Category: Features

  • Andrew Gabriel Jumps into Burgeoning Music Scene with Both Feet

    Andrew Gabriel sits for a picture in front of his desk. It’s the hub of his music studio. The tools of his trade sit upon its surface in precise symmetry. The flat screen monitor shines with Ambassador Music Group embossed in white against a royal blue field. Below it sits the ivory and ebony keyboard flanked to its left by his daily planner. The distance between the planner and the keyboard is equidistant with the space between the planner and the edge of the desk. His iPhone sits centered in front of it.

    The sight implies that a systematic methodology is at play, contrasted by the two unfastened buttons on Gabriel’s polo shirt. Perhaps it’s a conscious effort to preserve the acoustics in the room. Maybe it’s the side product of his years meticulously hitting the right points on the snare drum. Or, it could all be that from a mind molded by applied mathematics at the University of California at Los Angeles. Nonetheless, it is an embodiment of control, something of which he is relinquishing.

    As Gabriel sits down for an interview, he is days away from taking a leap. He is quitting his job to spear headlong into a dream of opening his studio and pursuing a music career; one that, up until this point, was a 12-hour-a-day gig on top of his eight-hour days as an information technology manager for Community First Credit Union. The order of living in the corporate world will be tossed aside, and he is as excited as “a kid who’s a week away from summer break.”

    Andrew, and his wife, Rose Gabriel are the marketing and managerial team behind the recent success of local musician Sydney Worthley — who has taken last year’s performance at Tulip Fest and, on the strength of her debut album Strong, has moved on to a scheduled appearance at Mountain Jam in June. The Ambassador Music Group also represents local recording artist Michael Razzano.

    The Ambassador Music Group is now a full-time endeavor, with a recording studio that caters to musicians and vocal talent. It’s a dream job that Andrew has held on to since his days as a musician in the San Francisco-Los Angeles West Coast megalopolis. Rose describes her husband as “determined.” Tenacious may be more appropriate. Once Andrew has an idea in his head, Rose said he is determined to see it through.

    Since moving from the West Coast more than two years ago, Andrew has worked his day job as a programmer, and pursued his passion for music in the evening. That passion led him to working relationships with David Bourgeois of White Lake Music & Post studios and WEXT program director Chris Wienk. Ultimately, Andrew worked as an intern at Overit Studios, with the help of Adam Clairmont. Andrew shares those names as he describes the Capital District’s music scene as a “community.”

    “The community aspect of the music scene here is unlike anywhere I’ve been,” said Andrew. “It’s unlike Los Angeles. It’s unlike San Francisco Bay area.” The amount of talent in the area scene is “crazy.” And, unlike the West Coast, the players within it are not fighting each other to gain attention. “The folks that we’ve worked with are always willing to help out. It’s not like cut-throat competition, where folks are trying to sabotage other folks. … The scene here tries to make the scene grow.”

    Last May, Andrew’s first client, Sydney Worthley, took to the Washington Park stage for Albany’s annual Tulip Festival. Outside of talent shows across the Capital District, it was the teen’s first performance before a crowd. She was already at work writing songs for what would be her debut release “Strong.” For the first time, Worthley could see strangers snapping pictures and capturing videos on their phones as she performed.

    Worthley dropped her CD the following September. All 14 of her songs presented within a slick, high-gloss plastic CD cover. Radio play followed, as did an invite to perform at the lineup announcement for Saratoga Springs’ annual First Night. A meeting with WDST-FM in Woodstock opened yet another opportunity. The station organizes one of the largest three-day music festivals in New York.

    “Sydney would be a good fit for Mountain Jam,” Andrew recalled saying, recognizing the chance to keep momentum moving. Rose recalled it took more persistence than that. That attention to detail, and Worthley’s climb within the local music scene, helped.

    The Gabriels hope to take success and pay it back through outreach programs. Last October, the couple helped raise funds and goods to assist the more than 2,800 households victimized by a firestorm that swept through Santa Rosa, Calf. AMG delivered more than 3,000 respirators, and raised money to help replace backpacks, jackets, shoes and lunch boxes for local school children. That focus to help give others a boost on to their own feet translates back to the Gabriels’ goal for our music scene.

    “I think there’s potential for something bigger to happen in the music scene, here, in Albany,” said Rose. “And, we’re on the brink of making it bigger than what it is right now. I think we’re all trying to make it happen.”

    This article was originally published by The Spot 518 and is the property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music 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.

  • Hearing Aide: Jane Lee Hooker ‘Spiritus’

    Jane Lee HookerJane Lee Hooker is back, and better than ever.

    After the release of their debut album No B! in 2016, the five piece punk-blues powerhouse caught much deserved attention among NYC’s club scene. Since then, Jane Lee Hooker has spread like a wildfire: one that certainly won’t be extinguished anytime soon.

    Spiritus, the band’s second album, was released in November of 2017. Primarily comprised of original music, Spiritus further explores JLH’s unorthodox take on the blues. The ten-track release is riddled with undeniably catchy hooks, superb guitar licks, and just the right amount of grit.

    The album goes from 0 to 60 in a matter of seconds with the first track, titled “How Ya Doin’?” From there, Spiritus takes a step back with some slow/moderately paced jams (including the most popular track “Later On,” which currently has over 21,000 spins on Spotify).

    But don’t be fooled; halfway through, Spiritus lifts off once again with “Black Rat.” Shortly afterward, to the listener’s unexpected surprise, the album takes a moody turn with a downtempo track titled “How Bright the Moon.” And to wrap things up, Spiritus comes full circle with the longest track on the album, “The Breeze.”

    To say the least, Spiritus is bold, nostalgic, and groundbreaking. If you’re in search of a sound that steps far beyond the boundaries of modern rock music, Jane Lee Hooker’s gotcha covered. Keep up with JLH on FacebookTwitter, and Instagram.

    Key Tracks: Later On, How Ya’ Doin?, The Breeze

  • Celebrating with The Dave DiPrimo Band

    The Dave DiPrimo Band (DDB) was back at it at Buta Pub on Saturday April 14. The band brought their upbeat attitude to warm up a crowd that was brave enough to venture through the ice and the rain, and had the place on fire all night long. The band consisting of lead singer Dave DiPrimo, saxophonist and guitarist Kares Gregory, drummer Reid Hoffmeier, and bassist Ian Benz; has been performing around New York State together for over a year.

    The band has a constantly evolving sound that is electric and catchy. DDB came to Buta Pub with one goal in mind, to celebrate. DDB did so in a fantastic way with the theme of the show being a glow party. DDB brought glow sticks and glow glasses for the crowd who enjoyed every minute of it. DDB played some some fan favorites like the spicy Latin melody of “Selena” and the always catchy “Caroline”. DDB always brings an eclectic mix of fast paced songs like “End of the World” and slows it down and connects with the audience with the slower rhythms of songs like “Four Letter Word” and “Whiskey Melody”.

    The smooth sounds of Kares Gregory on the sax makes the slow songs methodical and dreamy while on the faster paced songs like “Selena” the sax drives the tempo of the song pushing the pace and then reeling it in in the tense moments of the song. Gregory is also a stellar lead guitar player as he shreds solos on songs like “End of the World” and “Whiskey Melody”.  Drummer Reid Hoffmeier is always great as he controls a lot of the band’s emotions and feelings throughout the show. Not only is Hoffmeier an amazing drummer who can do everything that DDB requires him to do and more, he is the underlying humor and emotion that the guys are feeling during their show. Ian Benz was spectacular as always on the bass; fulfilling that low under tone that DDB was missing back when the original band was put together years ago. The front man and the person the band is titled after is Dave DiPrimo. All the songs are written by DiPrimo and DiPrimo will lead the band to spontaneous jam sessions at some point in the show.

    At Buta Pub the crowd cheered for the jam session as DDB uses this opportunity for crowd participation. Whether it’s a hula contest or simply a call and answer song, the band always brings the room to life. DiPrimo not only has a voice that can hit all the ranges of the demanding setlist; whether its screaming in “End of the World” and in parts of “Selena” or the soft gentle whisper of “Four Letter Word” and at the end of “Out in the Cold”, DiPrimo can do it all as he executes every word with passion and clarity. DiPrimo also sports three different guitars throughout the band performance. The classic electric acoustic he uses for the softer songs, the Resonator he uses for some of the folk songs and the electric for solos on songs like “Glory Days” and “Know you Best”. DiPrimo’s guitar playing has improved over the time DDB has been together as the solos he played sounded crisp. His confidence not only as a singer and guitar player can be seen improving in every show; but also his confidence speaking to the crowd on a more personal level.

    The sizable crowd enjoyed every moment of DDB and was crowded around the stage dancing and having a good time. DDB will be performing on April 27 at Funk ‘n Waffles Music Hall with Corey Glover of Living Colour and The Alchemystics. The Dave DiPrimo Band has released two albums, the first being One Year with original band members and Reflections with the current band. Both CD’s are available for purchase at all DDB shows with other merchandise that the band sells. You can also find DDB’s music on all music streaming sites like: Spotify, Apple Music, I tunes, Google Play, Amazon and all of DDB’s music can be streamed and purchased on their website

  • Escaper guitarist Will Hanza talks influences, producing “Edge Detection” and songwriting

    Will Hanza, guitarist of Escaper has been enjoying the success of the group’s sophomore release Edge Detection and still buzzing about meeting Jon Fishman. Hanza spoke to NYS Music about the songwriting style that encompasses their new album, Escaper’s summer plans and jazz influences that create a monolithic jam fusion sound.

    will hanzaPete Mason: What was it like opening for The Mallett Brothers Band and Jon Fishman?

    Will Hanza: Well, we’ve sort of become regulars at Brooklyn Bowl, it’s our home venue really, and recently opened for Electric Beethoven. Working with the folks at Brooklyn Bowl is great, the sound and Vic Cornette on lights is a musician himself and he really works with you. This was our most jammiest show yet, opening the songs up in the moment in a way that keyed us into the improv we should be doing, avoiding meandering and allowing the moment to take over and launch from there. The reaction to the set was great on Thursday (April 12th). The Mallett Brothers are a really great band, and watching Fishman drum from side-stage was a treat. He was nice enough to say that he liked Escaper and that we had that Pink Floyd kind of vibe, which pretty much made my year.

    A post shared by Escaper (@escapermusic) on

    PM: What musical influences came through in the production of the Edge Detection?

    WH: The band comes from some diverse backgrounds, including myself who has a father who is a jazz musician, plus Zeppelin and Hendrix are in me. Lettuce and TAUK and more instrumentally oriented bands in the scene – we don’t want to sound like them, but they’re paving the way for what things fans are into, particularly instrumental music. Johnny Butler comes from Coltrane and jazz. Adam Ahuja comes from a pretty heavy jazz background, and is really into Mahavishnu Orchestra. For lack of a better word, this allows for a fusion of sounds, and that comes from combining jazz, classic psychedelic rock, funk rock, and I think it comes together cohesively in the process of what we take with these songs.

    Some of the songs on Edge Detection were written out of live jams. We hear them and cultivate them from loose jams that we’ve been digging. We ran out of songs at one of our first shows in January 2016 at B.R.Y.A.C., so we played and improvised, which led to some of these songs being born, including the first two tracks on the album, “Secret Weapon” and “Rare Form.”

    PM: What was Escaper’s songwriting process for Edge Detection?

    WH: The well rounded sound comes out of that process where we start with a groove, like Jay will start with a bass line, then the keys will add in, then the drums … it’s a little loose at the start, and soon a whole beast is starting to get formed as we go back and listen and see what parts work best. We don’t write songs and then ask everyone to learn it – Escaper builds on the idea that this is everybody’s band, and everyone gets equal credit on the songwriting. I want everyone to feel that this is their band and their music. I am honored to play with the cats I get to play with, not the least because they are invested in the music as much as I am. It’s a challenge and exciting to have a bunch of collaborators create music that you could never do on your own. We all recorded simultaneously in the studio, which gives that sense of synergy and react to each other in the moment, rather than layering things over and over.

    PM: How was the reception to Edge Detection and what did you learn from the recording process and release of the album?

    WH: The response has been very nice, very strong. We’ve only had a handful of reviews but they’ve all been positive and hey reflect our growth since the first album. The recording process was similar to the last album Skeleton Key and we have found recording in the Bunker Studio in Brooklyn with engineer John Davis (Lettuce, Black Keys) to be our spot and we’ve found a great relationship working with him. He’s brilliant, has a good bedside manner and while we were in there recording, we felt very at home. He’s taken time to get to know us as players to squeeze a better performance out of us while keeping the recording efficient and everything flowing. I don’t know we’d do much different on the next album, but we might add some vocals on the next one.

    PM: Where are fans going to be able to see you over the next few months?

    WH: We sort of kicked off the festival season playing Rock n Roll Resort, and we’ll do a couple club dates mixed in, but we’re doing a decent amount of festivals – Grateful for Spring in Mountain Sky, PA, then Elements Lakewood, Lakewood, PA on Memorial Day weekend. Disc Jam is definitely one of the highlights on our schedule coming up in early June. We’re doing Bear’s Picnic and Mazzstock in August. Being invited to play any festival is an honor and opportunity that is a great way to pollinate our music in these various places and that can only help us into a touring schedule in the fall in New York and Pennsylvania. It’s all about getting the music out there like Johnny Appleseed – the more that can enjoy, the happier we are.

  • Jimmie Highsmith Jr. Featured on Rochester Indie Musician Spotlight

    The latest installment of Rochester Indie Musician Spotlight starred critically acclaimed award winning saxophonist Jimmie Highsmith Jr. In this, the eight installment of season 5 of the series, Highsmith is interviewed by host Dan Gross before playing a selection of smooth jazz songs. On the stage, Highsmith is joined by Dave Labman on keyboard, Mark Terranova on bass, and Bruce Pitts on drums.

    Rochester Indie Musician Spotlight hosts live events, which are free and open to the public. Episodes are recorded at Bop Shop Records at 1460 Monroe Avenue in Rochester from 7-9pm. Jon Lewis will finish out the fifth season and mark the series’ 50th episode on April 27.

    This episode of Rochester Indie Musician Spotlight is directed, edited and hosted by Dan Gross. Sound by Gross and Matthew D. Guarene, camera and production by Gross and Jason Thibault, and mixed by Josh Pettinger of Wicked Squid Studios. This season is made possible by Bop Shop RecordsRowe Photographic Video and AudioBernunzio Uptown MusicSound SourceJoe Bean Coffee RoastersThree Heads BrewingWicked Squid Studios, and patrons who contributed to the Season 5 indiegogo campaign.

    For more about the Rochester Indie Musician Spotlight, read the NYS Music feature. For the latest news and access to dozens of episodes, visit Dan Gross Music and Journalism.

  • Listen to Episode 2 of Empire State Music Podcast

    Hailing from Buffalo NY, Intrepid Travelers combines elements of rock, funk, blues and jazz along with a powerhouse performance certain to make you move and groove. From their home studio in Buffalo, the band shares stories of influence, time on the road, and what exactly a “jam band” is anyway. Join host Andy Hogan for the second episode for Empire State Music Podcast.

    https://soundcloud.com/empirestatepod/intrepid-travelers

  • Watkins Glen President puts a Spin on Phish’s Curveball

    One of the most integral people in planning this summer’s Curveball festival featuring Phish is the president of Watkins Glen International, Michael Printup, who took the time out of his busy schedule to give an interview to NYSMusic.

    watkins glen president

    This will be the third festival the band has held at the track most famous for NASCAR racing. In 2011, there was Superball, followed by Magnaball in 2015. Like those two, Curveball is a three-day event taking place August 17 to 19 this year.

    Printup shared some interesting tidbits about Curveball and about his history with the rock band born out of the mountains of Vermont. His first interaction was back in 1998 when he was the general manager of the Providence Civic Center while Phish was on, what has now become, the legendary Island Tour. It was the first time he saw the band live, but his biggest takeaway wasn’t the music.

    “I mean, it was a small arena,” Printup said. “What I remember most was the fans. They’re just — they’re just so awesome. I noticed the respect and dedication of the fans, and I saw that the band respected the fans in a great way. It shows in what they do, all the planning they put into putting on these large-scale festivals. I’ve been in sports for my entire life — the NFL, Southern California, Miami, Boston — and you don’t see that kind of thing between the fans and what they’re coming to see like you do with Phish.”

    That observation has directly led to the relationship that the Phish organization has with Watkins Glen. It was back in 2016 when the planning for Curveball began. Printup said that Richard Glasgow, a member of Phish’s management team, visited the site and began the discussion of a festival in 2018.

    “Richard and I talk at least once a month,” Printup said. “I was in Las Vegas the same time Phish was there in 2016. They realized I was in town and they invited me to attend a soundcheck. So there I was, with like six other people in the empty arena, and they’re just up there jamming.”

    That type of relationship bonding has made doing business with Phish a breeze, Printup said. At Magnaball, he recalled, when the band was walking off stage just before the weekend’s final encore, the band stopped by for a “quick hello” and then invited him stage side for the encore.

    Printup, who is very professional and has a knack for teasing things without giving them away, touched on a variety of topics. For starters, he did confirm that the fan favorite event — in the past titled the Runaway Jim 5K road race — will happen again this year. He mentioned that the band had inquired about a parade, but would not give any more info on the subject.

    One of the things fans have wondered about since Magnaball was the capacity of the venue and the ticketing situation. It was announced prior to the festival that all tickets had been sold and none would be sold at the gate. However, many ticketless fans who showed up were able to buy tickets from the venue at the gate. Printup explained that when the sellout announcement was made, the racetrack was only allowed by officials to cap the capacity at 50,000 people. A late inspection of the venue took into consideration the bathrooms and showers that are at the track year round, thus allowing an extra 10,000 to be added to the max capacity. Printup did not have the information as to whether or not all extra tickets were sold.

    For Curveball, though, he insisted that fans don’t wait much longer to buy their tickets. While for a NASCAR event they’re prepared to handle 160,000 people, it’s not the same for a music festival.

    “I have spoken to Red Light Management and Phish, and they highly recommend buying soon,” he said. “The max we can have is 60,000 per day, and Richard (Glasgow) has said sales are going very well.”

    The discussion then flowed into how Phish puts on their well documented secret sets. At each festival since The Clifford Ball in 1996, the band has done an unannounced or special set. At Superball, they performed the Storage Jam at about 2 a.m. on Sunday morning in a storage shed they had on grounds. Magnaball featured the fan-favorite Drive-In Jam, which was a merging of visual art projected onto a large screen draped from the bleachers, while the band performed an all-improvised set behind the curtain.

    When asked if he could give the fans a hint, or even speak off the record about what Phish has in store for this year, Printup was emphatic and filled with laughter. “No way!” he said.

    Printup gave loads of credit to the local community for the help and support for the weekend.

    “There is a big trust value between everyone,” he said. “There’s so much that comes along with something like this. Our local sheriff knows how to handle it all, the traffic and stuff like that. Our goal is not to inundate the community, but involve them.”

    He said he’s only heard positive things from the locals, who genuinely enjoy when the Phish crowd comes to town. Printup said that he will sometimes check some of the band’s message boards in the week leading up to the festivals and everything has been positive.

    It’s no secret that Phish fans like to party when they experience the band. Printup said that the crowd isn’t that different from other music crowds, but did warn that people trying to be nefarious might want to reconsider.

    “Country fans, EDM fans, they like to have fun as well,” he noted. “But I know how many undercovers there will be out there. I wouldn’t take that kind of risk and possibly be arrested. Obviously booze isn’t going to get you arrested, so I just hope everyone is smart about having fun that weekend.”

    But overall, Printup said that we are all in for a very special time, with a lot of new features to keep fans engaged.

    “I’m most looking forward to the show, of course,” he said. “And I want to give the band a huge thank you, because they’ve just been awesome.”

  • Magic Beans Throw Down a Stunner in Albany

    A friend recently referred to Albany as the “super deep-tiered jam band capital of the Northeast.” As mediocre as that sounds, we actually do alright. Thursday, April 12 was a “Tier 3 Night” at the Hollow Bar and Kitchen, but good luck convincing those there to see The Magic Beans that it was anything short of incredible.

    Saratoga’s rising star, Let’s Be Leonard, opened up the evening with an ultra energetic “Spit It Out.”  While the members of this band may be young, their sound is mature and smart. Even their vocal jam included nicely blended harmonies. Connor Dunn’s saxophone skills only added to the fun. Although the volume may have been a bit too high for some, it was refreshing to see a band with this much potential. It won’t be surprising to see these guys on the festival circuit for years to come.

    Around 10:30, the crowd began to swell as locals arrived to see Boulder, Colorado’s The Magic Beans. Despite their current Rocky Mountain hometown, Albanians claim a small piece of the Beans as their own. Bassist Chris Duffy, formerly of Dirty Paris, is originally from the Capital City and fans are always delighted to bring him home.

    Like a hurricane gaining strength over water, The Magic Beans’ jams tend to rise in energy and explode with each powerful crescendo. Just when you thin they’re finally ready to set everyone back down on Earth with something light and breezy, they burst back into a fast paced yet funky jam to fuel the groove of the crowd.

    With thick bass lines, heavy synthesized keys and occasional hip hop beats, their transitions are still crisp and seemingly effortless. Scott Hachey’s facial expressions as he flexes his guitar prowess indicate the thrill for both the band and the audience.

    Nearing the end of the night, the Hollow was pulsing with some pretty impressive lights. A powerful “Luck” could have closed the evening, but the Beans decided to throw in some Talking Heads “Girlfriend is Better,” with their latest “Casino Cabaret” for fun.

    After picking my jaw up off the floor, I’ve came to the conclusion we were witnessing the steady rise of what is now a lower tiered jam band. This show was better than the last and light years beyond what we saw a few years ago. Although not someone I’d compare them to in style, I have not been this excited for a band since discovering Pigeons Playing Ping Pong. I fully expect to see this band become a household name in the jam community and they will always have a home here in Albany.

  • Hearing Aide: Ozymandias ‘Godly’

    “I won’t stop until they put me in the earth” and “I’m here to bring a vibe,” Ozymandias says on his newest album, Godly, released March 30, 2018. These two lines could be the spoken synopsIs of the 14-track album which follows up on previous efforts IDKNID and Blvck Cvstles (2017). Godly discusses many topics, features local collaborators and presents polished, yet atypical, production styles.

    We are introduced to the story through the baited dial tone and answering machine that plays Ozymandias’ preoccupied voice, asking for his caller to leave a message. “I’m not picking up my phone for some reason,” he admits, sounding uncertain, as if he does not yet know the reason.

    Throughout the album, we hear the voicemails of others asking the performer why he has not picked up his phone in juxtaposition with lyrics about human connection, love, equality and strong work ethic. One could conclude that a theme of the album is ignoring modern technology in favor of more genuine, and personal, means of communication.

    Godly follows the release of a few singles, “MadMax” (produced by 4k) and “Aim High” (produced by Savion), each accompanied by a cinematic music video. From these crumb trails, listeners take away a potent sample of what to expect from the album: polished, sharp production sandwiched between obscure noise-based tracks, dressed in 808 hits. This type of production is especially found on songs such as “Temporary” (produced by L. Davis), and “No Losses” (produced by Nick Cavs). Ozymandias’ composition follows the sounds found in his previous effort Blvck Cvstles, in particular, but he all but dismisses anxiety over the past. “If I lose it all, I’mma get it back,” Ozymandias says, summing up parts of his stated world view in one line.

    Overall, Godly conveys a series of meaningful messages which could apply to many situations. Much like influencers J. Cole and Kendrick Lamar, the album pairs deep beats with wide reaching lyrics with cuts like “Work” (produced by LebanonDonBeats). Yet, even with obscurity, the album has few, if any, skippable moments. At worst, it’s a solid effort with a few bangers and, at best, an anthemic, insightful crowd pleaser.

    Either way, the album is genuine and convinces the listener that it’s taken blood, sweat, tears and multiple drafts. “I pray that honesty hit ‘em,” the artist says in “Winter Bluez” (produced by Kelly Portis). His lyrics reflect the depth of challenges such as relationships, love, friends, parenthood, sociopolitical issues, and just trying to make it in his career. “Possibly the reason God challenged me is because he sees potential,” he says in the same song. None of this album is subtle, and it shouldn’t be.

  • Photo Gallery: Twiddle at State Theater of Ithaca

    Twiddle jammed through 2 nights at the State Theater of Ithaca this past weekend. An acoustic set kicked off the first set on Friday, followed by a three-song second set.

    Saturday was capped with an encore of Tom Petty‘s “You Don’t Know how it Feels.” Catch Twiddle this Thursday at the 20th anniversary of Higher Ground in Winooski, VT and Friday in New Haven, CT at College Street Music Hall or this summer in Burlington at Tumbledown.

    Setlist, Friday April 13

    Set 1: Wildfire, Rocky Raccoon, Five, Hattibagen McRat, Glycerine Medley
    Set 2: Gatsby the Great, Polluted Beauty, Apples
    Set 3: White Light, Syncopated Healing, Beethoven and Greene, Jamflowman
    Encore: Orlando’s > Orlando’s

    Setlist, Saturday April 14

    Set 1: Peas and Carrots, Lost in the Cold, Drifter, Earth Mama, Doinkinbonk!!!
    Set 2: Nicodemus Portulay > Subconscious Prelude, Every Soul, Dr. Remidi’s Melodium
    Encore: You Don’t Know How it Feels

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