It was the perfect duo – a collection of the area’s best musicians and the iconic catalog of music from The Beatles – together at Proctors for Capital Records Live! at the GE Theatre on Friday, March 23.
Let’s Be Leonard, Wild Adriatic, the Bryan Brundige Collective, Girl Blue, Clear Mind and Eastbound Jesus each played songs from The Beatles (the White Album) and Sgt. Pepper’s Lonely Hearts Club Band. Each had liberty to perform its own renditions of songs from both albums. Some tried to capture the song as people remember them, while others added a unique spin to a classic track.
Highlights from Capital Records Live! included Bryan Brundige Collective’s rendition of “While My Guitar Gently Weeps,” Girl Blue welcoming the crowd to sing along to “Lucy in the Sky with Diamonds” and the gratitude expressed by the audience as Clear Mind introduced a rap spin to the 50-year-old collection of songs.
The Rochmon Record Club provided Beatles trivia and history with a video presentation. There were moments when members of each band would stop setting up their gear to read along on the large screen behind the stage as everyone learned more about The Fab Four.
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.
The ’90s was a decade of maelstrom in the music industry. The decade that saw the death of hair metal also saw the rise of alt-rock, the second wave of ska and the swing revival, among many other genres. It was arguably the most eccentric of all decades in the history of American popular music. One of the bands that hit the big time in this era was Squirrel Nut Zippers, a Chapel Hill, NC band that straddled the line of swing music and New Orleans jazz. Their hit single “Hell” was ubiquitous on alternative radio in 1996.
Sunday night, the revamped version of Squirrel Nut Zippers rolled into the Center for the Arts of Homer, once the Homer Baptist Church, to hold a Palm Sunday service of their own, rapt with swing music, New Orleans style brass, Klezmer and old school crooning.
Riding the release of their first album in 18 years, Beasts of Burgundy, the new version of the Zippers provided the near sellout crowd with Vaudeville style entertainment and world class musicianship.
The band has been revamped after relocating to New Orleans and showcases some of the genre’s best musicians, including Dr. Sick, the spirited fiddler/multi-instrumentalist who stole the show with his outgoing and somewhat suggestive performance. Sick had a local connection to the show, Cortland musician Chris Merkley opened the show in the Community Space at the Center for the Arts of Homer. He documented his connection with Dr. Sick and the Squirrel Nut Zippers in a Facebook post on Friday:
The Zippers kicked off the show with a rousing rendition of a new song, “Karnival Joe From Kokomo,” a song that would fit right in with the 1996 Zippers’ catalog. The remainder of the night was a mix of old and new songs mixed with many jokes. When attending a Zippers show, you’re not just going to dance, you’re going to laugh your ass off. Between songs, band leader Jimbo Mathus and Dr. Sick riffed off each other with a string of cringe-worthy Dad jokes and bad bird puns that had the audience simultaneously laughing and wincing.
The highlight of the night was when Mathus introduced the “dancing portion” of the night. Permission was asked for audience members, who had largely been seat-ridden most of the show, to get up and dance for the upcoming section of the show. Mathus often referred to the early Zippers’ catalog as “songs from the past century.” These songs comprised the “dancing portion” of the night and the crowd complied. The band ripped into “Bad Businessman,” “Hell” and the rousing Klezmer-style song “Ghost of Stephen Foster” to finish out their outstanding set.
The encore consisted of “Axman Jazz,” “Prince Nez,” “Plenty More” and another new song, “Hey Shango!,” a Cuban-style romp from their latest album that led to a Second Line exit for the band. The Second Line wound its way through the audience and made its way to the Community Space, where the band continued playing before settling in for pictures and autographs with fans.
The Center for the Arts of Homer proved to be a tremendous host for a show like this and the Squirrel Nut Zippers were very grateful for those who attended. And the Zippers proved that original American music is not dead.
The Pulse of Music lies deep in the heart of Rochester Institute of Technology. The 89.7FM WITR DJ booth is visible from the campus’s centrally located student union. But below the hustle and bustle of the popular student hangout lies the original radio studio, complete with recording booths, stacks of physical copies of music, and a recording studio large enough to comfortably fit a full band. It was here on an unassuming Sunday afternoon that, unbeknownst to most students, Rochester alternative rock band Total Yuppies were unloading their gear and setting up to record some songs for Rochester Sessions.
Foreground: Ben Burdett Background: Jacob Walsh and JT Fitzgerald
The show’s producer and host Bailey Gribben and audio engineer Austin Frey helped the band members to connect cables and set up the studio. Bandmates chatted lightly, joking about consuming Smart brand water at RIT as they set up for the recording. There was no need to bring a lot of equipment to the studio. WITR has microphones, cables, speakers and a drum kit (if a band wants to use it instead of bringing their own). A full list of amenities is on the WITR website, and it concludes with “…. and 1 red couch.” Bands who have been featured on Rochester Sessions have signed the black walls in white ink. Names include Mikaela Davis, Maybird, Nerds In Denial, Tart Vandelay, and Talking Under Water.
The story behind Rochester Sessions is documented by these signatures, and oral history and social media posts. There’s no formal history. People who originally started the series have long since graduated. Turnover happens frequently as students come and go from the college. And those who get involved have an opportunity to move up the ranks fairly quickly.
Bailey Gribben and Austin Frey
Gribben became involved with the program just last year. “I started booking last fall semester,” Gribben told me as we walked through the studio, “I started off working with a group called Love Hope Strength. They do bone marrow drives at concerts. They wanted to do a drive at Springfest when we had Walk the Moon. So I started working with them. They got me an interview with Andrew McMahon. That was my first interview and booking. From there, I went with it. I interviewed Kevin Devine. I primarily only do local bands now.”
When the former producer of Rochester Sessions graduated last June, Gribben took the reins. He’s incorporated some innovations into the sessions, hosting a station takeover where the session was spent with Tart Vandelay, choosing the songs from amongst their influences. As a third year Motion Picture Science student, he also incorporated his videography skills to direct and edit the first video session, featuring Zuli from Long Island performing their song “Kubadiver.”
Jacob Walsh and JT Fitzgerald
During this session, Gribben asked Total Yuppies to introduce each song by saying a little something about it. With Frey at the helm of the soundboard, the band recorded two songs from their recent EP Care, as well as two new songs they have been working on, “Holy Place,” and “Numb.” Jacob Walsh (guitar and vocals), JT Fitzgerald (bass guitar), Ben Burdett (guitar) and Dylan Vaisey (drums) play with an intense focus and passion, but also convey the confidence and ease that comes from doing this together for years. Their music is distinctive for its pop melodies and extensive use of fuzzy effects, which balance out the somber nature of the lyrics.
Jacob Walsh
Members of the band knew their way around the studio. This was their second time appearing on Rochester Sessions, Fitzgerald and Walsh used to be involved in WITR while students at RIT. “It’s really cool to see the next generation of people doing what we used to do,” Walsh told me after the recording session as the band packed up their gear.
Dylan Vaisey
Gribben showed me around the rest of the studio, where RIT students interested in radio broadcasting have access to a vast array of tools and resources. While the upstairs booth is sleek and streamlined, with wall murals depicting WITR alum, the basement has an old-school station feel that hearkens back to the heyday of FM radio. Movable library shelves hold what the school boasts as the second largest privately owned vinyl collection in New York State. In addition to updated technology, they’ve retained some of the traditional tools such as reel to reel machines. There are tapes of interviews with The Ramones and The Pixies from ’88 lying atop a shelf of vinyl, crammed amongst other memorabilia.
Rochester Sessions airs Mondays from 4-5pm. Local listeners can tune in to 89.7 FM, and it can also be streamed online. The Total Yuppies session airs on Monday, March 26. It can also be found on Bandcamp. Previous sessions appear on Rochester Sessions’ Soundcloud. Follow WITR and Rochester Sessions on Facebook for program schedules and news. For more details about the station, check the RITpedia article.
Based out of Albany, this progressive folk group blends genres and in a live setting the band turns their focus towards the audience having a great time. In an interview with Charlie Burgess (guitar, vocals), the various rounds of March Madness were a testament to the hard work the band has put in to connect with fans across the state. “Whether out in the Finger Lakes or Woodstock where fans have been especially kind, up to the North Country in Plattsburgh, Keeseville and other spots, getting back to home in Albany, it’s great to see fans coming out in your hometown after returning back from shows, that’s meant a lot to us.”
With a new album due out in June, Black Mountain Symphony mixes up their upbeat bluegrass and adjust their set for a full energy show each time. “As we write new songs and new covers to plug in, we fill gaps in our set where the momentum could be going even longer, so we write new songs that fill that gap. What we’ve found that fans who are getting into the dancin’ stuff they also dig the slow stuff,” Burgess shared with NYS Music.
Long Island metalcore outfit Call It Home are on the verge of releasing their debut full-length album Better Days. The latest single “Deserter” made this week’s Alternative Press “9 Songs You Need To Hear This Week” list. Lineup changes have brought long-time member Dom Delfino to the helm of clean vocals and lyric-writing, resulting in a fresh new sound that appeals to both new fans and long-time followers. His bandmates are Chris Christofi on harsh vocals, Jay Schwartz on guitar, and Jon Beane on drums. NYS Music spoke with Delfino in advance of the album release and upcoming tour with This Curse.
Paula Cummings: How does the new album compare to your previous work?
Dom Delfino: It’s still the same sound, but more mature. It’s more technical in the instrumental work, more interesting for the listener. There’s a little sampling of piano/synth, and a little dub step in there. We also have a few different guest vocalists, which we haven’t done before: Jayden Panesso from Sylar, Landon Tewers from The Plot in You, and Michael Swank from Myka Relocate.
PC: What about the lyrics?
DD: The lyrics are a lot different. We’ve had a switch in clean vocalists. My writing style is different. The album is called Better Days because every song is about an issue people go through every day, whether it be a relationship or a family issue. Every song is a breakdown of these things, but we show how to get through them. A lot of bands write angry songs that people can relate to, but not about how to get through it.
PC: I could see that in the video for “Lanterns.” Can you tell me about the filming of the video?
DD: Josiah Moore filmed and edited the video in Rochester. It was so much fun, but there was a lot of stress. The day we left for filming, we couldn’t get in touch with the actress. At the last minute we were able to find a replacement.
PC: You’ve spent a lot of time touring. Any memorable moments you’d like to share?
DD: We were starting a tour. On the first day we were going to Michigan from New York. We’re in Pennsylvania, and it’s snowing. As we’re going it gets worse and worse to the point where we can’t see. We have another band following us. We pull off and look to the left and there’s a big hill. We turn in the other direction. It turns out there’s a giant hill. Both vans with their trailers get stuck on this hill. The only way out is to go in reverse, two vans with trailers going down. After a couple hours, we’re on flat ground. We find a gas station six miles away, and a drive that should have taken six minutes took thirty. That was a crazy experience. We still got to the show on time.
PC: And that didn’t deter you from continuing to tour?
DD: We do everything we can to make it to the show. That’s the worst thing in the world to us is cancelling a show.
Lakecia Benjamin is a funk, jazz, and R&B artist from New York City. She is best known for her own recorded saxophone work and her group Soul Squad. She has also performed with other great names including Alicia Keys, Stevie Wonder, Clark Terry, and many more.
Her latest album titled, Rise Up, comes to us from the New York label Ropeadope. The LP features 13 tracks of a funk and jazz fusion led by Lakecia’s voice and her Alto Saxophone. The lyrics span a variety of topics but there is a clear focus on social justice and particularly the issues facing the African American community.
In opening jam, “March On,” Lakecia’s vocals and instrumentation command your attention and set a poignant tone for what is to come. Track two, “On The One” keeps up the momentum, but adds smooth male vocals for a different flavor; of course Lakecia continues to flourish with her evocative saxophone. After a thoughtful and meaningful lull in the middle, the album turns it back on with the song “Little Children.”
The powerful record not only calls people to arms, but it also offers encouragement to those who have already joined the fight. It’s tracks like “Takeback” that Lakecia is able to say so much, without actually “saying” very much at all; her saxophone screaming at the top of its lungs, heavy undulating bass and drums marching forward, and a complete atmosphere of power holding it all together. Perhaps the most urgent and evocative track from the album is “Little Children,” which harkens back to the blistering pace and utter catharsis of “Sinnerman” from Nina Simone.
Lakecia’s saxophone playing has intensity and poise. Benjamin manages to sew together lead riffs that bring the songs a strong cohesiveness, while also taking the audience on a more personal journey during her improvisations. The instrumentation is akin to the work of Kamasi Washington and the work he did with Kendrick Lamar on To Pimp a Butterfly, but with Lakecia’s own unmistakable style.
For all things Lakecia Benjamin, find your way to herwebsite. The album will be available onbandcamp, and iTunes come March 23.
Schenectady native, and upcoming local hip hop artist, 3ality, recently sat down with NYS Music for his first ever interview with any kind of publication.
3ality has been blowing up fast on the local hip hop scene since debuting last summer. During the interview, 3ality was asked about performing live for the first time, when his next album will come out, and his first experience hitting the road.
NYS Music: I was at your very first performance back in June at Our Place in Mechanicville. There was a downpour of rain all day. The promoter shows up late, in a pickup truck with all the sound equipment including speakers in the back getting soaked. Besides the obvious butterflies that had to be in your stomach, what was going on through your mind after witnessing this?
3ality: I didn’t know what to expect, I just know I practiced my ass off and was ready to go do what I had to do…Nine months later, I know that my feelings that day are true. It was so unprofessional, so poorly promoted, and to this day, nothing has changed. I have one more date there that is part of an upcoming tour, unless changes are made, I promise that place will never see me again.
NYS Music: Yeah I would say after nine months, and several shows, its time to move on from that promoter, but how about the venue itself? Was there something about the venue that you didn’t really care for?
3ality: Besides being in the middle of nowhere, it’s kind of small but it does justice for a local show. If shows were actually promoted, it wouldn’t be so bad. The promoter and even the owner make it hard for people to enjoy themselves. 3ality tomatoes gives it a thumbs down, but I’ve enjoyed all my times there. It was the first place I got to perform my own music. The promoter doesn’t make fliers until the week of the show. Like what? The venue has a 21 and over only policy which dampens ticket sales and no real security.
NYS Music: Interesting. You think they would implement a wristband system and place a black X on the back of the hand like other venues to tell difference between customers under 21.
3ality: Yeah it only makes sense. They sell soda and food there. No reason they cant do 18+.
NYS Music: How did you go about practicing for your first show? You obviously never performed on stage or in front of a crowd.
3ality: I knew a month in advance that I was on the show so I filled my allotted time with my tracks and just did them over and over again until I was confident wit the memorization.
NYS Music: How did you go about memorizing them? Did you just read over and over again what you wrote while sitting on your couch? (Laughs)
3ality: I had some studio recorded stuff, so I have been already listening to myself and singing along. What I mainly did practicing was play the beats and sing over it cause that’s what I will be doing live. You check your lyrics until you get them. Just keep practicing like a spelling test. I worked at a community center which is like a YMCA, and after I was done working, I would go into the auditorium and use the mic set up and practice on stage to an empty room or a friend or two. Our Place didn’t have a stage and I felt like I could’ve put on an even more badass show for my family and friends from work who came to see me.
NYS Music: That’s pretty badass. Nice to see that some family friends and co workers came out a supported you.
NYS Music: Since your first performance, you have played several local shows throughout the Capital District in 2017, some shows in Pennsylvania, and capping the year off on New Year’s Eve in New Hampshire. How did you feel performing for the first time in a room where only the performers knew who you were.
3ality: It felt amazing and right at home. That New Hampshire show was a “Juggalo” show which is the crowd I feel I appeal to most. I’m not shy when it comes to seizing the moment. I’m an outgoing guy when comfortable and have had a lot of experience prior to 3ality performing in front of big crowds.
NYS Music: Experience performing in front of crowds before how?
3ality: Singing in shows in school, karaoke in bars, and doing demonstrations in tae kwon do.
NYS Music: What about IYF Wrestling? (Laughs) I’ve seen on your Facebook page that you used to wrestle on the local independent scene.That had to help with performing in front of a crowd.
3ality: I don’t know. That was a whole different world. I feel like if I could’ve done that, I can do anything so your right cause that definitely had me nervous. (Laughs)
NYS Music: (Laughs) I Bet.
3ality: Yeah hopefully one day I’m big enough to set up a match at WrestleMania.
NYS Music: It is coming to NY/NJ in 2019 so a close to home boy on a close to home show would be pretty cool.
NYS Music: You traveled to New Hampshire and performed your first live set for a New Year’s Eve crowd. What expectations did you have going into the show, compared to how you felt after your performance?
3ality: I think my expectations were exceeded from the point my first song ended and the crowd erupted. I felt like I belonged and the rest of my set was a breeze.
NYS Music: In mid April you and some other local hip hop artists are going to hit the road and open shows for Skero. The tour is going to travel to parts of the U.S. including once again NH, West Virginia, Michigan, Indiana and kicking things off in Ohio. What are you looking to gain from this first time extended touring experience.
3ality: This tour is gonna have the same type of crowd as New Hampshire. I met Skero at that show. I hope I get the chance to expand my fan base, and get people to follow me, want new music, and come out a see me perform again.
NYS Music: You’ve released an EP and CD in the past year. Speaking of new music, can fans expect a new EP on this run?
3ality: I’ve been a little busy…there wont be a new solo EP before summer, but there will definitely be new music before the year is out. One EP, two albums, I cant say yet but everyone is gonna get more familiar with the name 3ality, so I hope everyone is ready. You can check out my debut album on Spotify, iTunes, Google play and other like sites.
NYS Music: Since your first live performance, how do you feel you have progressed from that first show, and have you changed anything about the way you approach a live performance?
3ality: Not much. I’ve performed a few different songs, and collaborated with other artists. I’d say I have a lot more energy now.
NYS Music: Thanks for taking the time out and chatting with us here at NYS Music. Last question: What else can we look forward to in the future from 3ality? Any other tours or shows planned?
3ality: Thank You.Not yet. My biggest show to date will be in Stanhope, NJ, on May 13, when I open for Blaze Ya Dead Homie.
New Yorkers can check out 3ality on April 15, at Our Place in Mechanicville, April 17, at Gusa’s in Elmira, and April 25, at The Footlight in Queens.
Skillet drummer and vocalist, Jen Ledger, has shown her various talents behind the drum kit and on the mic during her run with the band. Now those talents will be showcased on even a higher level as she plans to release her first solo EP titled Ledger.
Never doubting on using her talents to one day make a solo album, many fans and music insiders thought that Ledger would first unite with other very talented female musicians in rock music and form a female “super group,” with the likes of Halestorm frontwoman Lzzy Hale, Sick Puppies bassist Emma Anzai, and Skillet bandmate Korey Cooper. Ledger, will be released on Atlantic Records on April 13. Skillet keyboardist and guitarist Korey Cooper, helped produce the EP with well known Nashville writer/producer Seth Moseley.
In a recent Billboard article, Ledger shared her excitement about the upcoming project: “I feel I’ve just been growing and changing over the last few years and I feel the time is now. It just feels like everything is lined up all at once. It’s super exciting because it is a little bit of a destiny moment.”
Ledger credits her Skillet bandmates John and Korey Cooper for helping her find her own sound while mentoring her though the process.
Atlantic Records President of A&R Pete Ganbarg, spoke highly of Legder’s talents from knowing her over the past decade:
From when I started working with Skillet 10 years ago, I was immediately impressed with how vibrant and talented Jen Ledger is. Her voice is so unique — and has become such an identifiable part of Skillet’s sound — that we’ve waited for most of the past decade for the moment when she would finally be ready to release her own music. What she’s been working on with John and Korey Cooper, as well as with Seth Moseley and others, shows that the wait has definitely been worth it.
Now that Ledger’s solo career is on the way, many Skillet fans are worried that her days in Skillet will soon be a memory, but the singer/songwriter has no plans on leaving the band. In fact, Ledger will pull double duty, and open shows for Skillet’s upcoming spring “Unleashed” tour starting on April 12, with her backing band, then head behind the kit for Skillet’s performance to close shows. Ledger was asked if she planned on leaving Skillet: “We’re all on the same team and we’re all kind of mixed into everything. John is actually going to be singing on one of my songs and Korey is co-producing all of it and writing it with me, so it’s ridiculously perfect. I get to do everything I want and have the best of both worlds.”
Tuesday, March 20, Shovels and Rope tour found them in Asbury Hall, the former church turned concert hall in Buffalo. It was an intimate ‘evening with’ format so no opener needed as the duo took to the stage with just a single lamp as the only source of light as they played a tender ballad. As the evening wore on so did the intensity of the music and the lights. It remained a relaxed affair and plenty of tales from the road were shared with the audience in between songs that spanned the duo’s career.
Arielle O’Keefe walks into The Hollow Bar + Kitchen with a guitar case in her hand and only blues on her mind.
photo by Shannon Straney
She just finished a prior engagement that left her unfulfilled. The audience wasn’t familiar with her. Her music was background noise to their conversations about other things. She stepped onto the stage and dutifully set herself up for her solo act, opening for Wurliday, her name is on the inside jacket of its debut album. She knew she was coming into her own community. She stepped to the mic and apologized in advance. She was going to spend the next hour playing music the way she wanted to. She had nothing to hide.
“I’m more comfortable with the solos because that’s where I come from,” said O’Keefe. She nearly two years removed from being known as the local Spotify phenomenon with 200,000 listens in a day. The following year was seemingly hers, gracing newspaper covers, touring across the country, a CD release and a successful collab with Wurliday kept her name circulating. It’s November, and she just released a cover of Fleetwood Mac’s “Dreams” on YouTube. It’s a video of her sitting in the woods at night performing what appears to be a Wiccan ceremony. By appearance, it’s her, alone, doing her own thing. It’s fitting. That’s how she likes to control her career.
photo by Shannon Straney
“I like to be able to tell stories, basically,” she said. ”For me, at this level, it’s just easier for me to do when it’s just me. And, the music I love, if someone can just get up there with a guitar or a piano and make me feel something like that, that’s very meaningful to me. That’s more meaningful to me than seeing a full band that jams out all night. Which I love, but I’ve come from hearing singers and songwriters, hearing songs. I want to hear the song.”
The Hollow crowd treats the diminutive O’Keefe “pretty tall” as she continues to play a stripped down, bluesy variation of her songs. They stand facing the stage, soaking it in.
“I Am Not a Star”
Her 2016 Just Pretend Records release of “I Am Not a Star” was her first collaboration effort with a band. It was the first time she trusted her songs, to which she said she’s protective of, with anyone else. She could do that with the help of longtime friends Jimi Woodul and Dan DeKalb of Dark Honey. The three have been friends ever since meeting in Dallas, where they lived before “life happened” and brought them together again in New York a few years ago.
DeKalb and Woodul were raised in upstate New York and O’Keefe was raised on Long Island. Coincidentally, the three moved to Dallas and during shows. They became really good friends.
O’Keefe moved to New York City to pursue her music career. The boys moved to Albany, and she would go up to visit. Before long, Albany started feeling like home.
“I just realized, after four times of visiting, that everytime I went up to Albany, all my stress was gone,” she said. She said she would dread going back to the city, “it’s an overwhelming place, and I never found community.” When she decided to move, she found an apartment, quickly signed the lease, and moved in with little else than her clothing in her guitar case.
It was during this period she wrote “I Am Not a Star.” Though the song initially sounds like an anthem for strength, O’Keefe said it was a conversation with herself. She had uprooted herself, and worried about taking a wrong step in her career. “I Am Not a Star,” was a means to psych herself up and dispel those worries. A new career path was taking shape.
“Spotify”
Spotify placed “Fire Under Water” No. 7 on its New Music Friday playlist in late 2016. On a playlist that boasts anywhere between 50 to 80 songs, she was at a premium location for exposure. In one day, she received 200,000 plays. By the end of the week, her track was played a million times. Record labels took noticed and approached her. There was a push to have her sign a deal. She said no.
photo by Shannon Straney
“I want to have control and have the rights over what I do,” she said. “[There were pushes made to sign right away] but that’s not really who I am. … I’m not really the type to go and grab a major label deal. I don’t know. I’m just not green anymore with the industry stuff.
In 2012, she had auditioned for Season 2 of “The Voice.” The production had taken on 120 musicians. She was sequestered into a California hotel for a month and a half before the show aired. However, teams were filled before all of the musicians auditioned, and she never appeared on television. Shortly afterwards, she was approached by Nigel Lythgoe Productions for a television project. She signed a contract without knowing the premise of the show. It would lead to her appearance on “Opening Act” in which she appeared on its first show, in which she was the opening act for Rod Stewart in front of a Caesars Palace crowd in Las Vegas.
“That whole attitude to make it nowadays, it’s just so not what people think it is,” she said. She has nothing ill to say about the television or music industry, only that she felt that in her television moment she was not true to herself. The vigorous pace and push to get something on presentable on television pulled her in many directions. “It’s so not what it’s presented to be. I got to see behind the curtain just enough to where it became unappealing to me. I don’t know, man. Anything that’s just going to shoot you up there, I don’t know. It seems too good to be true.”
O’Keefe is less concerned about whether she took the wrong step in moving away from New York City. Her self-described itch to move every year-and-a-half has been quelled. The Albany music scene has allowed her room to explore herself, and the community she couldn’t find in Gotham. The past few years have confirmed that a music career is not defined by where one lives. Instead of trying to wedge herself into the industry machine, she’s trying to “have the plan fit me a little better.” She is presently working on a new album with the help from AntiFragile Music out of New York City. She’s also started an account on Patreon, a membership platform that connects her with fans through subscriptions. It gives her the chance to share her music intimately with fans instead of throwing herself out into the empty ethos of the internet. Her next track “Lolita” is to be released Friday, March 30. Her latest work, she said, is delving deeper into herself. It will be the most vulnerable she has been with her audience, and she’s excited.
She’s also to play in Capital Records Live at Proctors on Friday, March 23 before a gig at another iconic venue, Caffè Lena in Saratoga Springs next month.
“I want to build it slowly and build something that’s going to last,” she said. “I’ve been doing this since I was young. I’m a young woman, so especially a lot of people want to come in and tell me what they think that I am. At this point in my life, I’m just not really interested. I understand the idea of branding, but I kinda know who I am at this point. I’m trying to build a business.”
