NYS Music 20​18

Category: Reviews

  • Musicians Show Politicians How to Play Together at Hudson Valley Votes

    “If you told my high school self that I’d be receiving an email from Natalie Merchant,” Paul Rudd quipped, “asking me to take the stage with Mary Stuart Masterson and introduce Antonio Delgado, I would’ve said, ‘What’s email?’.”

    The event– Hudson Valley Votes– took place at UPAC on October 20 and featured prominent Hudson Valley residents. In addition to 10,000 Maniacs’ frontwoman Natalie Merchant, long-time David Bowie band member Gail Ann Dorsey, renowned songwriter Dar Williams, Lettuce collaborator Alecia Chakour, and Woodstock favorites Rachael Yamagata and Simi Stone participated in the musical portion of the evening.

    Natalie Merchant, Gail Ann Dorsey and Resistance Revival Chorus

    The show, organized to trump up support for local progressive politicians, began with a rendition of Woody Guthrie classic “This Land Is Your Land.” The itinerary progressed fluidly; after the Guthrie cover, children and teenagers from Kingston’s Energy Dance Company took the stage and invaded the aisles, putting on a high energy hip-hop dance performance that earned a standing ovation. The youth movement continued with a subsequent performance by members of Woodstock’s Rock Academy.

    “We aim to turn New York blue through the activism of young people!” one of the event’s organizers exclaimed. It was reiterated throughout the evening that young voters would need to show up on November 6 in order for the progressives’ candidates to succeed. In addition to young people, women carried the night. Many of the featured candidates were females running in their first elections; most of them expressed displeasure with the unequal representation of women in Congress.

    Merchant, the musical director, sang a moving rendition of John Lennon’s “Imagine,” vocally accompanied by Dorsey and Yamagata, with Jack DeJohnette on the piano. Dorsey, who womanned the stage more than anyone, showed off her vocal versatility all night. She also collaborated with Williams, Chakour, and The Rock Academy.

    Gail Ann Dorsey (left) and Dar Williams (right)

    The musical highlight of the evening undoubtedly came, however, from the Resistance Revival Chorus. More than a dozen women, resplendently clad in white, put on a haunting acapella protest performance, singing about marching to take back Congress, the Supreme Court, the White House, and to take back power. They received a well-earned, deafening ovation from the exuberant audience.

    Keynote speaker Antonio Delgado, who is challenging John Faso for a seat in the US House of Representatives, followed the Resistance Revival Chorus by continuing the tone of resistance. “We cannot solve problems,” Delgado claimed, “if we do not have civic discourse.” The charismatic politician joked about the difficulties of raising twin boys, spoke about challenges he faced growing up as a black boy in Schenectady, and vowed to supporters, “I will always be straight with you and I will always be accountable to you.”   

    Antonio Delgado, NY19th District Candidate

    While the political sphere in the country seems to be growing increasingly partisan, musicians showed the beauty of collaboration Saturday night. The crowd was energetic and the atmosphere full of hope. The sold-out event appears to have been a success, although attendees and participants may be waiting until November 7 to make their final determination.

  • Hearing Aide: Edward David Anderson ‘Chasing Butterflies’

    Have you ever heard of the genre known as Black Dirt Music? No? Here’s a hint – buy Edward David Anderson’s new release Chasing Butterflies, put on headphones, close your eyes to the world and let the music take over your soul. Recorded in the Muscle Shoals region of Alabama, an area famously known for timeless music recorded here, don’t be surprised if you fall in love with this artist as soon as you hit play. Anderson’s refreshing blend of tone, lyrics and melody make for an exhilarating new batch of Americana tales sung straight from the heart.

    Anderson has a knack for being relatable with his lyrics. Swaying from one end of the emotional spectrum to the other, he hits home with several tracks that everyone can respond to easily. Gut wrenching, soul searching tunes include “The Ballad of Lemuel Penn” and “Crosses.” The former cuts deep into the soul with heart wrenching lyrics that tell the true story of a man who died “because of his own skin.” Though Penn was senselessly murdered by Klansmen, this song still rings true today as racial hatred unfortunately remains alive and well in parts of this nation. The latter reaches into the heart while painting a musical visual of crosses that quietly dot roadsides. Unafraid, this track eloquently speaks of heartache and loss and those who died that are remembered with a simple cross “on the side of the road.”

    Upbeat, spirited tracks also line this well-balanced album. Easily understandable stories are sung within several songs throughout. “Bad Tattoos” speaks just about that – the why and how of a bad tattoo. It’s hard to resist a quick chuckle as the lyrics “if I had to choose, I’d do it all over again” roll by. Who hasn’t seen a few bad ones in their time? Man’s best friend is honored and appreciated in “Dog Days” while “Sittin’ ‘Round at Home” lyrically rambles through noodling around on a guitar and recharging while relaxing at home.

    Graceful melodies that meander along the edges of seriousness and playfulness also show their graceful presence. “Harmony,” “The Best Part,” “Only In My Dreams” and “Chasing Butterflies” flow with melodies that make it easy to sway and tap to without noticing. The Americana spirit winds along the lyrics and melodies of these tracks, maintaining a clean tone while etching a story-filled landscape of emotional appeal.

    Wrapping up the album, “Seasons Turn” flawlessly breathes while inviting the listener to feel the notes as an edgier guitar takes hold. A perfect transition to bring Chasing Butterflies to a close. Overall, Anderson’s latest release is uncluttered with clean lines, graceful lyrics and spirited energy. If you’re searching for a refreshing sound that you can’t put down, this is it. You will not be disappointed.

    Key Tracks: Harmony, Crosses, Chasing Butterflies

  • West End Blend Fill the Hollow Void With Funk

    The Hollow was home to Connecticut’s own West End Blend on Friday, October 12. The jam-friendly funk group brought The Age to open and then put on a funk clinic for a packed room. Erica T. Bryan‘s soul flowed through the band as their jams crashed onto the dance floor again and again.

    West End Blend has quickly worked their way up through the ranks to become one of the best live acts touring the northeast. You can catch them this weekend at Disc Jam Presents Holloween Horror Camp. And, if you can’t make it to one of their shows coming up, you really ought to pick up their new live album, Live at the Waterhole, because there’s nothing like listening to a jam band jam.

    Photos by Zatchmo Lives Media

  • The Disco Biscuits Come Out Swinging in Worcester

    On a chilly New England night in Worcester, Massachusetts, Disco Biscuits fans gathered at the famous Worcester Palladium for the group’s first run of fall tour. The room was nearly filled up by the time the band took the stage and people were ready to dance their butts off to get warmed up.

    To open up the first set, the group started into “Uber Glue,” an ambient, synth-driven song that, like most Biscuits songs, acts as a great jumping off point for jams. The band wasted no time getting this rendition started, jamming on the tune for well over 20 minutes before building the groove into the beloved “Caterpillar,” which took the energy from “Uber Glue”’s jam and launched into the song’s first verses. Bassist Marc Brownstein and drummer Allen Aucoin kept the groove locked in as guitarist Jon “Barber” Gutwillig and keyboardist Aron Magner led the song’s chorus, joined by the crowd singing the lyrics passionately and dancing their butts off. Following the chorus, the group spent some time building an upbeat techno groove that brought the song into Brownstein’s first vocal effort of the night, “Miracles.” The jam in “Miracles” showed off the band’s ability to work as a unit as they brought the techno jam they had built into an ambient, almost soundscape-like section introduced by Magner and Brownie.

    disco biscuits worcester

    The group let the soundscape breathe a bit before dropping into the darker “Air Song,” which blew through the lyrics fairly quickly and led them immediately into a funk jam, mostly led by Magner on a Clavinet sounding patch. The jam didn’t really leave the song’s main structure, acting more as a platform for Barber and Magner to build off of, before the group brought it back into “Miracles,” starting off the second half of the first set sandwich. The group continued through the song’s verse and chorus sections until they broke into a dark fast-paced jam that featured the first big peak of the night, and brought the song back into the set opener “Uber Glue,” before dropping into the last verse of “Caterpillar.” The energy from “Miracles > Uber Glue” culminated in one last passionate chorus section of “Caterpillar,” before the group ended the set for a short set break. During the set break, Brownie tweeted out the fact that 75% of the songs in set 1 were songs written during the current Allen era of the band, saying “…let’s see if that trend continues into the second set!!!!”

    “Rivers” kicked off the second set, getting into a Barber-led jam after the lyrics had been sung. The whole group was very active in bringing the song into an up-tempo peak before slowly ending the song with one of the main riffs. Following “Rivers” was the segment of the night, “Catalyst > Great Abyss > Boomshanker > Mr. Don,” which was filled with deep jamming and seamless transitions. “Catalyst” came out swinging, Barber following a very up tempo composed section with a high energy solo on his green Stratocaster aptly named “Money Bags.” “Catalyst”’s jam section spanned over nearly 30 minutes and was an exemplary musical representation of what the Biscuits are all about, letting a jam develop naturally and working together to bring it new places. Barber led the song into a another grand peak with another energetic solo before the group brought the jam into uncharted territory and started exploring.

    Brownie, Magner, and Barber locked in on a riff that ended up being the basis for a good chunk of the jam before Brownie started driving the bus into “The Great Abyss,” a very synth heavy song that was also released during the Allen era of the band. “Great Abyss” also featured a lot of experimenting from Brownie and Magner, while Barber added textural shredding that made the jam feel extremely tense at points. Out of nowhere the group dropped into the dub reggae-esque tune “Boomshanker,” which featured a laid back synth bass line from Brownie while Barber and Magner layered textures together to add to the reggae sound. The jam was fairly straightforward, never really leaving the bounds of the main song itself. Towards the end of the jam, Magner started playing around with some organ sounds which lifted the song into the fan favorite “Mr. Don,” which lifted the tempo up a bit after “Boomshanker.” During the whole of “Mr. Don,” Barber had a smile plastered on his face, showing that he could tell they had just performed an incredible set. Following the main portion of the song, Barber took an enormous solo that was supported by the driving force of the band behind them, and led the song into a quick peak before ending the set. For an encore, the group performed the Brownstein-penned “Portal to an Empty Head.”

    The Disco Biscuits performed a fantastic show in Worcester, MA, and will hopefully be back next October to continue the trend of awesome shows at the Palladium. They perform at Brooklyn Bowl Las Vegas November 1-3, and at The Palace Theatre in Albany November 23-24, where Albany jamband Formula 5 will open up the night on the 23rd. Check out the photo gallery below for a taste of the first night of the run.

    Disco Biscuits, Worcester, MA, October 20,  2018

    Set 1: Uber Glue > Caterpillar > Miracles > Air Song > Miracles > Uber Glue > Caterpillar

    Set 2: Rivers, Catalyst > The Great Abyss > Boomshanker > Mr. Don

    Encore: Portal to an Empty Head

    Photos by ATS Media

  • Older, Wiser and Sexier in Albany: Timberlake Brings Man of the Woods to Upstate

    Justin Timberlake kept step with his reputation for fast-paced, almost dizzying energy at his “Man of the Woods” tour on Saturday, October 20th at the Times Union Center. Timberlake and The Tennessee Kids infiltrated hip-hop music with some country vibe with a good outcome to an arena of mostly screaming, gyrating women of varying ages.

    In a dramatic entry, complete with laser show and smoke, Timberlake danced in with the same high energy he had as a teen performer in his boy band, NSYNC, but with the sexy confidence of a much wiser, older performer. He appeared to be having a great time, singing and dancing to “Filthy,” and reminding the audience repeatedly that he knew where he was, calling out to Albany during choruses.

    Timberlake looked to be broadening his style a bit, showing a music video by the TN Kids covering “Thank God I’m a Country Boy” before coming on stage. But after crooning out the John Denver song, the words, “If you love this country, you’re a country boy” scrolled across the screen, literally reminding fans to be inclusive in their thoughts about what to expect from Timberlake.

    Timberlake was dressed in a denim jacket adorned with a pine tree, black denim, and a white T underneath. His white sneakers shone in the light as he moved his feet with grace, appearing effortless as he danced in perfect time with his dancers and fellow musicians.

    Timberlake Man of the Woods

    He sang songs from his new album, “Midnight Summer Jam,” clapping along and highlighting musicianship in his band as much as his dancing. He appeared re-made, in some ways, to highlight a more folksy persona. His songs touched on the topic of love for his famous wife, Jessica Beil, and his young son Sam.

    Even so, the athletic performer didn’t shy away from old tunes. He jumped and danced to “Sexy Back,” reaching back to his fans from his first solo releases in the early 2000s. Indeed, some of the fans seemed to love him since his days on the Mickey Mouse Club, singing along with “Cry Me a River” and “Mirrors.” He invited Albany to “shake your upstate ass” as he himself shook his with the vivacity of a much younger hip-hop artist.

    Timberlake’s singing and dancing are only part of the show that makes it so much fun, though. He interacted with the crowd, talking with fans and revealing an audience member’s baby’s gender (it was a girl, or as Timberlake stated, “A little princess”) and pointing to audience members who seemed genuinely engaged. The sound at the TU was well balanced, making each syllable accessible to the crowd so that they could participate. Often, Timberlake dropped his microphone and let the audience sing along entire verses with glee.

    Timberlake Man of the Woods

    The screens that dropped from the ceiling, reflecting with videos, added to the visual appeal of the night. This show was different than most pop concerts brought to Albany; it was unexpected and clearly reaching for some creative messages. There were sets that changed: a campfire for a transition portion of the concert that featured the TN Kids’ vocalists, grasses and trees to generate a natural feel, and a background video about accepting all love added to the uniqueness of the experience. And then there were the laser shows, almost never used in our community for concerts.

    This was an arena performance.

    Most rockers from the 1990s return to Albany to play just their old stuff and stand in one place; Timberlake introduced some new music woven in with older songs, danced like he’s still 16, and helped fans forget they were in the warehouse of the TU for two hours.

    Timberlake Man of the Woods

    After the campfire sub-story, which quite possibly highlighted some of the sweetest voices by TN Kids’ singing Fleetwood Mac, Laryn Hill, Beatles, and John Denver’s covers, Timberlake played a tender “What Goes Around…Comes Around” before transitioning back to his current album. Returning to the main stage for “Say Something,” Timberlake’s recent hit with Chris Stapleton, the energy skyrocketed through the last seven songs.

    The high energy performer had fun, and so did his fans who were exhausted just watching him run, dance, jump and sing with his beautiful, velvet tenor voice. There were no bad seats in the house, as Timberlake played to the whole house, moving around so much between stages and on a walkway. For over two hours, Timberlake and the TN Kids tirelessly celebrated on stage.

    While it appears Timberlake is reaching for a new branding of sorts, he also appears to know the formula to keep fans blissfully engaged. By expanding to country music a bit, the wise Timberlake is making a nod to his birthplace, Tennessee, that is exploding bluegrass sound at present, while also staying engaged with the hip-hop fan base that grew his popularity the past 20+ years.

    Timberlake Man of the Woods

    His new songs, beautiful personal love songs to his wife and child, certainly show a more grown, mature performer who has the wisdom not to forget the past in search of the future. And his fans are learning from his wisdom: they too, regardless of age, appear to love Timberlake as much today as they did yesterday, if not more.

    Justin Timberlake certainly brought sexy back to Albany: an older, wiser, more mature sexy than years past, a sexy that was way more enjoyable than expected.

    Setlist: Filthy, Midnight Summer Jam, LoveStoned, SexyBack, Man of the Woods, Higher Higher, Señorita, Suit & Tie, My Love, Cry Me a River, Mirrors, Drink You Away, Until the End of Time(acoustic), Dreams (Fleetwood Mac cover), Ex-Factor (Lauryn Hill cover) Come Together (The Beatles cover), Thank God I’m a Country Boy (John Denver cover), Morning Light, What Goes Around… Comes Around, (acoustic)Say Something, Montana, Summer Love, Rock Your Body, Supplies, Like I Love You, Can’t Stop the Feeling!

  • Hearing Aide: Sister Sparrow ‘Gold’

    “As an artist, we have to evolve. If we stay the same, then we’re going backwards.” It came straight from the ‘bird’s’ mouth – bands need to evolve to stay on top, and that’s what Sister Sparrow and the Dirty Birds have done in their latest album, Gold. It’s their first studio album since 2015 and it’s a smash hit. Long time fans and new ones alike will find something to enjoy, which is no easy feat. Arleigh Kincheloe disclosed in an interview with NYS Music that she and producer Carter Matschullat worked together to create a collection of songs that shed some light into Kincheloe’s life experiences and creative thought process. The result is something spectacular and different from the group’s three prior studio albums.

    Each track has been placed carefully within the album in an obvious effort to ease people into Sparrow’s new direction. Gold kicks off with the ‘Birds’ immaculate horn line and Kincheloe’s blissful, soulful powerhouse pipes. It’s classic Sparrow but with hints of contemporary beats and hooks. Kincheloe speaks about her love life and how she’s a woman with “gold” love. The track is digestible and an earworm listeners will happily have stuck in their heads all day.

    “Leave Here With Me” gets a bit more experimental. The production value is phenomenal thanks to Matschullat. It breathes a new life into the group that will absolutely help propel them into a new genre. Listeners get hints of that hard-hitting horn line and Kincheloe’s soulful voice but all with a very mid 70’s soul, love song vibe. It’s a pretty gutsy move considering they’ve rooted themselves in a very jam-ish genre, but they nailed the formula.

    “Ghost” is the most poppy song on the album which Kincheloe confirmed in our interview with her. It consists of a four on the floor beat, prominent bass and lyrics about tough times with unstable men. It’s hit or miss for long time fans but it shows how versatile the group and Kincheloe can be. Over all, it’s a dancey, radio ready hit with great production value and a wide range of experimentation that may not hit home with long time fans but will definitely rake in some new ones.  

    When we spoke with Kincheloe, she revealed some of her biggest influences for the album which really shine through on “Can’t Get You off My Mind”. they include: The Staples, Aretha Franklin, The Pointer Sisters, Bill Withers, Paul Simon and Joe Cocker. Listeners get a little taste of her brother’s, Jackson Kincheloe, harmonica skills followed by a classic 70’s blues and soul feel. Imagine a Bill Withers back beat with the passion of Aretha Franklin. Listeners can find a similar sound in “Frankie” and “Plastic Paradise”, although “Plastic Paradise” definitely has more modern influences, mainly found in the lyrical aspect of the track.

    The album is tied up in a bow with a dance ready, four on the floor track called “You’re My Party”. Listeners can analyze each layer and find something delicious to soak up. There is a lack of power and edge that would have been the icing on the cake, asserting that Sister Sparrow hasn’t completely lost their roots. The only trace of their distinctive horn line is on the final arc of the track which leaves a good taste in the mouth but definitely doesn’t feel like dessert, but more like an after dinner salad.

    All in all, this was a fantastic effort by Sister Sparrow and friends. They put a lot on the line with this collection and obviously gave it their all. After looking at social media responses to the album, it’s fair to say that it was a polarizing move but fans still presented a monumental amount of support for the group. Long time fans should consider this: there’s a time and a place for all music. Sister Sparrow has simply created a different sound  for a different environment. The group was thoughtful enough to remember their loyal fans and put in a tremendous amount of effort to find a middle ground. Give each song a few listens instead of a one and done. This was an unexpected move for us as well, but after analyzing the songs and speaking with Arleigh Kincheloe, their intentions became clear. And that’s something worth supporting them over.

    Sister Sparrow will be touring with this album for a few more months. They’ll make appearances in NYC at The Egg on November 10 and Irving Plaza on December 1. If you miss those shows, find them in CT at the Infinity Music Hall in Hartford on November 8 and in Fairfield at Fairfield Theatre Company for an NYE show.

    Key Tracks: Gold, Leave Here with Me, Can’t Get You off My Mind

  • Brian Fallon Gives His Fans a Wonderful Life

    Two of the best things in life are music and laughter, and at Brian Fallon‘s tour stop at the Keswick Theater on October 6, Fallon gave fans the best of both worlds. This stop in Glenside, PA on Fallon’s current Songs for the Hymnal Tour, gave fans songs from his solo and other projects (The Gaslight Anthem, Molly and the Zombies) with a mixture of storytelling about what he was thinking as he wrote some of his songs.

    Brian Fallon

    Fallon made a comment about not being good at sharing his feelings like opener Craig Finn, but his sense of humor throughout the show still gave fans a sense of who he is outside of his musical talents. The atmosphere was topped off by the uniquely designed backdrop from a view of the moon and stars from a city rooftop.

    Even being heckled by some of his fans didn’t make Fallon skip a beat. His witty sarcastic replies to the hecklers made the audience burst out into laughter like at a comedy club.

    Fallon may be a sarcastic jokester, but as soon as he started singing he poured his heart out into his performance. Playing mostly acoustic guitar mixed with a few songs on the keyboard, there is no denying the raw talent Fallon possesses as an artist and singer.

    Experiencing intimate acoustic shows with your favorite artist offers a closer look into how they are in real life. It’s an experience a true fan will cherish for a lifetime. Artists like Fallon create amazing moments at his shows leaving his fans wanting “a life on fire, going mad with desire and wanting a wonderful life.”

    Setlist: Forget Me Not, Painkillers, American Slang (The Gaslight Anthem song), Red Lights (Molly and The Zombies song), My Name Is the Night (Color Me Black), She Loves You (The Gaslight Anthem song), Wherefore Art Thou, Elvis? (The Gaslight Anthem song), Smoke (Molly and The Zombies song), National Anthem (The Gaslight Anthem song), A Wonderful Life, Handwritten (The Gaslight Anthem song), Steve McQueen, If Your Prayers Don’t Get To Heaven, 1930 (The Gaslight Anthem song), Rosemary, Etta James

  • Greensky Bluegrass Brings Out The Musical Dead At The Capitol Theatre

    In a legendary place like The Capitol Theatre, the most memorable acts performing there today channel the ghosts of its musical past, like Frank Zappa, Janis Joplin and The Grateful Dead. Acts that will be remembered, years from now, alongside giant names like those are the ones that manage to echo those nearly unfathomable experiences from the earlier years of this concert palace. When the five-piece Americana jam sensation Greensky Bluegrass kicked off their show last weekend with their aptly-named original song “Bring Out Your Dead,” they did exactly this. For this reviewer, the vibrant myth of Pink Floyd performances here in this theatre glowed within the Cap’s interior, vibrating invisibly at the tips of this epic and harrowing modern song. This Capitol Theatre show might have served as a great benchmark showing just how far Greensky Bluegrass has evolved, from a new string band outfit several years ago into the epic rock concert performers they are today.

    But the band then showed their range fast, as the next several tunes were some of their much more feel good stuff. “Wings for Wheels” and then “Handle With Care” carried the room from the shadows of that cool opening to a sunny bluegrass beach in paradise. Complimenting this portion of the evening was a roving solo picking, with members trading off in typically swift style. The Lil’ Smokies, the dynamic newcomer five member string band that had opened up for the night with their own highly received set, are set to tour with Greensky for much of the latter’s upcoming tour. So, it should be no surprise that many nights will feature either members of The Smokies, or the entire group, up to collaborate. At The Cap, Greensky invited the Smokies dobro player Andy Dunnigan and fiddle player Jake Simpson up for some fun.

    First up was “Second That Emotion,” and not the most epic version you’ve ever heard but still no doubt a much-appreciated nod to one of The Cap’s late musical presiders, Jerry Garcia. But it was the “Worried About The Weather” that closed out set one that was the real kicker, perhaps the standout performance of the entire night. Dunnigan and Simpson never lagged behind or shied away, but instead showed their confidence beside the members of Greensky and made the dramatic tune into an explosive performance.

    Set two brought the deeper cuts, with miles of space and focused improvisation, which seemed to see the band toying around with all the funky effects tech at their disposal. After starting out with some more smile-makers in “Fixing to Ruin” and Steam Powered Aeroplane,” Greensky laid down a huge “Ground Hog” and “Wheel Hoss” pairing, and the musical territory traversed here was as mystifying as it was funky and rhythm-inducing. The improv-loaded segue helped to reinforce the claim that Greensky Bluegrass is the headiest of all progressive grass groups out there right now.

    This was followed up by another cool pairing in “Tarpology” and, perhaps another Garcia nod, “Ain’t No Bread In The “Breadbox,” with this latter tune being a real stand out on its own. While it hit the usual rolling groove Greensky puts into it, on this night the band pushed even harder to truly dig on it for several minutes. This one must have been an extra-special version in all the versions played.

  • Phish Break a Record and Kick off Fall Tour in Albany

    Two nights into their Fall Tour kick off, Phish is already breaking records to make up for their harsh Curveball fallout. Ousting Billy Joel with all time attendance at Times Union Center, a brand-new, celebratory banner welcomed the deep grooves and thoughtfully selected set lists to come from the Albany double-header.

    Moma Dancin’ their way back into the NY state capital after nine lingering years, a delicious take on the The Story of the Ghost tune got the packed party underway as Kuroda quickly proved his light show came to steal part of the opening show. “Tube” followed next as phans waited to see what territories the experimental track would wander into. It’s foundation was uprooted in its entirety and before you could predict it, the quartet threw you right back into familiar grounds. While all four members rode the high-energy wave of the tour opener, Page kicked it into high gear, grabbing the reigns throughout the course of the jam and foreshadowing his exuberant and demanding presence throughout the night.

    “Theme From the Bottom” emerged to ignite smiles as the crowd recited lyrics near and dear to their hearts. “Keep what’s important and know who’s your friend,” chimed throughout the TUCenter and hit home for many of the North Easterners who suppressed low spirits following the demise of Curveball. At its pinnacle of a capella entertainment, a quick segue picked the crowd up and placed them a the light-hearted “Free.” Kuroda offered up some tricks and treats with new patterns and Pac-Man looking motion lights. The rigs swirled above like rolling waves, at times mesmerizing the sold-out dance party over the action on stage.

    Short and to the point, “Halley’s Comet” made a fleeting appearance before finding its way into summer tour favorite “Everything’s Right.” Gordon took the opportunity to bask in the glory of psychedelia among his moments in the spotlight, bold slaps and bassy vocals. An appropriate rendition of the Talking Heads’ “Cities” rang through the pulsating downtown venue, making locals pretty happy that Albany’s the city they’ve found themselves living in. A heavy hitting “Walls of the Cave” closed out an exemplary start to fall tour to an approving arena.

    Appealing to the October chill in the air and Halloween peaking around the corner, “Ghost” corralled the crowd for set two before leading into pleasantly welcomed Big Boat number, “No Man in No Man’s Land.” The duo opened up the set with high energy that continued with “Piper.” Wandering down a evil tunnel, a gritty “Twenty Years Later” welcomed three rounds of raging applause and earnest praise. The metal leaning performance conjured devil horns proudly raised in the stagnant, smoky air. After a brief “Show of Life” interlude, Phish came out guns blazin’ again with a classic “2001” -> “Character Zero” close to the set, the latter a frequent set closer in Albany going back to 1997. A favored “Harry Hood” encore sealed the deal on a wild fall tour opener, notching a high-bar for Wednesday night’s gig to follow.

    Setlist via Phish.net
    Set 1: The Moma Dance, Tube, Theme From the Bottom > Free, Army of One, Halley’s Comet > Everything’s Right -> Cities > Walls of the Cave

    Set 2: Ghost > No Men In No Man’s Land > Piper > Twenty Years Later > Show of Life > Also Sprach Zarathustra > Character Zero

    Encore: Harry Hood

    Night 2 offered up a second helping of Phish, with fans filling into the arena earlier this evening due to the on and off wind and rain that peppered downtown Albany. The first set opened with “Crowd Control,” which was hardly an issue at the Times Union Center this run, as compared to past Phish shows where maneuvering around the sold out crowd can be harrowing.

    The first set was the highlight of the night, with a 16-minute version of “Chalkdust Torture” leading the way for Jam of the Run honors in the same spot where “Tube” shone the night before. “Wolfman’s Brother,” “Steam,” and a set closing “Bathtub Gin” each took a lengthy spin, with energetic numbers found in between with “Scent of a Mule,” “NICU,” and “Gumbo.” Throw in a few minutes of Jon Fishman on the electrolux vacuum for “I Didn’t Know” and you have a throwback to the “Bathtub Gin” jam on 9/8/00 where Fishman led us in an ambient vacuum-laden jam.

    Set 2 kicked off with the new “Set Your Soul Free,” which has already found its place as a set opening jam vehicle in only five appearances. A rusty “Birds of a Feather” followed, along with the misplaced “Mercury,” which has its moments in the middle improv section but otherwise fell flat as the set tried to pick up steam. It did just that with a 11-minute “Light” but “The Wedge” failed to capitalize on that energy, and by the time “Wading in the Velvet Sea” started, not even “Wilson”->”Slave to the Traffic Light” could find the initial energy from the set’s beginning.

    As always, “Julius” got the crowd up and dancing for the encore, and then Trey took a moment to remark that these shows in Albany were like hometown shows, and with that, the band threw in “Rocky Top,” a song of home-sweet-home, to close it out.

    Phish heads to Hampton, Nashville, Chicago and Las Vegas for the rest of their tour. Stay tuned to NYSMusic for updates!

    Setlist via Phish.net
    Set 1: Crowd Control, Chalk Dust Torture, All of These Dreams > Wolfman’s Brother > Scent of a Mule, NICU > Gumbo, Steam > I Didn’t Know, Bathtub Gin

    Set 2: Set Your Soul Free > Birds of a Feather, Mercury > Light, The Wedge, Wading in the Velvet Sea, Wilson > Slave to the Traffic Light

    Encore: Julius > Rocky Top

  • Younger Then Performs to Hometown Crowd for Album Release

    Younger Than perform in Hometown at Buffalo Iron Works

    Autumn has finally put summer to rest in Buffalo. The trees are a muted mixture of red, orange, and yellow and the air is crisp as you walk into Buffalo Iron Works. A crowd of excited attendees awaited Buffalo local indie-rock group Younger Then to take the stage in the wake of the release of their most recent album, Bad Life. Younger Then traveled out to Nashville to record at Blackbird Studio, a world-class establishment with a reputation for recording some of the world’s best rock groups. It had been a long time coming, and fans were prepped and ready to go, with about half the house already filled by 8pm to catch the opening acts.

    Buffalo has such a deep collection of indie bands. Supporting the night were Cooler and Feverbox. Cooler has been making noise lately as they continue to play their monthly Wednesday night residency at Mr. Goodbar in Buffalo. Feverbox has been frequenting regional festivals and running the gamut of local venues. Both bands put on exciting sets, with music totally in line with what the crowd had come for. The bill was crafted to great effect, giving the entire flow of performances a nice consistency. Cooler’s emo stylings pull from the early pop-emo greats from the 2000’s, while also hearkening to the kind of alt-driven Midwestern emo that offers a bit more grit. Feverbox checked all the boxes for an on-the-rise indie rock group. The band had good stage presence and original tunes, putting on the kind of set one would expect to see at a SXSW showcase.

    The support set the scene for veteran group Younger Then to take the stage. The venue was packed in, with people opting to stay indoors for the entire set as opposed to standing on the patio- an effect of the brisk fall temperatures. Iron Works was on-point with the light shows as always. The mix of subtle fog painted by combinations of colors set the scene for the band to walk onstage to a big welcome cheer from their supporters. While the cold was effective in forcing people inside, Younger Then’s performance was more than encapsulating to keep people inside. The group played selections from their older discography, and mixed them in with live versions of tunes from their new release, Bad Life.

    The group had great stage presence, only amplified by the playfulness of the lights. Guitarist Austin Dorr was a ham on the stage, stepping up to meet fans near the stage barrier as he walked up in front of the stage monitors during his solo parts. Zack Dupuis voiced his and the band’s gratitude for the support, and eventually organized the crowd to sing the chorus of one of their new songs. The audience responded in kind, singing full voiced back to the band. Drums and bass were on point, with a tight sync between the two accentuated by the thick live mix at the venue. Michael Wirth held down rhythm guitar, playing around with timbre to liven or darken the mood of a given song.

    Younger Than performs‘Bad Life’ itself was a very pristine listen (review here), while the live performance was a lot grittier. As a result of the mix, Younger Then’s music had a slightly harder edge live than the recordings. The raw feel of the performance was a good contrast and comparison to their studio work. The group provides two different feeling experiences with the recorded album compared to their live set. The group also had a good feel for what the audience was hearing, each member laying back or coming forward appropriately for the best live-sound effect. No one overshadowed or stole the show. Younger Then had great chemistry between the members and the audience. In a successful night, Younger Then released their newest album, Bad Life and put on a great show for music fans in Buffalo.

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