NYS Music 20​18

Category: Reviews

  • Port Chester is for Umph-Lovers

    Sunday, October 14 marked the fifth time Umphrey’s Mcgee has stopped off at Port Chester, New York’s Capitol Theater. It was also the band’s first Sunday show at the historic New York State venue, and if you haven’t heard it yet (or maybe you have and just aren’t listening) “never miss a Sunday show.” Umphrey’s Mcgee ran the gauntlet of their repertoire with a mix of songs both new and old. They also invited Tierinii Jackson and Ori Naftaly, of their supporting act Southern Avenue, on stage to close out the first set with a version of The Beatles’ “Come Together,”  a song they haven’t played since 2007, making it the first time played in 1,240 shows. The second set featured another cover we haven’t heard the boys play in some time as well. ZZ Top’s La Grange made its first appearance since 2013. Although we only got one verse, it hasn’t been done in 532 shows. They found their way in and out of teases from Fleetwood Mac, The Verve and Jake even found himself behind Joel’s keys during the band’s original “Plunger.” As it goes with these guys, don’t blink, you just might miss something great. Especially on a Sunday night in New York.

    Set List

    Set 1: The Floor, Draconian > Mulche’s Odyssey, The Pequod, You & You Alone, Bridgeless -> Hajimemashite, Come Together[1]

    Set 2: The Triple Wide[2], Seasons, Plunger[3], What We Could Get, I Ran, Resolution[4] -> La Grange[5] > Ocean Billy[6]

    Encore: Kula > Bridgeless

    Notes:
    [1] with Tierinii Jackson on vocals and Ori Naftaly on guitar (Southern Avenue)
    [2] with Rhiannon (Fleetwood Mac) tease in intro
    [3] with Jake on keys
    [4] with Norwegian Wood (The Beatles) jam
    [5] one verse
    [6] with Bitter Sweet Symphony (The Verve) tease

  • Jefferson Starship’s San Francisco Sound Returns to the Hudson Valley

    Jefferson Starship returned to the tri-state area with a performance at Paramount Hudson Valley on Sept. 14. It was one of the band’s first shows back in the area following the 2016 loss of Paul Kantner, the driving force behind the Airplane, Starship, and Jefferson collaborations.

    Under the lead of singer/guitarist Cathy Richardson with long-time singer David Frieberg by her side, the band did a remarkable job of carrying on the spirit of the music to fill the void on stage. Frieberg, who just recently celebrated his 80th birthday, displayed a strong performance lending beautiful harmonies on a duet with Richardson on “Tomorrow.” Richardson, who joined the band in the mid-2000s, has been a consistent anchor to Grace Slick’s vocal performance since first hitting the road with the band and on the 2007 album Jefferson’s Tree of Liberty.

    The show weighed heavily on Jefferson Airplane’s catalog, with a little bit of Quicksilver Messenger Service and 80s-era Starship mixed in. With a sizeable discography to choose from and the time constraints of a concert, some songs were left out that some folks would have liked to hear, however, the staples of the catalog were covered within a mix of the band’s lesser common songs.

    Later in the show, Richardson took a few moments to talk about Kantner and his legacy of using music to promote social justice and announced that they are heading to the studio to record a new album to honor that legacy. From that, we heard the debut of a brand new song “What Are We Waiting For.” (As of now, there is no further information on a release date)

    Setlist: Sunrise, Ride The Tiger, Find Your Way Back, Count On Me, Today, Fresh Air, What Are We Waiting For, Winds of Change, Medley, Miracles, Embryonic Journey, White Rabbit, We Built This City, Jane, Somebody To Love

    Encore: Volunteers

  • Hearing Aide: Younger Then ‘Bad Life’

    For a band that doesn’t have unlimited funds, recording in a studio can be nerve wracking. Every minute that passes represents a dollar gone, and the expectation to nail down a cohesive album with tight performances is exponentially higher. Buffalo local indie rock band Younger Then knew the stakes were high when they walked into Nashville based Blackbird Studio- the same studio that recorded albums for the likes of Kings of Leon and Lynard Skynard. With a short time period, and uncertainty surrounding the loss of a bass player, Younger Then rolled up their sleeves and got to work. The product is an expertly produced, 11-track roller coaster of an album that dropped October 12 via Standby Records.

    Their second release, Bad Life, is both a continuation and improvement from their first release. The growth of the band as a unit is evident. The songs are well written and, despite the high-pressure situation in the studio, Younger Then is able to capitalize on the world class studio production and deliver 11 catchy songs in an immersive, exploratory album. Michael Wirth (bass/guitar) provides a strong rhythmic foundation on both bass and guitar that Jeremy Shields (drums) builds upon in a big way. Austin Dorr (guitar) writes lead lines that interplay with Zack Dupuis’ soaring vocals. These elements together, plus the clean production, makes for a big sound with a lot of clarity.

    It was an unexpected surprise to hear the amount of experimentation in each tune. The group is very good at expanding the role of the guitar, finding different tones and timbres to accentuate the mood of a song. The fourth track, “Sarah Told Them,” has a set of reverb-washed guitars and a spacious synth. These mesh to create a beautiful canvas for Dupuis to paint on with his musings on finding one’s way. The song has a steady build and emotes the lyrical content well. This track, while harmonically verdant, doesn’t lean as hard on raw energy as much as a few other tracks.

    The first tune, “All in All”, kicks the album off with a high-energy wind sprint of a song. The sound is huge, and Shields sets the precedence early on that his drums will be a commanding presence throughout the album. The drums are a major highlight from beginning to end. Lightning fills and huge toms round out a massive sounding kit, while Shields is simultaneously able to gently work the hi-hat to give the rhythm a big dynamic range. The bass stays in the pocket for the most part, save for a feature on “Wishing Tree”, but this works with how high-octane the drums are. The interplay between the two services the song more than the individual parts.

    A common theme throughout the whole work is how well each part plays to the larger picture. Analyzing the pieces is somewhat trivial- ‘Bad Life’ doesn’t take many theoretical risks and the instrumentals are simple for the most part. Typically this would be a knock, but with how the songs are written it works great to create a cohesive song, as opposed to a stand-out single instrument performance. The layering of uniquely effected guitars along with Dupuis’ consistently well-executed vocals fit like a glove along with the pocket-bass and the blistering drums. There are points where you’ll be listening in on a single instrument only to be pulled away by something just as interesting coming from your other earbud. Some of the spacious guitar lines sound like something from a deep-cut The 1975 song (like in track 9, “Luna”). These are contrasted at various points in the album by more clean guitars with tremolo and chorus to widen the sound. There’s so much to catch within the confines of each song, every one having replay value.

    Lyrically, there is an arc that the narrator creates. It centers around feeling displaced and unwanted. Further listening will shed more light on the exact meaning of each word and phrase, but for the most part the arc is uplifting yet realistic. It’s not fairy-tale happy and not whiny. It sits in a firm position of realism, acting as another reflection of the maturation of the band’s writing style. On top of this, the melodies themselves outside of the lyrics are sticky. The verses ride easy, and the chorus parts yield ear-worm hooks that’ll get stuck in your head for days. The structures are simple, making the album very accessible and easy to learn as a listener who no doubt will want to sing along. This way, when you catch them live, you’ll be able to sing along with their new tunes! Add ‘Bad Life’ to your fall and winter playlists and be on the lookout for these guys as they begin to branch out of the area and into the larger industry!

    Key Tracks: Sarah Told Them, Bad Life, All in All

  • Tom Morello Gets Close and Personal with his Music

    There are some musicians that when you hear they are playing in your area, you’re almost obligated to find a way into the show. The list is beginning to dwindle as time drags on, however some names are so engrained into the fabric of music that hordes of fans will be seeing them until the day they die, regardless of the project they are working on. Tom Morello fits into that (seemingly) waning list. On Monday, October 1st, Morello pleased a limited number of fans with his Atlas Underground CD release party to promote his new solo album in New York’s (le) poisson rouge.

    It was the first time a US audience had heard the album in its entirety, but before Morello gave New York a glimpse of the goods, he sat down with a moderator for a compelling Q+A. Spanning nearly an hour and a half, the discussion began with stories from the start of Morello’s extensive career, and included pictures of him as a child and Morello playing in his first band. The discussion progressed as the timeline of his life moved forward, and through it all he gave a serious look at who he was as a musician, how he became who he is, and what/who influenced him through the years.

    In between each major milestone, Morello picked up his guitar and jammed out on the style he was interested in at each point during his career. This gave the audience a glimpse of why he played what he did, the thought process of his change, and how he ended up with a certain tone/style. As he told fascinating stories from playing with his first band, to recording music videos with Rage Against the Machine, to getting on stage with Bruce Springsteen for the first time, and jammed his way through his career, the small audience was able to paint a full picture of who Morello was as a musician, and how he got to where he is now.

    tom morello

    The Q+A ended the first part of the evening, and once everyone in the room understood how Morello progressed as a musician, he played his new album, Atlas Underground, in its entirety for the entranced group. The album, he declared, was influenced by hearing the group Knife Party, and deciding to create an EDM based album with a slew of popular musicians. The album features groups such as Knife Party, Bassnectar, Pretty Lights, Portugal the Man, and Gary Clark Jr, and each song features a taste of the contributing artist’s sound layered with Morello’s signature style. Although he didn’t play along with the album, before each song began he discussed why the song was written, what it was about, and how it came to be.

    tom morello

    The audience was incredibly receptive to Morello’s new work, and once the album ended he picked up his guitar and began to do what everyone was waiting all night for; playing his signature songs. To the excitement of the audience he jumped into Springsteen’s “The Ghost of Tom Jones,” among other tunes, before ramping into full gear with a thrilling version of “Killing in the Name.” As the audience began to get their fill of live Morello tunes, he discussed how later in life he began to realize that in many cases folk songs were just as heavy as heavy metal songs, and that it was important to him that they were played accordingly.

    To end the show, Tom Morello invited the entire audience on stage with him for a sing-a-long rendition of Woody Guthrie’s “This Land is Your Land,” leaving every face, on stage and off, in smiles.

  • Hearing Aide: Doug Berns Band ‘Outlier’

    Doug Berns Band release debut albumBrooklyn trio, the Doug Berns Band, are quietly meshing together key elements of rock to create a sound that is both accessible and flashy. The group is fronted by bassist, singer and songwriter Doug Berns (EMEFE, The YeahTones), and features Sean Salant (AwakenTheShadow, Nova Lantern) on guitar and Coleman Bartels on drums. The group is releasing their debut album, Outlier, on October 18th, the same night as their release party at Rockwood Music Hall in NYC. In light of the upcoming release, NYS Music had the pleasure of checking the album out early. At the bottom of this review, the group is premiering their newest music video for their single, “Outlier”, the title track of the album. The nine track album is high octane from start to finish. It meshes the stylings of heavier groups like Metallica, lighter grunge like Alice in Chains, and an element of prog rock with soaring vocals and ripping guitar solos. The group demonstrates their technical ability in a slew of tight performances that highlight each member’s grasp on their intended sound.

    While the Doug Berns Band describes themselves as impressionistic rockers, it is tough to label them in this way. The album doesn’t take too many risks in terms of mood and timbre, but rather leans on catchy instrumental hooks and sticky vocal lines laid over heavy, well-executed instrumentals. Berns’ vocals float over top of thick distorted guitars in a way similar to how LaBrie’s (Dream Theater) vocals are the cherry on top of his band’s instrumental as opposed to being the main focal point. In the second track, “It Gets To You”, Berns shows off his falsetto, and establishes his presence in the mix without standing out too much. The melody is written well, and does a good job of leaving room for the guitar to fill space between phrases. This is especially potent in the fifth song “Mainline”, where the lyrics drive the narrative a bit more and the guitar provides great support to the song as a whole instead of pushing to stand out.

    The bass’ presence in the album deserves a big shout out, as Berns keeps a solid foundation when needed and doubles up with the guitar to add weight to certain lines. The guitar often runs off on its own to great success. The blazing and technically proficient solos are a big stand out. While Salant’s guitar is coated in dirt more often than not, there are a few points (namely in “Hell”) where the clean tones stand out just as much as the gritty lead tones- a nod to Salant’s ability to navigate modes within a key and color the solos so they stand out melodically from the rest of the backing instrumentals. The eighth song, “Ready Player One” features a specifically heavy solo, and covers a ton of harmonic ground. The drums remain pretty true to the genre and breathe an air of familiarity into each song. This might entail keeping the pulse while the guitar plays more complex rhythmic, palm muted riffs (like in the second track “It Gets To You”) or just holding the line on the odd-time parts of songs (like in “Meet Me”). This isn’t to take away the energy Bartels adds with his lightning fills. He shows flashes of his chops, but tends more frequently towards servicing the song as a whole which adds to the flow of the entire work.

    This album offers a good look at a band who is taking pieces from their predecessors and melding them to create a unique amalgamation of elements. In a way, this is impressionistic in itself without having to reach too far into the avant-garde. While the instrumentations are more traditional, the compositions and well-crafted structures allow the band to show their experimental side and give the listener some music theory fodder. Outlier is an accessible and exciting listen, a nice treat to hear for fans of heavier rock.

    Key Tracks: Outlier, Mainline, Ready Player One

  • Turkuaz Put Putnam In Its Place

    It’s always going to be a fun night when a band sells out a show. It’s going to be even better when that band is Brooklyn’s own, Turkuaz as the funk power house came to Putnam Place in Saratoga Springs on Saturday, October 6. Butcher Brown opened the show with a very groovy set with lots of peaks and valleys. They’ll be starting off each night of Turkuaz’s tour this month. Make sure to get there early and check them out.

    This show was truly one for the fans. With a rare “Gremlins” opener, the band played a slew of incredible classics from their beginnings to start their extra long single set. The energy was peaking for what seemed like the entire show, and with a back to back “Everyone’s a Winner” and “Life in the City,” you could only hope the night would never end. The balance of all the instruments, all the harmonies, all the raw power came together to finish the night with an energetic “Monkey Fingers.”

    You can catch the band around the country for the next couple months. They are down south this week before coming back up to Northampton MA, Providence RI, and a finishing their northeast run with a huge show at the Capitol Theatre in Port Chester. They will also be sharing the stage with tons of amazing talent, such as Cory Henry & the Funk Apostles, Lettuce, and Rubblebucket.

  • Hearing Aide: Idle Bloom ‘Flood the Dial’

    Idle Bloom

    Based out of Nashville, TN, Idle Bloom is an indie-rock quartet whose name has been popping up since their first release, Little Deaths in 2017. Since then, the group has covered ground from Tennessee to Chicago, and now they’re taking the larger NY area with their most recent tour. On top of touring more seriously, the band also sounds more matured in their most recent release, Flood the Dial. They build on their prowess for creating uniquely structured songs and excel in experimenting with so many facets of how a guitar can function in a song. Big power chords and traditional rock-guitar stylings still pop up in the album, but not nearly as much as the arpeggiated chordal interplay between two jangly guitars that breathe an air of dream-pop into each track. This experimentation mixed with familiarity pays off in a big way for the band, as they create a musically consistent album that doesn’t lose its luster with each passing song. Olivia Scibelli’s melodic style of crooning places her voice in the spotlight for much of the album, with hers and Gavin Schriver’s guitars taking over in the spaces between vocal lines. These voices float over top of a strong foundation created by Katie Banyay’s steady bass, and a rocket drummer, Weston Sparks, who’s use and placement of fills adds density to the mix. Idle Bloom successfully takes cues from noisier rock groups like Dinosaur Jr. and Pixies, and meshes them with the more pop-sensible songs from groups like Tigers Jaw and Crying.

    Idle Bloom does a really good job of not only maintaining a consistently unique sound through the album, but also build the energy throughout. The first track, “Wasted Time”, offers some jangly guitar interplay mixed in stereo to cover space as it immediately becomes clear that the group is adept at writing more mellowed out songs without sacrificing variety. Sparks keeps a heavier pulse with huge cymbal rides and a specifically thick sounding set of toms. While maintaining its teeth, the song has a nice flow and hook. It doesn’t amp up the energy to 11, leaving room for later on. The build continues through the next few tracks, giving more in terms of stacked harmonies and counterpoint guitars. The bass stays in the pocket and supplements the kick drum really well.

    The third song, “Sleeping In” even introduces a synth that carries over into more songs, and acts as a good transitional voice between songs. It’s hard not to notice how well Scibellie’s lyrics come across not only in flow but also in content. “Sleeping In” emotes a feeling of depression, steeped in the musings of a millennial coming to terms with the current state of the world and opting to keep trying as opposed to sleeping forever. The following track “Exposure” reflects on the heavier topic of sexual abuse/assault and cover-ups- commentary on an age old issue brought to light in modern times. The song is juxtaposed with the bubblier backing track, giving the narrator an edge of empowerment in their situation despite the seriousness of the topic.

    In the ninth track, “Empath”, Banyay and Sparks link up to create a punchy, exciting rhythm part that the guitars are able to accentuate with chucked funk chords and short harmonized lead lines. The melody, namely guitars and vocals, do a good job here of only coming forward when needed. The Steely Dan styled guitar duo on this and the sixth song, “Rewired”, came as pleasant surprises and showcase the versatility of the band. It felt like the band took the kind of American Football/Midwest emo guitar voicings and jazzed them up. This speaks to their ability to color thematically similar songs in a way that differentiates them and adds upon each of the prior tracks.

    The final song, “Contact”, acts as a great closer and culminates with just about every element that made the album such a fun listen. The post-rock experimentation of guitar tones and their function, the harmonized vocals, and a really punchy drum line all trade off the center stage. This is the most dynamic song on the album, and likely the most melodically colorful. From top to bottom, Flood the Dial is an exciting listen. Idle Bloom will be going on tour this fall, making stops at a few NYS locations. Check them out in a city near you, and be sure to stream the album here!

    Key Tracks: Contact, Empath, Wasted Time

    Upcoming Shows:

    October 5th – Ypsilanti, MI @ The Late Station

    October 6th – Cleveland, OH @ @ Happy Dog

    October 7 – Rochester, NY @ Bug Jar

    October 8th – Saratoga Springs, NY @ Desperate Annie’s

    October 10th – Brooklyn, NY @ Secret Project Robot

    October 11th – Philadelphia, PA @ No Face Studios

    October 12th – Baltimore, MD @ The Undercroft

    October 13th – Raleigh, NC @ The Wicked Witch

    October 14th – Johnson City, TN @ The Hideaway

  • Formula 5, Swimmer Team Up for Birthday Bash at The Hollow

    Downtown Albany celebrated in style on Saturday, September 29, with two birthdays and a first-time performance at The Hollow Bar + Kitchen. Formula 5 hosted the night, as the Upstate NY group helped close out one member’s birthday while ringing in another during an appropriate hometown throwdown. Warming things up for the night ahead was a new-to-Albany band, Swimmer.

    Founded in the depths of rickety Plymouth State University basements in 2013, the funky, improvisational quartet has grown with the seasons and emerged on the scene as quite a contender in their genre. The Burlington, VT musicians have been able to corral flocks of fans from their shared bills with top tier performers like Dopapod and Pigeons Playing Ping Pong. Adding Formula 5 to the mix, it only made sense that Albany and it’s strapping live music scene was their next destination to become acquainted with.

    Formula 5 SwimmerAiming to set themselves apart from every other jam-band to emerge from the hippy depths of Vermont, Cotter Ellis (drums), Matt Dolliver (keys/sax), Joe Agnello (guitar) and Jack Vignone (bass) tapped into their truly zany nature, showing off their musical chops and refreshing individuality. It was their tasty covers of Frank Zappa’s “Son of Orange County” >”Trouble Every Day” that found all patrons swiveled in their barstools and cheering on foot, asking their neighbors what band was playing.

    Ready to bring the high-energy festivities to the stage, birthday boy Matt Richards (keys) along with Joe David (guitar) and James Woods (bass) brought their “Widespread’s Dead” covers to their NY fans. Their latest tour boasts an assortment of tracks from the well-loved artists Widespread Panic and Grateful Dead, with Formula 5 originals interwoven throughout the set.

    Richards kicked off the night manning the mic for F5’s own “Bird Song” before tossing in an array of anticipated covers. Although Grateful Dead cover bands certainly aren’t lacking, you can’t help but smile and sing along whenever a Dead tune begins. Once Davis sang the opening notes of the Dead’s “Tennessee Jed,” there was nothing left for anyone to do but smile, smile, smile. Widespread Panic’s “Coconuts” acted as the fan-favorite pinnacle of the night as it was sandwiched between “Tennessee Jed” and a soothing take on “Terrapin Station.”

    Normally celebrating the day after Thanksgiving at The Hollow, Formula 5 took the time to address the crowd for an announcement that their Black Friday gig would make the jump over to The Palace Theatre. On Friday, November 23 the quarter will support the Disco Biscuits during their two-night Albany run.

    Swimmer Setlist: Murphy’s Law, Do it Myself > Son of Orange County* > Trouble Every Day*Jig -> Hyperbole, Curious Spaniard, Cornwallis *zappa cover

    Formula 5 Setlist: Bird Song^-> Blue-> Bird Song^, Greta~-> Booher’s Pass, Tennessee Jed^ Coconuts~ Terrapin Station^ Nu-Gen*-> In The Sand-> Gettin’ Tough Again, Hot Box, Love Tractor~

    ^ Grateful Dead
    ~ Widespread Panic
    * Unfinished

  • Hearing Aide: Mirk ‘Sense’

    Mirk has been a part of the local scene since it first formed in 2009. Each of the band’s previous six releases has its own vibe, which makes it difficult for anyone to pigeonhole the band into a specific genre. The band’s sound is best described as “dance clap,” incorporating elements of pop music from different eras to get audiences onto the dance floor, and clapping.

    In the past, Mirk has played with the harmonizing doo-wop of the ’50s, the horn arrangements common in soul music from the ’60s followed by the predominant guitar and drums of the ’70s. Mirk’s sound, however, never strays from its roots of hip-hop, R&B and soul.

    Mirk’s seventh and latest album Sense is inspired by the music frontman Joshua Mirsky hears from his clients at his Foster House Studios in Albany. Mirsky said it delves more into the pop, which is evident from the electronic beats on some of the tracks. But, overall, the album is steeped in rich and soulful R&B.

    The baseline on “Priceless,” the album’s opening track, sets the tone for the entire listening experience. It introduces the listener to a smoldering atmosphere with a danceable beat with electric accents. It aptly holds your hand into the next track, “Cleopatra,” an equally hot song featuring Stellar Young frontman John Glenn.

    Glenn is one of four local musicians brought along for the ride on this 12-track album. Another, Nick Horace of The 7th Squeeze, lends a powerful performance on the ambient track “First of Her Name.” Tara Merritt lends her vocals on two tracks. The Albany singer has been associated with members of Groovstick and The Chronicles. She really shines through on the final track, “Rapture.”

    Your up-close and personal dance tracks move aside after “Pretty Brown Eyes.” featuring Troy R&B artist James Rock providing the hook with his silky smooth voice. From there, the pace picks up a notch with “Options” and “Living It Up,” only to ease back subtle like.

    By the time you get to “So Bad,” you will understand that this is not a disco dance compilation. Sense is light the candles, turn the lights down low, sexy. This is the soundtrack to your Friday night; whether you have plans with someone, or you plan to cruise the scene downtown. Audiophiles with their headphones should also check this out. Whatever your intent may be, this is good music.

    This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSmusic. TheSpot518 and NYSmusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • STS9 Lights Up NYC with Empire State Rooftop Performances

    If a band is going to perform on the rooftop of a building to nearly 3,000 people, and that rooftop is in Manhattan, then the show should feel larger than the sprawling metropolis itself. That’s exactly what jamtronica heavyweights Sound Tribe Sector 9 (STS9) did on their two-night run this weekend at new music venue Rooftop at Pier 17 NYC.

    An aerial view of Pier 17 during the show, taken by photographer Bill Bernal aboard a FlyNyon helicopter.

    The Seaport on South Street has seen an artistic resurgence in recent times, and part of that has been the harbor’s opening of a brand new live entertainment venue in August, Pier 17. The venue sits on the rooftop and commands breathtaking views in all directions. Musicians from Sting and Shaggy to Kings of Leon, as well as Comedians like Amy Schumer have graced this rooftop gem. But even with those big-name acts, the venue featured one of its most anticipated events so far in Sound Tribe’s two night run this weekend.

    Night One

    Peaceblaster’s “Metameme” kicked things off in comfortable and colorful style, as Tribe’s lights began to illuminate the New York City night in similarly cosmic, mind-bending style. Night one overall would be a well-appreciated offering of old school-style Tribe, not only in the songs making the setlist but also in the spirited feel the band found again and again through the evening, harkening back some of their best days of live performance over the past many years. Such night one gems as “Ramone and Emigilio” even with its relatively new style, and a first-set “When The Dust Settles Reprise” instilled some spontaneous joy in the die hard percentage of the audience.

    Following the opener was “Out of This World,” and its segue into “March” really helped the night launch proper. By the end of this nicely extended two-hit segment, around seven o’clock and barely twenty-five minutes into the show, the playing from the band was reaching top-notch and the energy on the rooftop reaching towards the sky. Over the last many shows this year, Tribe has been working in more drum and bass grooves into their live mix. Whenever the building energy of a particular song seemed to call for it, bassist Alana Rocklin and the twin percussion killers of Zach Velmer and Jeffree Lerner were given the floor to launch into energetic drum and bass sections.

    Several times over, the night saw Rocklin meticulously weave her bass lines into the percussive wall that helped to charge some of the great night one jams. On one such drum and bass segment at the end of a fantastic version of “Reemergence,” Velmer saw a furious moment across the drum kit, and made for arguably the most exhilarating segment of night one.

    Sound Tribe offered a banger of an encore for this first of two shows, with a “Water Song” that blended perfectly with “Kaya” to wrap it all up. As angelic white beams of light beaconed into the dark New York City sky, a gorgeous, liquefied, stretch of space linked the two songs seamlessly, with David Phipps leading on his pristine synth work.

    Night Two

    As the band took the stage again on night two, the iconic Brooklyn Bridge loomed behind, and a colorful sunset transitioned across the sky. The mood was incredible. Set one, which began with “Menacer”, felt like a jam filled donut, with the band seamlessly weaving new and old songs together. The high energy and sprinkled rap samples got the crowd going.

    “Menacer” segued into Peaceblaster’s “Shock Doctrine,” and the heavy, dark undertones and electric riffs from guitarist Hunter Brown set the tone for the night. “A03,” a new, airy tune, came next, and was an exciting one for the crowd to hear, because STS9 had debuted this song at their Red Rocks Run only three weeks ago in Colorado.

    “A03” segued into several classic Tribe tunes sandwiched together, starting with “Frequences 3.” This was not an ordinary Frequencies rendition, as the high energy Frequencies 3 was played first. The band smoothly moved into another older favorite, “Squares and Cubes.” The colorful light rig above the stage was dominated by illuminated squares and cubes, perfectly complimenting this song. Without stopping, the band continued into the mellower dance tune “Frequencies 2,” and eventually found their way back into “Squares and Cubes.” The band created a reverse “Frequences” “Scubes” sandwich, and the crowd was energized to a maximum level.

    Next up was “ABCees,” another older STS9 song mixing dark undertones and reggae samples, and included another drum and bass section. “Strange Games,” was next, and utilized both Outkast lyrics and melodies from their own song “Get Loud.” The band closed the first set by transitioning into “When The Dust Settles,” which included lyrics from “Games”.

    After a short break, the band returned with another newer song “Spending Time,” which they debuted at their recent New Years show. This segued into Peaceblaster’s “Beyond Right Now,” and also included a crowd-pleasing drum and bass section.  The quintessential “Moonsocket” followed, and has evolved significantly since the Interplanetary Escape Vehicle release in 1998. “Moonsocket” included a longer jam that did not disappoint. The band changed gears with three new songs, “Dragon City,” “New Dawn, New Day”, and “Seed.” “Seed” segued into the fan favorite “Rent,” teasing “When the Dust Settles.”

    STS9 ended their two-night run at Pier 17 on a high note, before returning to play one more song before the 10 pm curfew. They sent their fans home happy with an energetic version of yet another classic offering, “Be Nice.” 

       

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