NYS Music 20​18

Category: Reviews

  • The Record Company Carries the Rock and Roll Torch Into the Westcott

    “I don’t make enough to hire someone to tune my guitar, so bear with me,” said the Record Company’s guitarist/vocalis Chris Vos as he tuned his acoustic guitar between songs. It’s only a matter of time before Vos will be able to afford his own guitar tech. If Saturday night’s show at Syracuse’s venerable Westcott Theater is any indication, this band won’t be lugging around their own gear much longer.

    The Record Company, a Los Angeles-based blues rock trio, returned to Syracuse’s Westcott Theater almost exactly one year since their last visit, playing to a larger, more enthusiastic crowd and paying that multi-generational crowd back in spades with a spectacular performance.

    The band kicked off the show with Elmira native Marc Cazorla’s swinging drumbeat on the latest single from the upcoming album, All of This Life, “I’m Getting Better (And I’m Feeling It Right Now).” Vos’ harmonica quickly turned this swing number into a bluesy stomp, his voice eerily reminiscent of an exuberant Mark Sandman, the late Morphine front man. The late arriving crowd was into the groove immediately and Vos fed off this vibe the entire night. It would be accurate to call this band a power trio; the power coming from the stage was electric all night.

    Their music is derived from the blues and one can hear similarities to other minimalist blues-based outfits from the 2000s like The Black Keys and White Stripes. The difference is The Record Company also pivots between a soulful, gospel style and, with its latest offerings, some pop sensibilities and bass. Alex Stiff is a monster on the bass. The influences on this band range from Al Green to Led Zeppelin to The Grateful Dead to John Lee Hooker to the Beastie Boys and everything in between.

    Their second number, “Baby I’m Broken,” had Vos break into Chuck Berry’s patented duck walk across the stage as he threw down a blistering solo. Bassist Alex Stiff featured prominently throughout the night, but especially in “On the Move,” from the band’s Grammy-nominated debut album Give it Back to You. His bass lines served as both a lead and keeper of the groove simultaneously.

    The woeful hit “Rita Mae Young” showcased Vos’ lap steel prowess and soulful vocals, something he takes great pride in and with good reason – he shreds. He was assisted on the chorus by those in attendance, inducing a chuckle and an admission that he had forgotten to sing because he was distracted by the audience’s vocals.

    Over the course of the near-90 minute performance, the band’s appreciation for their audience increased exponentially. The feeling was obviously mutual. Prior to busting into the new song “Life to Fix,” Vos commented, “There’s been rumors going around that rock and roll is dead. I say, ‘Fuck that!’ Come see a rock and roll show before you say that.” This was met with uproarious applause and the opening riffs to the new single.

    Usually, when a band breaks out a new song during a show, especially one on an album that has yet to be released, you can count on a number of people to take that opportunity to refresh their beer or visit the rest room. Not so on this night, and it did not go unnoticed by Vos. This show opened with a new song and had several others sprinkled throughout. Vos thanked the crowd following “You and Me Now,” saying, “Thanks for listening to the new stuff. We don’t practice it because it might take some of the edge off.”

    The main set finished with the appropriately titled “The Burner,” which did exactly that. Vos threw his acoustic guitar across his lap and ripped into the slide intro and that Vos falsetto. The lap steel is his go-to and he made his guitar absolutely wail during this version of “The Burner.” The crowd clapped along to the call and response from the lead man while Stiff kept the beat. Vos dropped a Stones’ reference before manically kicking up dust onstage to finish off the sweaty set.

    Vos came out solo for the first of two encore songs, performing a heartfelt acoustic song titled “I’m Changing.” His bandmates were visible backstage singing along with his introspective lyrics: “I got devils in my eyes, tapping in my night…” Much of The Record Company’s songs have soul-searching lyrics. This one foots the bill perfectly. But while they tend to reach into their hearts and souls in their original compositions, they aren’t above just having a helluva party. Exhibit A: The final song of the night, a bluesy take on the Beastie Boys’ “Sabotage.” Last year’s Westcott performance featured another Beasties’ cover “So Whatcha Want.” The Record Company ended the night on a satisfying note with the crowd pogoing and shouting along with Stiff’s distorted bass lines and beat box drumming from Cazorla on this mid-90s Beasties punk classic.

    Opening act, Tthe Suitcase Junket, otherwise known as Matt Lorenz, is a one-man band, employing a unique style of guitar where he employs a dumpster-found, amplified, acoustic guitar with flailing strings, along with an array of original percussion instruments and a unique throat vocal that somehow sounds like a tin whistle.

    The lack of accompanying musicians is virtually unnoticed with Lorenz’s act. He sounds like a full band, incorporating such unorthodox instruments as a gas can baby shoe foot drum, a circular saw blade bell and a box of bones and silverware that serves as a high hat. He’ll, at times, sing into his guitar’s pickups, creating a distorted vocal effect, followed immediately by his throat vocal, all while throwing down some heavy power chords.

    This one-man band is also a one-man Vaudeville show. In between songs, he took jabs at himself and his instrumentation, introducing his “band,” discussing what each “member” of his “band” contributed to the sound of the Suitcase Junket. His self-deprecation banter between songs endeared him to the audience right away, a rarity for an opening act. Record Company lead man Chris Vos, while thanking the Junket for performing, mentioned that Lorenz is the artist who has opened for The Record Company the most times. The Suitcase Junket was the perfect opener for the Record Company – an artist true to the art form and original.

    Syracuse has always been championed as a blues town. The support shown to The Record Company on this night is a testament to this. At one point in the show, Vos asked the crowd who had never seen them perform before and who had seen them perform. The number of people who had seen them far outnumbered those who hadn’t, at least according to this unscientific survey. Syracuse IS a blues town. And now, Syracuse is also a Record Company town.

    The Record Company Setlist:

    I’m Getting Better (And I’m Feeling it Right Now), Baby I’m Broken, Everybody’s Gonna Make a Movie, Rita Mae Young, Feels So Good, Turn Me Loose, On the Move, Life to Fix, This Crooked City, Off the Ground, You and Me Now, The Burner. E: I’m Changing (Vos solo), Sabotage (Beastie Boys cover)

  • Hearing Aide: Jules Taylor ‘Mountain Time’

    “I’m not trying to find a new sound,” Jules Taylor says, “I’m just trying to find myself.”

    It took Taylor two years of introspective soul searching and relentless experimentation with sound to achieve this ambitious goal, but what’s two years in mountain time? Life in the mountains moves at its own pace, measured by seasons of the year and counted in generations. It also offers a vantage point for gaining perspective. Mountain Time transcends space and time to map the terrain of Taylor’s meandering journey from his roots in the Southwest all the way up to the Catskills.

    jules taylorMountain Time starts with “Pining,” a song steeped in the rhythms and imagery of nature. “As long as the willow’s been weeping, as long as the sky’s been blue,” Taylor drawls, “As long as the sun’s been rising, you know I’ve been pining for you.” His vocals are as weathered as an old highway sign and as inviting as your favorite mom and pop diner. Taylor’s genre, like his accent, is hard to pin down because it’s as unique as a thumbprint. The best way I can come up with to describe it is eclectic Americana, with some songs leaning towards southern rock and others towards alt-country.

    Jules Taylor spent two years thoughtfully arranging the music on this album. His search for authentic expression led to the use of roots instruments including lap steel, dobro and mandolin, in addition to piano and guitar. The music sets a backdrop for adept storytelling. “Long Way to Abilene” takes one meandering through the back roads of the Southwest. Taylor contemplates his life in “Cradle to Grave,” and searches for faith in “True Religion.”  The album ends with the bittersweet ballad “Carolina King.” Overall, the collection is the musical equivalent of the Great American Novel: a work that captures what it means to be human – the shortcomings and the triumphs, the heartaches and the joys.

    Taylor has dedicated this, his third album, to his mother Lamar Ortiz. It was released on May 14, her birthday, and also the day following Mother’s Day this year. More information about Taylor and his work can be found on his website.

    Mountain Time was produced, recorded, engineered, and mixed by Taylor alongside Tod Levine at Magnetic North Studios in Saugerties, NY. Session musicians included Dan Cartwright and Matt Bover on drums, and Colin Almquist and Alison Damrath on bass.

    Key Tracks: Pining, Long Way To Abilene, Mountain Time

  • Rochester Music Hall of Fame: a Night To Remember

    The Board of Directors of the Rochester Music Hall of Fame pulled out all the stops this year. The seventh annual award ceremony was held on Sunday, April 22 at Rochester’s historic Kodak Hall at Eastman Theatre. The sold-out event celebrated the contributions of musicians with local ties, including Rochester native and legendary drummer Steve Gadd, Eastman School of Music graduate and iconic bassist Tony Levin, world-renown percussionist and Eastman School Professor Emeritus John Beck, and masters of sacred steel The Campbell Brothers. Congratulatory messages were sent by Peter Gabriel, who has worked with both Gadd and Levin. Special guest performers included pedal steel guitarist extraordinaire Robert Randolph, preteen powerhouse Angelica Hale from America’s Got Talent, and a surprise appearance by Paul Simon.

    Photos by Battista Photography

    Paul Simon

    At the ceremony’s commencement, a moment of silence was taken to honor the late Senator Louise Slaughter, a supporter of the arts. Board of Directors President Karl LaPorta announced that he and his wife would be stepping down from the board to spend some time traveling, although they will stay involved with the Hall of Fame. Vice President Jack Whittier will take the lead position on the Board moving forward. Whittier shared plans to branch into more community outreach and partnerships which foster the love of music. They’ve also acquired a location for the Hall of Fame at the corner of East Main and Gibbs Streets.

    The ceremony opened with a few quick tribute songs from local singers, backed by the Hall of Fame’s house band, Prime Time Funk: “Kodachrome” sung by Alyssa Coco and Ronnie Leigh, a soulful rendition of “Wildflower” sung by Bree Draper, and “Sledgehammer” featuring the powerful vocals of Danielle Ponder.

    The first inductee of the night was John Beck, a Pennsylvania native who started playing drums at a very young age, traveling by bus into Pittsburgh as a teenager to take lessons and later moving to Rochester to study at the Eastman School of Music. After ten years drumming in the military, Beck returned to Rochester to teach and to play in the Rochester Philharmonic Orchestra. He has played with orchestras around the world, and holds many accolades. He has also taught hundreds of students, including Steve Gadd.

    The first piece he played was something he wrote for Gadd’s senior performance, played on the timpani. He then played a couple on a drum kit and some hand drums. Between songs, he went to the podium to talk about the music, and asked for a moment to get to the drums. But once behind the percussive instruments, he began moving with a deft agility and grace. For his grand finale, he chose a big band song, backed by Prime Time Funk.

    Ferdinand Jay Smith

    The next inductee was Ferdinand Jay Smith III, who has created some of the most memorable and longest lasting music in entertainment, including theme songs for television programs, Olympic Games, and advertising. A reel of some of his work was played, highlighting the local, regional, and national clients for whom Smith has produced work. Some of the best selections were saved for live performance by the house band, with guest singers. America’s Got Talent finalist Angelina Hale took to the stage to perform the theme song for Bausch & Lomb. The Empire State Games theme song was sung by a group which included two of Smith’s children and one of his grandchildren.

    Ferdinand Jay Smith with Angelina Hale

    After a brief intermission, Gadd and Levin were introduced by their friend Peter Gabriel, via video recording. The British rocker talked about knowing Levin “since the dinosaurs roamed the earth” and shared the joke about how many drummers it takes to change a light bulb. “One to do it, and twelve to talk about how Steve Gadd would have done it.”

    Steve Gadd

    Gadd and Levin met as students at the Eastman School of Music, where they studied together during the day and gigged around town by night, learning the ropes from local legends like Chuck and Gap Mangione. After serving in Vietnam, Gadd settled in New York City with Levin, and Levin introduced him around. They formed a jazz band called L’Image with friends Mike Mainieri, David Spinozza and Warren Bernhardt. Since that time, they have also toured and recorded with some of the biggest names in the music industry, as well as their own individual bands.

    L’Image

    The members of L’Image united on stage tonight to play a few of their songs, which prominently featured the xylophone and the Chapman stick. Levin is adept at playing the stick, sometimes plucking and sometimes with a bow.

    Tony Levin

    Just when we thought they would wrap up their set, Paul Simon walked across the stage. Simon shared a couple of stories about working with Gadd and Levin, then launched into performances of “50 Ways to Leave Your Lover,” which features Gadd’s prominent drum line, and “Late In The Evening,” for which Levin wrote the driving bassline. Simon’s surprise appearance was one of the city’s best kept secrets (EVERYBODY knew when Bill Murray was in town a few weeks ago, but Simon’s arrival was kept tightly under wraps until the show). This comes on the wake of the news that Simon will retire from touring after this year. The ‘Homeward Bound’ farewell tour starts in mid-may and wraps up in the fall with a three-night run in New York City.

    Paul Simon with Steve Gadd

    Paul Simon is a hard act to follow, but the Campbell Brothers held their own. The Sacred Steel gospel group started at their local churches and have grown to fill some of the most venerable music halls, but the members maintain their sense of humility and gratitude despite their growing recognition.

    Campbell Brothers with Robert Randolph

    From the first notes of the steel pedal guitar, there was a sense that something phenomenal was in store. The other instruments joined it, the sound swelling to fill every nook and cranny of the auditorium. What ensued was a hand-clapping, foot-stomping celebration of joy. Gospel singer Denise Brown came out to sing “I’ve Got A Feeling.” And Charles Campbell got everyone doing a call and response on the next number, “Hell No! Heaven Yes!” Robert Randolph danced his way across the stage to join in on pedal steel.

    Campbell Brothers with Robert Randolph

    Randolph led the vocals on the last performance of the night, “Purple Haze,” a song Jimi Hendrix played when he performed in Rochester in 1968. Gadd settled himself behind his drum kit, Levin grabbed his bass and the house band took up their instruments, Beck took up a hand drum and Smith procured a tambourine. The all-star jam was a glorious sight to behold. Randolph jumped up on his chair while playing the steel pedal guitar. Charles Campbell was strutting the stage, pulling out some Chuck Berry style moves. The joyful outpouring of sights and sounds capped off what was truly a memorable night.

    Mark your calendar now: next year’s Rochester Music Hall of Fame ceremony takes place on April 28th. You won’t want to miss out on all the excitement in store!

  • The Rochester Residency Rambles on with Kurt Johnson in May

    Are you hip to the Rochester Residency yet? If not, you should be. And May would be as good a time as any to start. Each month, a different local musician owns the stage at Three Heads Brewing every Thursday. Artists are free to use the nights however they wish. May belongs to Kurt Johnson, guitarist from the bands Maybird and Moho Collective among others.

    He got his residency month off to a fun and rollicking start this past Thursday by hosting a Midnight Ramble, at the more sane hour of 8pm, but in the spirit of the southern jam sessions of yore. The evening included a large portion of the other Rochester Residency hosts from previous months and from the months yet to come. January’s Fran Broderick lead the band on Warren Zevon’s “Lawyers Guns and Money,” February’s Charlie Lindner joined in on keys for about half the set, July’s Eli Flynn brought the house down with a show-closing rendition of Sam Cooke’s “A Change is Gonna Come,” August’s James Searl lead a searing rendition of David Bowie’s “Man Who Sold the World,” September’s Matt Ramerman snuck in drum duties for the encore of “I Shall Be Released,” November’s Wil McKenna held down the low end for most of the night, and December’s Brian McDonald lit up the room with a fun playing of Jackson Browne’s “Doctor My Eyes.” The night played out like a great review of the first four months and an even better preview of the next 8.

    In addition to fellow residents, Johnson had many more friends join in on the fun. Moho Collective’s Ryan Barclay manned the drums for the whole night. Eric Carlin, from the Flood, joined on guitar and vocals for much of the night. Kris Schramm, Willy O’Reilly, Ben Rossi, Alan Murphy and Brian Blatt all got in on the action as well. But it was still Johnson’s night. And so it will be Johnson’s month. And because he chose May for it’s 5 Thursdays, and because he had to unexpectedly miss the first Thursday, he’s extending his Residency into the first week of June. So you still have four more chances to get in on the fun. See the schedule below and marker them into your calendar, you don’t want to miss one week.

    Kurt Johnson’s Rochester Residency at Three Heads Brewing
    May 17th: The Wallboards
    May 24th: The Moho Collective
    May 31st: Covering The Allman Brothers’ Eat a Peach
    June 8th: Covering The Grateful Dead’s debut album, The Grateful Dead

    Setlist: Jam > Get Out of My Life Woman (Lee Dorsey), Lawyers Guns & Money (Warren Zevon), Heart of Gold (Neil Young), ?, Man Who Sold the World (David Bowie), Jam >  Doctor My Eyes (Jackson Browne), Ophelia (The Band), What Light (Wilco), Franklin’s Tower (Grateful Dead), A Change is Gonna Come (Sam Cooke)
    Encore: I Shall Be Released (The Band)

  • Intrepid Travelers bring out the oldies on ‘Over 65 Night’ of Cinco en Mayo Residency

    For week 2 of Intrepid Travelers Cinco en Mayo residency at Nietzsche’s, the theme was oldies, for “Over 65 Night” found the band members dressed as old men – except for Donny who was dressed as an old woman, and played songs congruent with the theme. The show opened with the debut of a new original song, “Mind Wanderer,” introduced as being written by Sam. The lyrics were changed to “I lost my grandma” rather than “I lost my mind” to reference the theme for the night.

    “When I’m 64” welcomed Marc Kabigting and Ellen Pieroni on clarinets, and the band did a double-time, bluegrass version of the song. “My Old School” and “Grown Folks” welcomed Pieroni back to the stage, this time on alto saxophone. The show Intrepid Travelers ‘Oldies’ show concluded with an extended version of “Once in a Lifetime.”

    https://www.facebook.com/intrepidtravelersfamily/videos/1937168176316047/

    Setlist: Mind Wanderer(1), Funnel ~> Over 65 Jam > Funnel, Old Man(2), When I’m 64(3)%, Lonely Skies, Touch of Grey(4), My Old School(5)$ > Grown Folks(6)$

    Encore: Once In a Lifetime(7)

    % with Marc Kabigting and Ellen Pieroni on clarinets
    $ with Ellen Pieroni on alto saxophone
    (1) Original debut, lyrics changed to “Grandma Wanderer”
    (2) Neil Young
    (3) The Beatles, played double time bluegrass style
    (4) Grateful Dead
    (5) Steely Dan
    (6) Snarky Puppy
    (7) Talking Heads

    The third week of IT’s Cinco en Mayo residency will feature Cosmic Brownie and celebrate Band Geeks and Spongebob Squarepants!

    Intrepid Travelers Oldies

  • Hearing Aide: News From Planet Kniffen ‘Dreamland’

    Darryl Kniffen’s brainchild News From Planet Kniffen released their debut album Dreamland on April 27, and the Vermont-based sextet has shown that they have the chops to produce some truly innovative fusion jazz/funk music. An eclectic musician from Clifton Park, New York, Kniffen has performed with a number of bands and musicians, and dominated the stage solo. He is responsible for all the arrangements found in NFPK’s triumphant debut album.

    The 9-track album begins with the promising “Blackness,” a worthy introduction track with soaring horn and trumpet lines, setting the tone for the high-energy voyage the listener is about to embark on. “Peace Journey” features a memorable piano line and some layered drumming, as well as some ultra-smooth sax and trumpet, culminating in a peaceful and ambient tune. The third track is the only cover on the album, a fresh take on AC/DC’s “Back In Black,” which manages to be both inventive and new, while remaining faithful to the hard rock classic.

    The aptly-named “Midnight Drive” builds the groove up slowly, and lets each member of the group take turns showcasing their ability and cultivating an entrancing atmosphere. See them perform it live here. After the sultry mellow groove of “Midnight Drive,” the band lets loose with the titular track, “Dreamland.” This is arguably the most danceable number on the album, with a salsa influence shining through their already-recognizable style. This intoxicating Latin-inspired track is sure to animate a crowd.

    “Song of Everest” follows on “Dreamland’s” heels with a heavy-metal inspired riff and some aggressive piano, adding more depth to the eclectic palette of the album. “Everest” brings some dark, raw energy that adds interesting variety and features a riveting peak and breakdown. “Beautiful Mystery” is essentially the tonal opposite of the previous song, with NFPK returning to their original, undeniably jazzy sound. “Inspiration” builds on a wave of pleasant horns and a steady build to a euphoric crescendo before the epic coup-de-grace that is “Tick Tock.” “Tick Tock” evokes the feeling of an old spy movie, with its jaunty piano-line and frantic pace, instilling a dramatic sense of urgency.

    News From Planet Kniffen shows tons of promise with their first foray into the world of jazz-fusion, with a debut album that blends mesmerizing soundscapes with genre-bending arrangements and musical prowess. These guys are not to be missed. Purchase the album here.

    Key Tracks: Back in Black, Midnight Drive, Dreamland

  • The Flock Hits Brooklyn For 3 Sold-Out Pigeons Shows

    Few bands put the “f.u.” in fun and funk like Pigeons Playing Ping Pong, and May 3-5 at Brooklyn Bowl demonstrated why. Pigeons is one of the hottest up-and-coming acts in the jam scene, and their ravenous fans and followers are known as “The Flock.” This weekend, the Flock flew into Brooklyn and filled out the Bowl 3 nights in a row.

    pigeons brooklyn

    Not many bands are capable of packing it out for one night, especially when considering that they were up against Jazz Fest, which annually brings many New Yorkers down to NOLA. But PPPP sold out the Bowl 3 nights in a row, a feat commemorated with special gold, silver, and bronze coins being sold at the merch table all weekend. Their meteoric rise through the scene has been a joy to watch, and it is clear why: musically, they provide what their crowd is there for—funky, fun bass lines, high energy drumming, and soaring peaks. Performance-wise, they are top-notch, with a lighting design that matches the enthusiasm of the band onstage. Not to mention, it doesn’t seem as if any band could possibly have as much fun as they do!

    This weekend showcased all of those reasons that Pigeons are experiencing this meteoric ascent, from their choreographed playing and superb lighting design to their high energy stage presence to the dancey funky fun they bring. Beginning Thursday night, it was apparent that the crowd was ready to get down. And the Pigeons didn’t disappoint! They opened the first night with “Whoopie,” with rhythm guitarist “Scrambled” Greg Ormont, lead guitarist Jeremy Schon, and bassist Ben Carrey engaged in a choreographed head-nod dance move. And the fun continued straight from there until the encore on Saturday night.

    The band played 6 sets without repeats and many fun covers, including “Hava Nagila” (a fun Pigeons staple), “Hyrule Castle” (the theme song from classic Nintendo video game “Zelda”), “I Just Can’t Wait to be King” (from The Lion King), the Star Wars “Cantina Song” and “Imperial March,” the Beatles’ “Get Back,” The Velvet Underground’s “Rock & Roll,” “Tequila,” Michael Jackson’s “Pretty Young Thing,” and The Who’s “Pinball Wizard.” And they of course broke out some of their most popular hits, like “F U,” “Fun In Funk,” “Julia,” “Poseidon,” “Horizon,” and “Melting Lights.” Each set was fun, funky, spacey, raging, and different. The energy inside Brooklyn Bowl was off the charts, and the crowd was dancing and having as much fun as the band!

    Before the encore on Thursday night, Greg announced to the enthusiastic crowd: “This is our home now, yall!” During Friday’s performance towards the beginning of the first set, he maintained “We love the Brooklyn Bowl! One of our favorite places to play…and the food is do dank!” Saturday night, just before launching into the encore, Greg proclaimed: “This is our happy place! We wish we could stay here forever!” Clearly, the Bowl and the New York crowd made an impact on the boys from Baltimore; and PPPP certainly made an impact on the flock who made it out Brooklyn this weekend, as no one wanted to go home at the end of the weekend. Pigeons can be seen next at Domefest, their curated festival in Bedford, PA, from 5/17-5/19, as well as at Summer Camp Music Festival (Chillicothe, IL 5/25-5/27), Great South Bay Music Festival (Patchogue, NY 6/14), Peach Music Festival (Scranton, PA 7/19), LOCKN’ (Arrington, VA 8/25), and many other great events throughout the summer.

  • Brandi Carlile Wrestled with Loss to Bring Back Joy at The Palace

    If you were seeking a little bit of country, a touch of rock, some moments reminiscent of church hymns and Irish music, and a whole lot of honesty, the Palace Theatre was the right place to be Sunday night. Brandi Carlile, with special guests Secret Sisters, filled the Palace Theatre with over 2,000 guests to hear authentic harmonies and sometimes almost “too honest to bear” lyrics that offered redemption, forgiveness and even joy.

    Brandi Carlile

    Secret Sisters Laura and Lydia opened the night with the promise that their music was primarily filled with sadness, and noted they were going to “wrestle joy away” from audience members with their harmonies. Their deadpan humor and teasing of one another juxtapositioned their swampy songs of longing perfectly. From Muscle Shoals, Grammy-nominated Laura Rogers and Lydia Slagle sang about loves lost, mistakes made and poor choices, mostly in minor keys. The women acknowledged the normalcy of loving the wrong person as both human and worth growing through. The sisters joked about how Laura named her previous lover in “He’s Fine,” bringing laughter when the sisters sang his name in the actual song.

    Secret Sisters was so welcomed by the audience that it was easy to forget they were just the opening act. Their easy rapport with the crowd, combined with the women’s amazingly clear vocals and Everly Brothers-like harmonies, struck a strong chord with the audience. The sisters closed with “You Don’t Own Me Anymore,” an original song with a nod in the bridge to Lesley Gore’s 1963 tune “You Don’t Own Me.” The audience responded with a standing ovation.

    The silent stage washed in purple lights opened up with a string trio joined by a French horn, teasing melodies from Brandi Carlile’s new album, By The Way, I Forgive You. The crowd cheered these classical musicians as they welcomed Brandi Carlile on stage with twin brothers Phil and Tim Hanseroth. Playing their most popular radio tune first thing, audience members had to notice: this was confidence. What would be left for the rest of the night?

    Brandi Carlile answered any doubts and questions immediately with her high energy jumping across the stage through 17 years of music. The band could play a Crosby, Stills and Nash sound and then jump into a more rock sound, alternating and enjoying the variety. This was true talent.

    Brandi Carlile

    The band’s newest album is full of hard songs to sing. Lyrics about loss, forgiveness, parenthood and survivorship didn’t sugar coat a moment. Two particular pieces, “Sugartooth” and “Fulton County Jane Doe,” touched upon the drug epidemic and violence against women. “The Joke” is a social advocacy song pushing people to be fearless in whom they are. And “The Mother” authentically tackled the normative ambivalence of becoming a parent.

    The twins and Brandi sang an unplugged acoustic version of “Cannonball” to its audience after declaring the Palace “a singing room.” The band members’ strongest pipes are clearly shared among the three vocalists; all three could fill the hall with equal harmony. If you closed your eyes, you could mistakenly believe you were in church. The screaming fans, of course, would ground you back to the theater.Brandi Carlile

    Sounding of country, rock and folk music, Brandi Carlile’s diversity and range was showing. And she was clearly having fun, jumping around the stage like a teen and sharing stories that charmed about her children. She even introduced her four-year-old daughter Evangeline to the audience, who waved and said, “Thank you Albany.”

    And just when you thought they had done everything possible, Brandi Carlile covered the Led Zeppelin tune “Babe, I’m Gonna Leave You” in quite possibly the sexiest and most compelling song of the evening. Brandi’s achingly gorgeous voice as she leaned into her vocals was a reminder: this band can do whatever it chooses to do.

    And it does. Brandi Carlile chose to make us cry and remember past loves. They reminded us to forgive our parents and love them regardless of faults. They cued listeners to be social activists who encouraged acts of goodwill. Brandi Carlile took the Albany audience on a very human journey Sunday night. With a diversity of style and sound, and generosity to include their opener in their later acts, Brandi Carlile wrestled with loss and pulled it away from Albany, leaving pure joy in its place.

    Setlist: Every Time I Hear That Song, Raise Hell, Harder to Forgive, The Eye, The Mother, The Joke, Have You Ever, Sugartooth, Mainstream Kid, Fulton County Jane Doe, Cannonball (front of stage, off mic), Most of All , Babe, I’m Gonna Leave You (Led Zeppelin cover), Secret Sisters song “Mississippi”, The Story, Whatever You Do, Party of One

    Encore: Hold Out Your Hand, Amazing Grace

  • Little Steven and the Disciples of Soul Bring Spiritual Nourishment to the Palace

    Little Steven and the Disciples of Soul brought a crowd of 900 to church on Friday, May 4. The full band of 14, including 5 horns, 2 pianos, 2 percussionists, 1 guitar, 1 bass and 3 back up singers, were joined on stage by Little Steven a little after 8 pm.  As the wall of sound overtook the Palace, it became immediately clear that the crowd was about to get some soul nourishment through old-fashioned big band live music.

    Little Steven spoke to the crowd repeatedly through the concert, asking initially if the crowd liked “good music” as he pointed out dancing, head bobbing fans in the seats. As the band roared through their set list, memories of Little Steven’s history playing in the E Street Band and with Southside Johnny flooded the theatre. The top-notch musicians created chord progression after chord progression of satisfying sound, filling the space with covers and new songs alike and bringing the audience to a fevered pitch of joy.

    Ever the entertainer, Little Steven was in constant motion. Between removing his trench coat, pointing to band members to cue them to take solos, and dancing with his fans, the star powered his way through five songs before taking a break and instructing his audience to “sit and relax” too. He announced the release of the group’s live album and dedicated the night to the teaching profession, noting, “It is time to give them the respect due.” He added he probably should also dedicate it to those teachers he gave a hard time to in school, which drew laughter from the agreeable crowd.

    Steven graciously shared his stage and highlighted talent within his band, giving ample opportunities to each section for solos and audience applause. Generous and joyful, Steven reflected on how live music can nourish your soul.  “The world’s going crazy out there,” he mused, “ We need to gather in cathedrals like this to remember our common ground.”

    Soul music was the common ground for this band, and as they gave nods to Motown and Springsteen alike, they shared high-intensity energy and love for their craft.  They brought the audience with them; with hands clapping and the crowd jumping, as a frenzy of lights and a wall of music lifted spirits and grounded souls in Albany.

    Setlist: Sweet Soul Music (Arthur Conley cover), Soulfire (The Breakers cover), I’m Coming Back (Southside Johnny & The Asbury Jukes cover), The Blues Is My Business (Etta James cover), Love on the Wrong Side of Town (Southside Johnny & The Asbury Jukes cover),  Until the Good Is Gone, Angel Eyes, Some Things Just Don’t Change (Southside Johnny & The Asbury Jukes cover), St. Valentines Day, Standing in the Line of Fire (Gary “U.S.” Bonds cover), I Saw the Light (Little Steven cover), Salvation (Little Steven cover), The City Weeps Tonight (Little Steven cover), Down and Out in New York City (James Brown cover), Princess of Little Italy. Groovin’ Is Easy (The Electric Flag cover), Ride the Night Away (Jimmy Barnes cover), Bitter Fruit (Little Steven cover), Forever

    Encore: I Don’t Want to Go Home (Southside Johnny & The Asbury Jukes cover), Out of the Darkness (Little Steven cover)

  • Hearing Aide: Erez Zobary ‘Love, and Lots of Sleep’

    The end of college can foster a variety of emotions, most commonly fear of the unknown and wonder in where the next path begins. For recent grads like Erez Zobary, her path of music is not only defined, but ensured in the raw talent behind her senior year creation of Love, and Lots of Sleep. This five track phenomena has a emphasis on r&b and soul electronica influences, reminiscent of NAO and Keri Hilson. She released the EP within weeks of graduating college, and with some diverse instrumentation, creative producers, and a lush and powerful voice, this is a strong first step into the music scene for Erez, and we’re certain she’ll have many strong releases to follow.

    Each of the five tracks on this EP offer us a variety of colorful tempos thanks to producer Brian Han (stage name Brahny), with brilliant melodic lines overarching in each song. Most notably, the combination of rhythmic pulsing and melody on the chorus of “Tides” creates a well mixed, layered motion of sound. Contrasting from “Tides” in intensity is the ballad “November,” which features a delicate, tropical backdrop to support yet another catchy and clever melodic line in its chorus.

    Gaining a huge following in her college’s city of Kingston, Ontario, her music still has many miles to travel to reach the ears of her bigger audience. Hopefully her time out of college will make way for more music, allowing her to expand the capabilities of her already well-developed vocal timbre. As she takes more risks as an artist in a post-grad world, we hope to see her grow in popularity, while developing a diverse discography to take her places all over the nation.

    Key Tracks: Tides, November

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