switch up vocals? Play a set of only instrumentals? Will Greg just keep trying to sing with a raspy voice? All those questions would be answered within about 10 minutes of the second set’s opening song “Whirled.” It became pretty clear once they started really getting deep in the jam what was going to happen, and it was pretty amazing to watch (and hear). They would take the song on a 60+ minute ride, making it the second time in their career that they’ve played a single song set. (The first was on 4-15-18) This is a must listen for any fan of improvisational music; there really aren’t many bands that can keep a jam interesting for an hour. This one felt like something they had been working on for a while, which is the true measure of a great jam in my opinion. They would encore with one of my favorites of their instrumental tunes, “Avalanche.”

    The Magic Beans lit up the late night stage on Friday, and they would not disappoint – definitely a highlight of the weekend for me. This was only the second time I had seen them and now I know why so many people talk about them. They are a very promising band that everyone should keep an eye on.

    After some much needed rest, the final day of the festival would begin bright and early with Baltimore’s own Squaring the Circle opening up the main stage. The funky dance party would continue all day with bands like Ernie Johnson from Detroit, Backup Planet, and the McLovins. Baltimore power trio Deaf Scene would take up most of the set break duties on Saturday, aside from a special setbreak set by Pigeons’ front man “Scrambled” Greg Ormont.

    All day, people were wondering if Greg would try to sing at any point. The answer, for this set at least, was that he would not. Using handwritten signs as props to speak to the crowd, he let them know that he had “lost his voice, so I’m just gonna jam.” And jam he did, complete with a pretty impressive tap dance for good measure.

    Mungion would set the stage for the final Pigeons show of the weekend. It was the first time I had seen these guys and I can’t wait to see them again. One of the great things about Domefest is how careful the band is about picking their support. Every time I’ve been to a Domefest, I’ve come away with at least one new band that makes me want to seek out their music and see them live when I can. Mungion was one of those from this weekend.

    As the crowd waited for the Pigeons’ weekend finale, there was much speculation about Greg’s voice and if he’d be able to handle two sets of vocal duties. Miraculously, after saying he drank an “entire honey bear” before the show, he was back to his old form. Belting out crowd favorites like “Melting Lights” and “Penguins,” the band definitely seemed to feed off the energy of their newly rejuvenated front man. The second set was maybe my favorite set of music from the weekend. The section of “Dome People” > “Su Casa” > “Horizon” felt particularly poetic. “Dome People” is, of course, about the festival itself and has been in the band’s rotation since Domefest’s inception, followed by “Su Casa” with its chorus of “This is your home now” and then “Horizon” with “Celebrate the people you love,” this seemed like a very intentional musical hug from the band to the crowd, thanking them for all of the love and support that made the event so special. Another great highlight from this set was the debut of a cover of Pink Floyd’s “Shine on You Crazy Diamond,” complete with a 4 to the floor funky jam for good measure. I love when a band takes a cover and makes it their own, and that is exactly what they did with this one. Ending with a raucous version of “The Liquid” and encoring with an incredibly fun “Julia” > “Super Mario” > “Julia” sandwich, they would put their triumphant stamp of success both on this set and the weekend as whole.

    The final night of the festival would see a double dose of late night sets coming from The Fritz and Vibe and Direct. Both bands were absolutely great, they took full advantage of being the last acts on the bill and seemed to give all of the weekend warriors a second wind all the way to sunrise.

    To wrap this up, Domefest is one of those very special small festivals. The hard work the band puts into this fest every year really shows in the product they put out. They are truly dedicated to making sure the Domefest experience is a great one for every single ticket holder. The band really cares about their fans and the fans, in turn, show all of that love right back. Just to let everyone know, the band members literally work at the festival despite headlining it. When I arrived to the main gate, one of the first people I saw was Greg with a walkie talkie making sure everyone was getting in o.k. and things were running smoothly. This is something that people notice, and it goes without saying that all of us genuinely appreciate the effort. The flock is a great group of people too. Everyone all weekend was helping each other if they needed it, pushing cars out of the mud, helping people back to their campsites if they were struggling, offering dry clothes, spreading hay around to make it less slippery. It’s always really amazing to see a large group of people that genuinely cares about each other’s well-being and happiness. As the band grows, inevitably so will the festival. Hopefully, all those same good loving vibes will continue to grow bigger every year too, and we can all continue to gather together each May to celebrate the people we love.

    Review by Matthew Bowers, photography by Matt Shotwell and Mikki McMahon

  • Interview: Jon Lewis discusses his band’s latest album and making a living as a full-time artist

    Rochester’s Jon Lewis Band is experiencing its fair share of notoriety on the heels of releasing their eighth album in four years, Get Wild Somewhere. In the month of May, lead singer Jon Lewis made the media rounds, appearing on WXXI’s Connections with Evan Dawson to talk about how streaming is impacting musicians, as well as on college radio stations WRUR and WBER, and the band opened the Rochester Lilac Festival.

    Jon Lewis interviewJon Lewis recently spoke with NYSMusic about the process of making music with his best friends, eeking out a full-time career in music and art, and the largest pizza he’s ever seen.

    Amy Cavalier: What inspired this album? Why did you feel the need to fly out of Rochester to record this album?

    Jon Lewis: After we finished recording our previous EP “Baby Brother,” we were given an amazing opportunity to record in our friend’s newly built studio in Los Angeles. With that in mind, we began to write and practice songs that were all intentionally constructed to be played and recorded live. We didn’t want to do any overdubs or try to manipulate our sound too much. This made it possible to record in a shorter period of time and also enabled us to make something that showcases all of our individual strengths. All the songs were written for this album. A totally fresh brew of tunes.

    AC: Despite some major weather delays, you were able to record this in just a few days. What types of challenges arose and what did you learn from the process?

    JL: This experience was insane. We were supposed to have a solid three to four days in the studio, but because of nearly two full days of weather delays, we only had a day and a half to record the album. In the end, we had prepped for such a thing and ended up recording the entire band live in one day. We never wanted to take a long time, and it almost seemed like Mother Nature was challenging our convictions and everyone in Jon Lewis band rose to the challenge.

    We showed up ready to play, and everyone at the studio made it possible by prepping and being on-hand for the whole process. Plus, there was a brewery across the street, so we were well taken care of. We also ate the biggest pizza I had ever seen that had to be taken in through the loading dock door because it was too large to fit through the door.

    AC: What was the idea behind the creation of the video for “Cinnamon Only,” the sixth track on Get Wild Somewhere? How long did it take to create? Do you plan to make videos for more of your songs?

    JL: I animated the video entirely using colored paper and sketches I made. It took about a month from start to finish. I drew and cut out the characters, then photographed/animated them against a green screen. Then I put all the layers together to create something I like to call “Paper World.”

    I’ve done several of these projects and it’s truly a joy and passion of mine. This video was created as I went; I started drawing a face and then thought, “she should be riding a motorcycle” and then when I drew that I thought, “and she should be accompanied by a wolf spirit guide” and then just kept drawing and writing as I went. The plot and story completely unfolded as I continued to work, just letting the song dictate the imagery. I will definitely be making more videos, just as soon as I get some time.

    AC: How do you find the inspiration to keep coming up with new material on such a regular basis? What does the songwriting process look like for the JLB?

    JL: The songwriting for the band has been an ever-evolving creature. In the beginning, I did a majority of the song writing, taking songs from my acoustic catalog and then translating them into a full band format. As time has passed, Dave Drago and I have become more of a battery for song writing. This new album is an example of how far we’ve come.

    The inception of songs coming from Dave and myself, and then constructed and enlightened by everyone in the band. A true commutative effort. I still write quite a lot of songs specifically for my acoustic performances, as well as songs intentionally created for my alter-ego “Mr. Loops.” I am incredibly lucky to have different purposes for songs I write and that definitely helps the creative energy.

    AC: You put out a very fun social media presence….your band seems like the kind of guys you could really just hang out with. Have you put thought into the image your band emulates? Or is this organic?

    JL: Marketing and managing social media is a fun and yet also a very daunting task. I manage it all. Our band’s main purpose and function are that each member feels a no-stress and all-joy connection to the music. We are brothers and friends and family and without that feeling, we would not care to exist. It helps put out the right vibe and deep down that is because we feel it on a very real level.

    AC: Your fans helped fund the recording of this album. Why do you think your fans are so willing to support you and eager to see you succeed?

    JL: This album would not exist without the incredible love and support we got from our fans through our fundraiser. Once we decided to make the album in LA and to track it live, we knew this was the album to press on vinyl. We were successful after a few weeks time and that sent us to LA feeling so much positive energy, most certainly fueling our ability to overcome obstacles and make the music the best we could. I know our fans are invested in hearing what this journey has meant for our sound and how far we’ve come since our last release and I cannot wait to share it.

    AC: If you could describe each of your band mates to a stranger (as a person and a musician), how would you describe them? And if they could describe you, what would they say?

    JL: Dave (Drago, bass) is dad. He’s the reason any of the music exists as he has engineered/recorded and produced all of our albums in his studio 1809 Studios (link). He’s got vision, he’s upfront and he sees the infinite potential in a song and person unlike anyone I’ve ever met.

    Jake (Walsh, drums) is our heartbeat. Consistent, positive and present, he has maintained the beat of the band since the very beginning. One of the most talented and empathetic human beings you can ever wish to meet.

    Shawn (Brogan, lead guitar) is our hot sauce. His lead guitar licks and dissident sounds create the soul of our music. He’s technical and always creates a well-constructed lead lick. He’s “ride or die” and balances our sound and our group with energy and support.

    Alex (Northrup, keys) is our bed. When Alex joined the band we knew we were finally comfy and complete. One of the most talented musicians I have ever met, he can pick up literally any instrument and make it sing. He’s technically proficient and also carries an edge of insanity that fits in with us so well. He’s a compassionate and amazing human.

    Jon Lewis (lead vocals and rhythm guitar) I literally have no idea how the band would describe me but I would hope they would say something nice (or else).

    AC: You are currently making a full-time living with music and performance art. Was this always your intention? What does it take to be a successful full-time musician in a small pond such as Rochester? Are there advantages to doing this here vs. in a bigger city with more competition?

    JL: I am a full-time artist. I dropped out of college before I incurred any debt and went straight into the workforce. I worked sales for 10 years before building a foundation to quit and make art full-time.

    It’s not easy, and I have to find new and innovative ways of making a living outside of just performing and making music. I do documentary film making for local historical societies, I animate and create music videos, and I perform music for kids as “Mr. Loops” – this combination has created an ever spinning wheel of work for me that keeps the dream of not going back to “work” possible.

    If you want to chase a dream like this, you have to keep your eyes and doors open to different ways of being creative, and getting what you deserve for your creations. Rochester is certainly a more affordable place to live and play than larger cities, making this sort of crazy notion possible.

    AC: Do you have a bigger vision for the Jon Lewis Band…not just to dominate the local Rochester music scene, but to make yourself known to a wider audience?

    JL: I definitely keep an ever-expanding vision alive for my art and my music. I have very little expectations but I truly pour all of myself into every creation with the knowledge that there’s no way of knowing how long I will be lucky enough to be alive and make music. I would love to tour more, and still have many different adventures to take with performing.

    AC: You recently traveled back to LA to audition for Blue’s Clues…how did that come about? Although you did not get a call back, what did you take from that experience?

    JL: I sure did! After never being to LA as an adult I found myself there twice in a three month period. I couldn’t resist the opportunity to send my information and videos into Nickelodeon when I heard from a dear friend Malcolm Whitfield that they were looking for a new Blues Clues host.

    They did respond, inviting me out to audition in person and I jumped at the chance. It was an amazing experience and one I will never forget. More than just the insanely cool audition experience, I was able to spend some serious quality time with my long-time friend Johnny McHone and soak up the sun more than we had a chance to when we were recording Get Wild Somewhere. I learned that, especially in LA, if you bring a positive and giving attitude to the city (no matter if you “win or lose”) that the city and life will repay you tenfold.

    AC: How often do you perform as Mr. Loops? What other ways do you cobble together your living? Would you describe yourself as a starving artist? Or do you feel like you’re finally making headway?

    JL: I perform regularly as Mr. Loops but would like to perform even more. I love to play music for kids and it keeps me silly and having fun in a business that can certainly be hard to manage. I find that the “struggle” of being an artist full-time greatly outweighs the “comfort” of a less rewarding career. I feel truly connected and alive making music and making art.

  • Listen to Episode 4 of Empire State Music Podcast featuring The Blind Spots

    In episode 4 of Empire State Music Podcast, host Andy Hogan sits down with The Blind Spots, a female-fronted, indie-pop power house out of Ithaca, NY who have toured throughout the United States. From playing with bands & artists like Lake Street Dive, Amy Helm, and Sharon Jones, The Blind Spots are guaranteed to make you shake your bones. Tune in on iTunes and Simplecast or listen below!

    https://soundcloud.com/empirestatepod/the-blind-spots

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