The John Butler Trio and special guest Mama Kin Spender performed at Albany’s The Egg Performing Arts Center on Thursday, July 12 to a packed house of enthusiastic fans. The two Australian-based bands have a very special connection – their lead members are married to one another. JBT’s front man and namesake John Butler and Danielle Caruana, who performs as Mama Kin in the folk duo Mama Kin Spender, have been married since 1999. The couple have two children together: a daughter, Banjo, and a son, Jahli, who are currently joining their parents on the North American leg of their tour.Butler was born in Los Angeles, California and moved to Australia with his family when he was 16. He started his musical career as a “Busking” street musician and, with hard work and determination, has created 10 albums to date and started his own record label called Jarrah Records. The current lineup of JBT has been expanded to a quintet whose members include John Butler (guitar, banjo, lap steel,vocals), Byron Luiters (bass, vocals), Grant (G-Money) Gerathy (drums, vocals), Lozz Benson (percussion, vocals), and Ben Corbett (keyboard, vocals). The John Butler Trio has won multiple music industry awards in Australia since its creation back in 1998 and they have been successful in leveraging that success into serving the community by supporting a variety of non-profit causes that are close to the band.
The night started out with Mama Kin Spender taking the stage and performing “Cold Roof Top” off of their 2017 release Golden Magnetic. Tommy Spender played acoustic guitar while Mama Kin played drums as they performed the selection. The song is a love cry from a forlorn lover who is calling out the name of the object of their desire off a snowy city rooftop. The raw and sparse performance was a great start to their performance. Next up was “Dotted Line,” a protest march anthem that supports the rights of people to have same sex marriages. Spender explained that in Australia, much like in the US, the government was slow to make same sex marriages legal, but that it has now become a legal right to all of its citizens. They also commented on stage that the highly energetic number which needs to be forcefully belted out was a great way for the duo to get there “cardio” in during the show. Next up was the rockabilly number “Bird In Your Tree” which could have been a hit cut at Memphis’ famed Sun Studios back in the ’50s and featured some great guitar work by Spender.
A high point of the performance was when Mama Kin introduced the hypnotic tune “Underground.” Kin explained to the audience that the song was inspired by a special fungus named mycelium that acts as a caretaker of the forest by creating a “wood wide web” that interconnects the roots of a large number and variety of plants; something that Kin feels that as humans we need to work harder at emulating. The duo also performed a personal favorite of Spender’s, a cover of the country-western classic “Long Black Veil” that was executed superbly. The duo finished their opening set playing “Air Between Us” and priming the audience for the arrival of JBT.
After a brief break it was time for the main event as The John Butler Trio started strong with “Wade In The Water.” Benson and Corbett started off the number with percussion leading the band into the new number. During the introduction of the tune, Butler explained to the audience that where they come from it is tradition, while visiting someone else’s territory, to acknowledge the traditional indigenous custodians of the land. Wherever they travel the band shows them respect and to all of the ancestors whose shoulders we stand on.
Butler then rocked the lap steel and along with the band, created a primal soundscape that set the mood for the remainder of the performance. Next up, Butler switched over to the banjo and went into the pop friendly “Better Than That” off of 2007’s Grand National. Songs like “Pick Apart,” off of 2012’s Tin Shed Tales, illustrate the cohesiveness of the band and featured first-class solos by both G-Money on drums and Luiters on bass.
Butler is intimate with the audience on stage and describes his live performances as his own type of therapy. Whether it is relating stories of his father’s personal struggles after being injured in a fire and then expressing those feelings into a newly crafted song “Coffee, Methadone, & Cigarettes” or the telling of the story of a chance meeting of a girl in western Australia during a road trip that ends up being the woman he would fall in love with and marry, while introducing JBT’s love song “Betterman“. Butler lets the audience into his world creating an intimate bond with his fans that is palpable in the theater during the performance.
Butler’s guitar work is also something to see showing a versatility in playing many different types of music like Celtic, Folk, Hard Rock and Reggae. That musical prowess was on full display as, alone on stage, Butler strapped on his 11-string acoustic guitar and played the JBT classic “Oceans.” The intensity of the performance was electric and left the audience on their feet wanting more. The first encore brought Mama Kin back on stage joining Butler. The couple sang “Losing You” as a duo, which was perhaps the cutest part of the night, with the spouses riffing off one another during the selection. The band closed the night with a shout out to their road crew and then went straight into a funkalicious version of “Zebra” that got the crowd dancing one more time before the house lights came up. The John Butler Trio will continue to tour throughout the summer with dates across North America.
Setlists
Mama Kin Spender: Cold Roof Top, Dotted Line, Bird In Your Tree, Underground, Long Black Veil, Dig Below, Air Between Us
John Butler Trio: Wade In The Water, Better Than, Tahitian Blue, Betterman, Just Call, Blame It On Me, Coffee Methadone and Cigarettes, What You Want, Pickapart, Ocean, Ragged Mike, Miss Your Love, Don’t Wanna, Livin’ In The City,
Encore: Losing You (Featuring Mama Kin), We Want More, Zebra
In the summer of 1996 an estimated 70,000 to 85,000 Phish fans drove to a former Air Force Base in Plattsburgh, NY to attend an event that would forever change the landscape of modern music festivals and add yet another dimension to Phish’s already polarizing live music experience: The Clifford Ball. Fans camped out from August 16-18 to see Phish performed three sets of music and an encore on each of the two show days, as well as a secret jam, the Flatbed Jam, at 3:30 a.m. on the night of the first show. The audience was four times the size of the county the festival took place in, Clinton County, and for that one weekend Plattsburgh became New York’s ninth largest city.
The Clifford Ball was the first festival Phish had ever thrown, and since then they have kept the tradition going with their upcoming festival, Curveball, as their eleventh installment. Going in, fans had no idea what to expect, and most were completely astonished by the experience they had that weekend. In addition to the music, attendants were treated to flights overhead by bombers, gliders, and other aerial vehicles, carnival rides, wandering jugglers, fireworks, a classical violin quartet, a blues quartet, guitar soloists, a choral quintet, a full orchestra, movies in the camping area, a full village built on a hill, a vast array of food and drink vendors, a general store, trampolinists, a aerialist swinging on ropes, and scattered art installments. The carnival vibe filled fans with glee and wonder, and those who attended still say it was one of the most stupendous experiences of their lives. For those interested in watching the festival in its entirety, Phish released a massive seven DVD box set in March 2009. Below is a look back on experiences had at the festival by friends of NYS Music and Phish.net.
Anticipation and Arrival
John Demeter, Contributor to The Phish Companion, Third Edition: “Oddly enough, we didn’t really expect some Dionysian party, beyond what we were accustomed to (see what I did there?). There were literally a million other places we could go camping that are better than a shitty closed airfield in Plattsburgh. We were expecting to hang out during the days, entertain ourselves, and then see Phish outside the construct of a regular venue. The baseline expectation was Sugarbush from the prior year, which was really nothing but rows of tents in the ski area parking lots.
We had no idea what “festival” in that sense meant at the time. We were calling it “the camp out” right up to the show. We didn’t even consider that there’d be vending, art installations, gliders, and trampoline skiers and such.”
Todd Wimer: “I was beyond stoked when I opened up my mailbox, took out the latest Doniac Schvice, and saw the Clifford Ball announcement. This was how I got Phish news back then, not months in advance via rumor gurus like Attyaloew. Coming off of the New Year’s ’95 run, with 12/1, 12/15, and 12/31/95 being the most recent shows I had seen, I was obsessed with Phish at the time, so the timing was pretty ideal. My high school crew all felt the same way and it was an understood thing that we’d make it up to the festival no matter what.
[Going in] the enthusiasm everywhere was palpable. Phish felt like this big inside joke at the time, and the festival was astounding in that we all looked around and acknowledged that a lot of people were in on the joke. And that was fine, because I love being around Phish people, so the more the merrier (barring tough-ticket shows and scalpers who have since learned to capitalize on this rabid fandom.) My first few shows in ’93 and ’94, the crowd was a lot of white-cap collegiate dudebrahs and nerdy guys with glasses who looked like they played D&D. The wook element was there at those shows, but not as present until after Jerry died the previous summer.”
Russell Howze: “[My initial] reaction was excitement. I knew it would be large, but it was an incredibly large crowd there. I did not expect the art and creativity that happened when the band was not playing, and was also amazed at how many different subcultures were there for the music/party/scene. I expected a huge police presence (the Grateful Dead’s horrible tour/riots/gate crashing were still fresh), but there were only about four mounted, pot-friendly, Texas sheriffs. The gathering of all those people, with no real authority present made for a laid back good time.”
shirt design by Tripp
Dan Hewins: ”I was in Vermont at a friend’s house about three hours from Plattsburgh. We (three of us) decided to leave on Thursday about 11 o’clock. We thought we’d beat the traffic by arriving at two and that there should be some people there since the gates opened at noon. Well the surprises began immediately upon entry. There were so many people already there, the lots were filling, and the camping areas were already fully inhabited. The place was booming when we got there so we quickly closed up the car and began moving about the masses. We took a walk to get our bearings and see what we could see. All I could think for a while was, Damn. All this for one band? We explored, danced some by the DJ bus, and explored more.”
John Lockerby: “I had been seeing Phish for two years at that point (five shows) but wasn’t the “true” fan as many others tried to be. I was there for the party. Really, it could of been a Dave Matthews Band fest and probably would of gone. I don’t remember much of the drive there except the closer we got the more we knew we were in the right place. Getting up to the gates there was a huge line to get in, of course, but not like the lines you see today.”
https://www.youtube.com/watch?v=1lOhpm-ru6c
The Festival Scene
Marco Esquandolas*: ”The Clifford Ball was also my first show. Honestly one of the biggest memories that sticks out to this day, non-musically speaking, was just the fact that I managed to find everyone I was looking for, in that pre-cell phone era. Near my campsite there was this big corkboard wall where hundreds and hundreds of people had posted things hoping other folks would see their messages and connect. I picked up a paper plate off the ground and wrote a Sharpie message on it telling my best friend where my tent was – magically he saw that note amongst all the others and found me…. nearly miraculous!”
Mark Larezzo: “I remember it as a giant chaotic mess and total 24 hour party. That and it was CROWDED. I saw the first set on the second day from so far away that the only thing I could make out on the stage was a tiny bright green dot that was Mike.”
Poster by Star City Art. An unofficial Clifford Ball print commemorating the 1996 event. The imagery is inspired by aviation and some sort of pageantry of old entertainment balls, which inspired the vision of the event. The font and stars around the propeller are inspired by the 76ers logo.
Russell Howze: “Folks weren’t really into wearing the costumes back then, but my friend made me a crazy costume to wear (fish-themed fabric, like a Scottish kilt/sash). I also brought a tuxedo and walked around like I was a butler during one of the daytime sets. The stares and drunken drink orders were priceless. The memory I still love is: While chilling under a shade structure on one of the night set breaks (I think it was during a set break), a guy walked in with a flashlight on a tripod. He set it up, turned it on, checked his focus, and then threw a brilliant hand shadow show up on the shade tent’s white-fabric roof. I just had to roll over on my back to watch it, and when he finished, dozens of folks gave him a round of thunderous applause.”
Todd Wimer: “There was a big movie screen in the campground that was showing Simpsons episodes. Drum circles. Many many grasshoppers. Mounties. I’ll tell you some fun that we didn’t have at the campground: the flatbed jam! We were fast asleep and when it passed by, twenty feet away from our tent, we slept right through it. I think there were newspapers being printed daily and circulated on site and we read about the flatbed jam or someone told us about it and we were just confused. ‘Whattaya mean? Where was the stage? Was the truck moving?’ I thought they were trolling us.”
Dan Hewins: “There was a town square replete with Barber Shop, Ball Court, Ball Diner, some kind of chapel, General Store, and a statue of Clifford Ball himself in the center. On the outskirts was an artist area where people were making, building, painting, and creating. There was another building that contained giant asphalt balls. One was about five feet in diameter and some of the others were a bit smaller, but they were all painted like a street. Outside of that building there was a guy standing in front of a huge log about three feet in diameter. He was chopping at it with a hatchet, a tiny hatchet, he was making very slow progress. There was a theme here and if you can guess what it was you win. It was Clifford Ball. Ball was the theme. Artists were sculpting and decorating balls of all types. Inside on of the buildings in the square there were plaques up on the walls with words: orb, sphere, dance, globe, testis, bullet. I got orb, globe, sphere, and dance but I wasn’t sure what testis was.
Jim Pollock was in a tent signing art that he had done. There was a special deal, if you were wearing a shirt he designed you got a dollar off a purchase. I bought a three dollar sticker for two bucks. There was a music tent too, there was a saxophone quartet, that’s all I remember. There also was a place to “confess to Phish.” It was attached to the chapel. It was a small room with a mic and a podium that you would sit behind and “confess” in front of a camera. Hmmm. The barber that I mentioned before gives haircuts too. He only cuts one hair though. I found him giving a haircut to a camera crew guy’s fuzzy microphone. I chose the hair that he should cut and then presented the cut hair to the guy holding the mic. So basically, Clifford Ball square was cool.”
The Music
Tela Esquandolas*: “Clearly there were so many musical highlights in retrospect. At the time the Phish I knew best was A Live One and the studio albums up to that point, so a good deal of nuance was lost on me at the time, but what I will never forget is the “Chalkdust Torture” opener. The opening notes sent a wave of goosebumps over my body – the roar of the crowd only increased them… I was there… I had finally arrived… this was it! Still to this day if I play that “Chalkdust” or watch the video of that opener, I get goosebumps – it was the true beginning of my obsession with their music.”
John Demeter: “Seeing Mike’s outfit when he took the stage on day two was among the funniest things in the world. The sound was phenomenal. One hundred bigger and better than anything I could imagine. (Having never experienced the wall of sound. Or heard of it at that point, for that matter. But I had been to plenty of other arena and stadium shows. No comparison.) I can still hear the end “Life On Mars”, the perfect articulation of all those notes across the massive field. I didn’t even know the song at the time, but the sound system permanently etched it in my memory.
Todd Wimer: “Musically, I remember the opener because my best friend and I were up against the rail and had to wait a long-ass time for them to go on, and the bigness of the “Chalkdust Torture” opener made it all worthwhile. The band were obviously thrilled and so were we. It was loud, and everyone was unabashedly pumped. I also remember the sort of acoustic set that they played I think the second set of that night, just because that was when we needed to bail from the rail, so we could go piss and get some water and nourishment, and that the timing for that interlude set seemed perfect as we kicked back and had some chicken fingers.
Other highlights were the 2001, the ferocious “Antelope” with… the UVM ski team on trampolines? Or the chick swinging around on the rope? And also, the “Harpua” encore on the last night. I recall the band being a little bit miffed at something during this, and ever since then my friends and I had assumed it was a miscue. I think the glider with the sparkling trails was supposed to be doing its thing after Trey’s narration but had gotten the timing wrong and released the luminescent sky writing early so the very end of the festival was kind of …curious. And my impression was that people who had an absolute blast for the whole weekend weren’t thrilled with the ending. We were only slightly confused, but definitely not unappreciative!”
Russell Howze: “”Brother” stood out. Ben and Jerry sang horribly on that one and it was hilarious. The “Tweezer” circus spectacle was fun. The flatbed truck jam was amazing, and the highlight of the weekend. I still wish I could’ve kept running along the truck longer than I did (it was a long day and they weren’t stopping).”
John Lockerby: “The “Chalkdust Torture” was the perfect way to open the festival. The energy was indescribable. You can see from Trey’s face how much fun the band was having. I don’t think they knew what they were in for. Whenever I hear the “Chalkdust” riff I think of Jeff and me running down the runway. I think I was pissed at the encore. Not that “Amazing Grace” isn’t a fun tune, it’s just not what I drove all day to see.
We missed the late night set. I guess the truck didn’t drive by us. I didn’t bring a tent, so I slept in my car. (It was a hatchback though so there was plenty of room for me.) Maybe that’s why I missed it.
[The second day was the] best concert of our lives, but once again, we were bummed out by the encore. I mean it was only half the song. Luckily, I didn’t know “Harpua” at the time, so I had no idea what was missing.”
Leaving/Final Thoughts
John Demeter: “The end of the festival was abrupt and very confusing. I fully expected that some massive cosmic energy had manifested over that spot and some great energetic event would occur. But they didn’t even finish the song, really. I am still confused.
Leaving was disgusting. An absolute embarrassment of waste trash garbage people ditching perfectly good stuff. Gross. Figured more of us knew approximately what “leave no trace” meant.”
Mark Larezzo: “I remember it being a mess in the camping area and musically amazing. I am thankful I was so young because there is no way I would survive it now. The only other festival I have been to is Magnaball and it was 100 times more civilized but not quite as exhilarating as the Clifford Ball.”
Todd Wimer: “I mean, only for a band like Phish can ‘making it big’ be something beyond selling out Madison Square Garden. Yes, that was amazing. But being a sort of indie band and building a tent city from the ground up by luring 70k people all the way up to Plattsburgh, that was awesome. And we all felt it. One of my lasting takeaways from the Ball was that I forever wondered if and when they would release the video footage of the shows. We saw the camera crew on stage for the whole weekend and kept speculating about why they were filming it. Years later (15?) when they announced the 5.1 mix and the DVD set I was almost as excited as when I first heard about the festival.
I saw three festivals during 1.0 and two so far during 3.0 (Can’t wait for Curveball!) I lump together the ’97 and ’98 festivals, I guess because they were held at the same spot; and I do the same with the two previous Watkins fests. But The Clifford Ball was its own thing, and stands out for being so huge, timed perfectly, 100% FOR the fans, and very positive. And now that I read that back, I think those positives apply to ’11 and ’15 as well, but in ’96 we didn’t know what to expect or that it would be as special as it was. “
courtesy of PhanArt
Russell Howze: “Looking back, the Clifford Ball was a fun event. Compared to the disastrous Coventry (the only other festival I’ve attended), it was a perfect slice of rock n roll heaven. Being at the first Phish festival means to me that I really don’t have to go to another Phish festival. I left CB exhausted, but it was worth the effort.”
Nala C. Egapal: “The atmosphere was so incredibly warm and welcoming. I recall such a large amount of vehicles but I feel like traffic (getting in and out) was not a problem. One of my biggest memories was watching Trey on the screen almost lost staring at the “Mr. Sausage” booth and those words coming out…”Mr. Sausage” I had never been to a festival before, but this opened my eyes to how awesome they could be. There was so much to explore, people on shakedown, the giant art pieces, people getting lost within themselves playing devil sticks, etc… The weather was hot and clear from what I remember, and nights were perfect. I did not see the set the band played on the flatbed trailer but remember hearing about it the next day. My favorite set was definitely set 1 just because of the energy level, my but favorite song was either “Makisupa Policeman” or “Chalkdust Torture.” One cannot forget Ben and Jerry singing.”
Darren Barcomb: “I had seen the Grateful Dead in 1994 and 1995 in Highgate, Vermont, and can say that the Clifford Ball definitely established Phsh as the premier festival group in the post-Grateful Dead era. The Plattsburgh airbase was a perfect spot for a 70,000+ person weekend performance but I do recall issues with heavy traffic and high demand for food/water. Overall, it was a well received show by those in attendance and is still discussed in Plattsburgh routinely 22 years later. I’m not sure if the local community loved the event, but those in attendance enjoyed a historic weekend.”
On a beautiful day in Lake George, Formula 5 held their Rock the Dock Festival provided family fun and good music for the plethora of attendees that made their way through the gates. A portion of Rock the Dock’s profits were donated to the Fund for Lake George, a non-profit organization focused on keeping the Lake clean and healthy.
Rock the Dock is a very intimate festival, taking place on the dock for the famous steamboats the Mohican and the Lac du Saint Sacrement, with the Minne Ha Ha docked there for the event as well. Attendees were able to go up on any of the three boats to watch the music, enjoy the full service bars, or look at the stunning scenery of some of the Adirondack mountains standing tall around the lake. For food options, the festival featured trucks from the Plaid Pancake and O’Pablo’s Mexican Food, a father/son snow cone tent, and a tent selling hamburgers and hot dogs.
The music kicked off with Saratoga Springs-based group Let’s Be Leonard, a 5-piece rock outfit that put forth a very unique sound while still providing the listener with the familiarity of that “jam band” tonality. Lead singer and rhythm guitarist Karl Bertrand addressed the crowd saying how different it was to have the audience on boats after performing the first few songs, seemingly enjoying the uniqueness of the festival. The group ended their set with an impressive segment of an original tune “Good” into the Grateful Dead’s classic “Estimated Prophet,” into another original “Princess on the Run” which was one of the highlights of the set.
Next up was the New England-based electrofunk group Strange Machines, a nice change of pace after the rock stylings of Let’s Be Leonard. Strange Machines play the Saratoga/Albany area often, so the crowd started to fill in as their set continued. The group’s set included many fan-favorites, such as “Klepto,” “Canopy,” “Motion Potion,” and a newer one, “Wook in a Onesie.” Strange Machines also covered a Grateful Dead song, following in Let’s Be Leonard’s footsteps, performing their take on the classic Bob Weir-penned “Feel Like a Stranger,” which had the crowd boogieing like it was 1980 all over again.
Trey Anastasio Band)’s Russ Lawton and Ray Paczkowski funk duo Soule Monde were the final band to take the stage before the headliners, Formula 5, performed, and they brought the house down with their danceable grooves and jazzy melodies. This was one of the first few gigs Paczkowski played since the removal of his brain tumor, and he didn’t waste any time getting back into the swing of things as he coaxed those familiar Milkman sounds out of his vintage keyboards. The pair performed a mixture of songs from their newest LP, Must Be Nice, and their previous EPs, and they had the whole crowd dancing by the end of the set. Before they concluded the music, the duo brought up Formula 5 guitarist Joe Davis to sit in on their tune “Bernard,” where he locked in with Ray’s keyboard melodies and got to show off some of his chops to the crowd before F5’s set.
As the sun started to set over the lake, Formula 5 took the stage for the final set of the evening. The group performed a range of their original music, from one of their newer songs, the uplifting “Blue,”to a bust-out with the electronic “Nu-Gen.” One of the highlights of the set was the debut of the classic Warren Zevon tune, “Lawyers, Guns, and Money,” often covered by Widespread Panic, which had the crowd singing along and dancing the night away as the last glimpses of sunlight disappeared behind the mountaintops. Another bust-out from the night was the blues-jazz fusion tune “Excalibur,” a song that’s been shelved for a while, which was met with ecstatic cheers from the crowd as the jam at the end of the song drew to a close. “Nu-Gen” was the jam of the night, featuring an electronic jam that isn’t typical of Formula 5’s style, lasting around 15 minutes. After a short encore break, drummer Greg Marek came out to say a quick thank you to everyone attending, and the group broke into their another new song, “Breaking Glass.”
Rock the Dock featured a lot of local, talented bands, and unique vendors that provided attendees with the ultimate small festival experience. The festival will return in 2019. More videos and audio from some of the sets will be coming in the future.
Setlists
Formula 5 Come Along, Pedro* -> Excalibur, Sad Bed* -> Lawyers, Guns, and Money^, Blue -> Nu-Gen
E: Breaking Glass
* Unfinished ^ Warren Zevon cover, debut
Soule Monde Slide B, Whassat, The Story, Take My Hand, Jody Grind, Allah Uya, Bernard*, Tango
*with Joe Davis (Formula 5, guitar)
Strange Machines Golden Rule > Remote Dream > Golden Rule, Canopy, Wook In a Onesie > Moose Soup, Motion Potion, Feel Like a Stranger*, Klepto
*Grateful Dead cover
Let’s be Leonard Sunrise, Foresight, Open Your Eyes, How Do You Fall In Love?, Good > Estimated Prophet* > Princess on the Run
In a time when music is being self-released by unsigned musicians at a breakneck pace, it can be hard to sift through the barrage of noise and hype. Finding something new and fresh with promise is akin to finding a needle in a haystack. For someone like myself who continuously samples new emerging artists, listening to Allison Leah was like getting a breath of fresh air.
Leah has been making a name for herself across the state, from her New York City home to her stomping grounds in Rochester and Geneseo. The singer/songwriter even garnered some attention in Nashville when she spent a summer there cutting her teeth in the music industry. After years of honing her songwriting skills, she’s taken six of her songs and recorded them on her debut EP Fly Home.
“A Love Song,” was the debut single from Fly Home. This pop ballad is a catchy number with its pulsing percussion, jangly guitar and layered vocals. However, the upbeat instrumentation masks the bittersweet lyrics about trying to hold onto a relationship that’s clearly long over. “Sometimes I wonder how we’ve made it this far. ‘Cause I see you with her and I don’t feel a spark. But keep pretending and keep me in the dark. That’s what we both agreed upon.”
This song gives way to others which also have artful arrangements, catchy hooks, and relatable storytelling. There’s one about healing from heartache and another about venturing out into the world. Perhaps the most unexpected track on the album is “Black and White.” Leah addresses the issue of racism, appealing to people’s sense of humanity. “I met a man the other day and he recalls fighting hate for over decades. See? He wants his kids to learn to dream and play outside unafraid of the streets.” While the melody has a 90’s retro vibe (think Jewel or Lisa Loeb), the subject matter reveals a lot about Leah’s values and convictions about social justice.
The EP ends with the title track “Fly Home.” Leah strips down the layers of instruments to just a piano and strings, baring her vocals and her soul. The straightforward melody creates a sincere backdrop perfect for the heart-rending tale about loving someone enough to let them go.
Leah’s songs capture the joys and heartaches of coming of age, touching upon timeless themes of falling in love, heartbreak, self-doubt, empowerment, and rising above adversity. She has an indelible optimistic spark that permeates even the depths of sorrow in her songs. Fly Home is a harbinger of remarkable things to come from this promising young artist with a voice as sweet as honey and a heart of gold.
Fly Homewas produced by Jon Altschiller, and engineered and mixed at Chiller Sound NYC by Jon Altschiller and Danielle Warman. It was mastered by Scott Hull at Masterdisk. The Musical Director was Doug Derryberry, who also performed some of the instruments on the record. Additional instruments were played by John Hadfield (drums/percussion), John McFaul (bass), Eddie Martinez (synthesizer), and John Carroll (piano on “Fly Home”). All music and lyrics were written by Allison Leah, who sang all vocals as well as playing guitar and piano.
Key Tracks: A Love Song, Black and White, Fly Home
For the third annual “IT Fest,” Intrepid Travelers treated their fans to a new location, a new vibe, and a new name: “Solstice.” At the gate, guests received bracelets that said “Start Your Orbit,” alluding to the astronomical significance of the summer solstice connected to the Earth’s orbit and our own personal orbit. The weekend featured 5 sets of Intrepid Travelers, each with a different flavor, yet connected together with the central theme of the solstice and the symbolism intertwined in the event: a central culminating point, a turning point, a point beyond which things will be different.
Friday featured two sets, with covers alluding to the solstice/astrological symbolism such as “Ain’t Wastin Time No More” by Allman Brothers Band and a pair of Pink Floyd tunes, “Astronomy Domine,” and “Set the Controls for the Heart of the Sun.” They also gave some nods to their Cinco En Mayo residency, with Donny playing a solo piano version of the “Jurassic Park Theme” by John Williams before launching into “Randoh’s Island.” Another choice cover was a 30+ minute bust out version of “Playing in the Band” that by the time they returned to, most audience members had forgotten was the original song being played.
Saturday featured a day set lasting about two and a half hours, as well as two lengthy sets at night. The day set continued with nods to the solstice symbolism, opening with a lengthy rendition of “Here Comes Sunshine” and also featuring “Here Comes the Sun” as well as originals that allude to the symbolism such as “Funnel” and “Stand the Heat.”
After a long break waiting for the sun to start setting, the band returned for the first of 2 sets at night Saturday. Keeping things fresh, the first set featured saxophonist/flutist Ellen Pieroni of Folkfaces for the entire set. The set featured original tunes owing themselves to horns such as “Party People,” “Trek It Out,” and “Get IT to You,” but also saw the band cover a wide array of influences, from Steely Dan’s “My Old School,” Snarky Puppy’s “Grown Folks,” Lettuce’s “Relax,” an upbeat bluegrass version The Beatles’ classic “When I’m 64,” the Derek Trucks Band arrangement of “Sahib Teri Bandi/Maki Madni” – a Middle Eastern folk song originally by legendary Pakstani vocalist Nusrat Fateh Ali Khan, and Herbie Hancock’s impressively difficult jazz funk fusion tune “Actual Proof.”
The last set showed no signs of fatigue from IT, as they treated fans with a set of some of their most lengthy and ambitious compositions as well as jam vehicles. Again nodding to the solstice symbolism of the festival and their Cinco en Mayo residency in one, the band opened with their own arrangement of a “Star Wars Medley” which follows as such: “Star Wars Main Theme > The Force Theme > The Emperor Theme > Imperial March > Imperial Jam > Imperial March > Rebel Strike > Rebel Jam > Cantina Band.” After a lengthy hip-hop fusion jam at the end of one of many new originals, “Shitpost,” IT played a heartfelt cover of “I Know You Rider.” Capping off the festival the only way they could, IT gave one final nod to the solstice theme with their ambitious composition “Final Voyage,” signifying the final voyage of the band and the audience before returning back to Earth.
One festival attendee, Leah Keller, summed it up best: “Solstice aka ‘IT Fest’ was an absolute blast last weekend. Best part of the summer so far. Thanks to the band for playing super tight, the covers were also on point and having Ellen Pieroni play with them for a whole set was a cherry on top of a perfect weekend. I highly recommend more homies to attend next year. It was a retreat away from the doldrums of real life at a beautiful new venue and full of super fam/purely amazing humans. I had a blast playing and boogieing down with everyone. Oh did I mention I paid $20 for 5 sets of music and camping in paradise? See you next year!!!”
Solstice setlists:
Solstice – The “G” Lodge – Hannibal, NY
Friday, June 22 Set 1: Woolify, Mind Wander, Ain’t Wastin Time No More(1) > On the Grass, Astronomy Domine(2), Lonely Skies, Captain Jon
Set 2: Photo Booth Youth > Set the Controls for the Heart of the Sun(2) > Photo Booth Youth, Jurassic Park Theme(3) > Randoh’s Island, Maddy & Anna, Playing in the Band(4), On Inside
(1) Allman Brothers Band
(2) Pink Floyd
(3) John Williams
(4) Grateful Dead
Saturday, June 23 Set 1: Here Comes Sunshine(1), Dark Disease, Funnel, Here Comes the Sun(2), Authority > Stand the Heat
Set 2: Party People, My Old School(3) > Grown Folks(4), Relax(5), When I’m 64(2), Sahib Teri Bandi/Maki Madni(6), Actual Proof(7), Trek It Out, Get It to You (entire set with Ellen Pieroni on alto sax/flute)
Set 3: Star Wars Medley, All About It > Boomerang, Shitpost > I Know You Rider(1), Final Voyage
(1) Grateful Dead
(2) The Beatles
(3) Steely Dan
(4) Snarky Puppy
(5) Lettuce
(6) Devon Case on Guitar,
Nusrat Fateh Ali Khan (Derek Trucks Band arrangement)
(7) Herbie Hancock
Tedeschi Trucks Tuesday is the new unofficial title of the Wheels of Soul Tour, as every NY performance has fallen on this humble day of the week. July 10 ushered Tedeschi Trucks Band along with support from Drive-By Truckers and The Marcus King Band to the foothills of Canandaigua wine country. At CMAC guests can purchase full bottles of wine which the attendant will unceremoniously dump into the biggest plastic to-go cup imaginable. It’s nearly impossible to resist a $16 bottle of blackberry “merlot” until you realize it’s only 6% alcohol and tastes like sugar water with a fruity afterthought.
Never again.
This regrettable beverage purchase was the only minor downfall of the night. Having never attended CMAC or a TTB show before, eager anticipation permeated the atmosphere. TTB’s wide appeal drew a charming audience of young and old faces. The bands mirrored this age spectrum, as Marcus King himself is newer to the scene at only 22. Yet his band was a fitting choice to open the night, as they eased fans in with their blues rock style garnished with King’s distinctive howling vocals for a heavier sound. He invited Derek Trucks to the stage for a tune which would be reciprocated later when TTB performed.
Drive-By Truckers offered more pop rock inclinations with a lighter demeanor. Nothing about their set particularly stood out, but it flowed nicely overall. Once TTB took the stage, the crowd erupted in cheers, electrifying the air with excitement. Their music is what love sounds like. It’s nearly impossible to describe without being cheesy. It massages the ears and makes the heart flutter. Susan Tedeschi’s voice and Derek Truck’s guitar playing are the perfect marriage. Susan took a moment to address the crowd exclaiming, “It’s been really special. We actually paddle boarded on your lake yesterday.” Imagine splashing around in Canandaigua Lake and seeing Susan Tedeschi the queen herself paddling past. Play it cool though.
The only noticeable hiccup in their set came from the sax player when he went a little too avant garde during his complicated solo, making it too hectic to enjoy. But towards the end of the set the entire horn section rallied with the rest of the band conjuring an intensely energetic dance experience that temporarily transported the crowd to the jazzy streets of New Orleans.
Tedeschi Trucks Band hemorrhages emotion through delicate instrumentation, momentum building solos and gripping lyrics. The unwavering strength in Susan Tedeschi’s voice could stand alone as something to see live, but the supergroup she is a part of does justice to every band member to create a musical experience that leaves the crowd in awe.
Stay tuned for a review from their July 17 performance at Artpark in Lewiston!
Setlist: Keep on Growing, Laugh about it, Just as Strange, Don’t Know What it Means, Shame, Midnight in Harlem, Down in the Flood, Show Me, Let Me Get By, Going Going Gone, Rockin’ in the Free World
One of rock and roll’s steadiest drummers from Springsteen’s E Street Band and former Late Night and Tonight Show bandleader brought a unique show to the Paramount in Peekskill on June 8, with the tour being billed as Max Weinberg’s Jukebox. No quarters or record-flipping were required for this all-request live show.
With Bruce Springsteen currently active on Broadway with his residency at the Walter Kerr Theatre through December 2018, Max Weinberg made well with the down-time from the E Street Band’s touring schedule to put on a tour where the audience picks the setlist each night from a roster of 200+ songs from rock and roll history.
Given that, it might appear to be just another mediocre cover band show but after just a couple of songs that illusion was broken. The familiarity of the tunes in the setlist was a quick grab for the crowd while Weinberg’s character and reputation as an excellent drummer (and the talent of the rest of his band) brought the audience in close to the music. For those familiar with Weinberg’s time as Conan O’Brien’s late night TV musical sidekick, plenty of his on-camera humor had shown through during some dialogue between songs while being quite down to earth.
The live-request show format was definitely unique for a concert, especially for someone who’s been a major name in the business during a lengthy career. The Beatles and Bruce Springsteen seemed to be favorites of the crowd that night with a few songs from each making their way on stage from requests. In proper fashion, Weinberg closed the show with two Springsteen tunes, “Promised Land” and “Glory Days,” inviting anyone from the audience on stage for the final song to sing along.
Setlist: She Loves You, Fortunate Son, American Girl, I Wanna Be Sedated, The Weight, Honky Tonk Nights, (And Your Bird Can Sing, White Room, Friday On My Mind, Pink Cadillac, I’m A Believer, Highway To Hell, All Right Now, Rebel Rebel, While My Guitar Gently Weeps, Little Elvis, I Walk The Line, I Can See For Miles, Wipeout, A Summer Song, Pretty Woman
To save you the time and trouble, the word “barrage” is officially defined as “a concentrated artillery bombardment over a wide area.” However, the band’s motto defines this quartet perfectly.
Barrage is a Long Island, four-member classic rock band that covers the ’60s to the ’90s. The group has been together since 2009 and consists of: Mark Nygren (Bass, backing vocals) Matt Bruno (lead vocals, guitar), Dr. Paul Scarola (drums), and Barry Weiss (lead guitar, backing vocals).
Earlier this year, with brand new lead singer Matt Bruno, Barrage played a fundraiser for the Good Samaritan Hospital Pediatric Department. Bear in mind, Matt had only been with the band for four weeks when the event took place.
Hosted by DJ Orlando from Long Island radio station 94.3 FM The Shark, it was set up as a battle of the bands contest. The venue where this took place was 89 North in Patchogue. In order to qualify for the contest, each band had to have at least one medical doctor in the group. Moments after the final performance of the event, Orlando declared Barrage the winner!
I asked lead guitarist Barry Weiss what it’s like to play in a battle of the bands contest. He said, “This battle of the bands, I thought, was just slightly nerve-racking. We were all well rehearsed. The rehearsals focused on just the set for this gig for over a month. We already knew the songs, so it was just a matter of getting Matt, our new lead singer, up to speed. Which he did amazingly. He memorized the lyrics so he did not need to look at any onstage. I was checking out the other bands’ Facebook pages to see what they were like prior to the event. Most of them, I saw that they played softer music like ’60s or Country. Being on last, we got to see what they were about. We were also the youngest of the bands and we knew that we would blow them away since we were doing good classic rock. Everyone that night were talented and professional and it all went very smoothly. It really was a great time and the crowd loved it. Hard to believe people got so into it on a Sunday afternoon.”
Barry also mentioned that the buzz continuing throughout the hospital and community has sparked demand for additional performances. Furthermore, the success of this event has enabled Barrage to secure the opening slot for a major Long Island tribute act.
To see Barrage live, their next gig is Friday July 20th at 89 North in Patchogue. They go on at 8 pm and will be doing one 90-minute set. Doors open at 7 for advanced ticket holders. To learn more about this great band, and see their videos too, visit their Facebook page.
Blistering heat didn’t stop masses of Brad Paisley fans from coming out to his Weekend Warrior World Tour stop at the St. Joseph’s Health Amphitheater in Syracuse, NY.
Flocks of ‘Weekend Warriors’ came to the venue early to tailgate by setting up tents, chairs and grills in true parking lot party form.
Tour mates Dan Tyminski and Kane Brown performed for the crowd as the party moved from the parking lot into the venue for the show. Brown’s good looks and southern drawl left every female, young and old, screaming for more.
When Paisley hit the stage, he kept the party atmosphere going by having two bars set up on stage behind him with a handful of lucky fans enjoying drinks while he performed.
Known for his support for the military and generosity, he brought out members of the military to salute them and every troop for their service. Shortly after that, he signed a guitar and gave it to a young girl in the audience saying, “This is how you make a Taylor Swift,” and instructed the young girl to learn how to play.
Paisley performed for nearly 90 minutes and his old school guitar pickin’ country was truly refreshing to see. Carrie Underwood even made a surprise “appearance” via video chat with him as she sang their duet hit “Remind Me.”
Brad Paisley‘s Weekend Warrior World Tour will continue to roll through the United States through September and will re-visit New York in Wantagh at the Northwell Health at Jones Beach Theater on August 10.
Thursday, June 28 was the perfect evening for the blues underneath the Albany Corning Preserve Boat Launch. The passing of a thunderstorm didn’t stop blues fans from across the Capital Region and beyond, from as far as Chicago, Illinois, from coming to Albany to attend the 4th concert of the 2018 Alive at 5 Concert Series, featuring Tito Jackson of The Jackson 5 and former members of the B.B. King Blues Band, with special guests, The Age.
Infusing their own blend of funk and soul into their original tunes, The Age set the bar high as they brought out their funk and their soothing souls into Downtown Albany. Their short set was led on by The Age’s sister, who was providing the lead vocals throughout the evening. The Age, who happened to have a cold, wasn’t able to provide the vocals to his tunes. He was only able to provide some minimal backing vocals with his sister. Despite his lack of vocals, The Age was able to entice the audience with some sizzling guitar work on his lead solos on stage. Still, their set was just as fun and entertaining and set the mood for a great evening of blues.
The blues remained alive and strong in Greater Albany as blues night continued inside Corning Preserve. The audience, even patrons holding up The Jackson 5 signage along the front barrier of the main stage, was anticipating the wait of the B.B. King Blues Band and their featured guitarist and vocalist, Tito Jackson. Many music fans may remember Tito Jackson from another famous musical family, the Jackson 5. Paying homage to blues great, B.B. King and the Jackson 5, this band was electrifying and certainly brought on the heat to continue to ignite a spark in the love of blues through their music and through the energy of their fans, and new fans alike.
The B.B. King Blues Band, featuring band members Tito Jackson (lead guitar/vocals), Walter King (saxophone, B.B. King’s nephew), Darrell Lavigne (piano), Raymond Harris (trombone), James Bolden (vocals, with over 35 years as an original member of B.B. King’s Band), Russell Jackson (bass/upright bass/vocals), Herman Jackson (drums), Eric Demmer (saxophone), Lamar Boulet (trumpet), and Wilbert Crosby (lead guitar/vocals), were impressive and amazing to watch, paying homage to the late B.B. King as well as the Jackson 5 through a medley of tunes.
Ranging from B.B. King’s “Every Day I Have the Blues,” “Guess Who” and “The Thrill Is Gone” to standard blues songs such as “Big Boss Man,” “Rock Me Baby,” “A Dog Is Still a Dog” (Tito dedicated the tune to his late father Joe Jackson and brother Michael), and even the classic Jackson 5 hit tunes “I Want You Back,” “The Love You Save” and “A.B.C.” among others, the entire ensemble was on fire! The chemistry and the back to back interplay amongst the performers like Herman Jackson (drums) and Lavigne and Eric Demmer, to the guitar interplay by Wilbert Crosby, Russell Jackson (who was tip toeing towards the front of the stage playing the bass guitar as if it was a standard guitar, moving fast along the fret board), and Tito Jackson was captivating to watch! The emotion was certainly felt between the performers through their effortless performances within their song choices.
“I love the blues!,” shouted out bassist Russell Jackson after playing one of the songs during the start of their set! The crowd was certainly giving the band and Tito Jackson some love to their blues playing all evening, waving their arms in the air and swinging album art of the Jackson 5 towards the group for them to sign at a later time.
Upon entering the stage to perform a series of guitar solos during the middle of the B.B. King tune “Every Day I Have The Blues,” Tito Jackson took the time to thank the fans for their kind words and thoughts concerning the recent passing of his father and founder of the Jackson 5, Joe Jackson, who had passed away just two days shy of the 9 year anniversary of his son Michael’s death (June 25). Jackson had contemplated on whether or not he was going to cancel his Albany performance but had decided that the show must go on and performed in honor of both his father and brother. Jackson would also later dedicate “I Want You Back,” “The Love You Save” and “A.B.C.” to his loved ones and his fans. Concluding the evening with B.B. King’s “The Thrill Is Gone,” Tito Jackson stood upon the large speakers and moved along the row to shake hands with his fans and sign autographs on their signage and other memorabilia while the band concluded the song to signal the end of an evening. Although the fans shouted out for an encore song from Jackson, there was no encore performance.
To be a part of watching two established performers such as the B.B. King Blues Band and Tito Jackson on the Alive at 5 Concert Stage was truly an honor and a privilege to be a part of this special evening underneath the Albany Corning Preserve Boat Launch. Great blues from these living and non-living legends continues to remain strong as shown through the eyes of these great performers that continue to keep their band members and family members’ legacies alive through the power of blues.
Butler was born in Los Angeles, California and moved to Australia with his family when he was 16. He started his musical career as a “Busking” street musician and, with hard work and determination, has created 10 albums to date and started his own record label called Jarrah Records. The current lineup of JBT has been expanded to a quintet whose members include John Butler (guitar, banjo, lap steel,vocals), Byron Luiters (bass, vocals), Grant (G-Money) Gerathy (drums, vocals), Lozz Benson (percussion, vocals), and Ben Corbett (keyboard, vocals). The John Butler Trio has won multiple music industry awards in Australia since its creation back in 1998 and they have been successful in leveraging that success into serving the community by supporting a variety of non-profit causes that are close to the band.
The night started out with Mama Kin Spender taking the stage and performing “Cold Roof Top” off of their 2017 release Golden Magnetic. Tommy Spender played acoustic guitar while Mama Kin played drums as they performed the selection. The song is a love cry from a forlorn lover who is calling out the name of the object of their desire off a snowy city rooftop. The raw and sparse performance was a great start to their performance. Next up was “Dotted Line,” a protest march anthem that supports the rights of people to have same sex marriages. Spender explained that in Australia, much like in the US, the government was slow to make same sex marriages legal, but that it has now become a legal right to all of its citizens. They also commented on stage that the highly energetic number which needs to be forcefully belted out was a great way for the duo to get there “cardio” in during the show. Next up was the rockabilly number “Bird In Your Tree” which could have been a hit cut at Memphis’ famed Sun Studios back in the ’50s and featured some great guitar work by Spender.
Butler then rocked the lap steel and along with the band, created a primal soundscape that set the mood for the remainder of the performance. Next up, Butler switched over to the banjo and went into the pop friendly “Better Than That” off of 2007’s Grand National. Songs like “Pick Apart,” off of 2012’s Tin Shed Tales, illustrate the cohesiveness of the band and featured first-class solos by both G-Money on drums and Luiters on bass.
Butler is intimate with the audience on stage and describes his live performances as his own type of therapy. Whether it is relating stories of his father’s personal struggles after being injured in a fire and then expressing those feelings into a newly crafted song “Coffee, Methadone, & Cigarettes” or the telling of the story of a chance meeting of a girl in western Australia during a road trip that ends up being the woman he would fall in love with and marry, while introducing JBT’s love song “Betterman“. Butler lets the audience into his world creating an intimate bond with his fans that is palpable in the theater during the performance.
Butler’s guitar work is also something to see showing a versatility in playing many different types of music like Celtic, Folk, Hard Rock and Reggae. That musical prowess was on full display as, alone on stage, Butler strapped on his 11-string acoustic guitar and played the JBT classic “Oceans.” The intensity of the performance was electric and left the audience on their feet wanting more.
The first encore brought Mama Kin back on stage joining Butler. The couple sang “Losing You” as a duo, which was perhaps the cutest part of the night, with the spouses riffing off one another during the selection. The band closed the night with a shout out to their road crew and then went straight into a funkalicious version of “Zebra” that got the crowd dancing one more time before the house lights came up. The John Butler Trio will continue to tour throughout the summer with dates across North America.
In a time when music is being self-released by unsigned musicians at a breakneck pace, it can be hard to sift through the barrage of noise and hype. Finding something new and fresh with promise is akin to finding a needle in a haystack. For someone like myself who continuously samples new emerging artists, listening to 
