Category: Show Reviews

The First Hurrah: Phish Begins Four Night Run at The Garden

Phish returned to the “World’s Most Famous Arena,” Madison Square Garden for the 57th time in their career on Friday, opening the first of four nights with a high energy, well-rounded show featuring songs which spanned their entire career.

Many fans were wondering whether or not they would see the return of any of Halloween 18’s Kasvot Vaxt songs, and those questions were answered immediately with a show opening, grooved out “We Are Come to Outlive Our Brains.” The crowd erupted as the band took no time stretching their jam muscles with a creeping psychedelic build before returning to the final refrain. The short but sweet “Martian Monster” that followed got the crowd going with some fast-paced space funk that propelled the entire crowd into another dimension for a brief moment as the illuminated arena swirled with color from every direction.

The band kept the energy up in the stratosphere with standard, but rocking versions of “Axilla,” “Free” and “The Wedge,” which had everyone in the crowd feeling the feeling they forgot. The less frequented crowd favorite “Meat” followed and included a patient, extended jam which allowed the groove to breathe as the band dropped the tempo and showcased just how well they are able to bounce ideas off one another. “Ghost” followed, and though it was a relatively short version, the band took no time getting to an intense peak before segueing beautifully into the Phishgrass classic “Sparkle.” Next came a beautiful “If I Could,” the first ever played at MSG, and the second version in three shows despite how rare the song normally is.

“Maze” came next and was arguably the highlight of the set with knife-cutting tension and locked-in interplay between Trey and Page, as each played their respective solos with a little more gusto than typically seen. The set ended on an extremely high note with a rocking “Walls of the Cave” which featured multiple peaks from Trey as they sent the elated crowd to set break.

Set two didn’t have the greatest flow of the second sets this year, however what the set lacked in sequence they made up for with putting a little extra on every song they played. “Set Your Soul Free” opened the set, and featured the longest extended jamming of the night. The rocking TAB-turned-Phish tune oozed with psychedelia as it went through multiple movements and featured each band member strutting their stuff. CK5 put a little extra into the light show as the inside of the garden became an enormous kaleidoscope and brought the feeling of ecstasy to the next level. As the jam came down they transitioned seamlessly into the Billy Breathes combo of rarities “Swept Away” and “Steep” that featured delicate playing all around.

“The Final Hurrah,” the second Kasvot Vaxt song of the night came next, to the crowd’s delight, and featured a bit more mustard than the debut version as the combination of lights and thrashing sound squeezed the arena. The band took a bit of time deciding what to play next when they finally landed on “Fuego.” This “Fuego” was anything but ordinary and felt like the gift that kept on giving as the band peaked the song multiple times. Every time it felt like it was going to end, Trey turned it up a notch and ripped through another glorious solo. “Shade” came next for a much needed cool down before an always welcome and crunchy “Bathtub Gin” picked the energy back up. The set ended on a classic, tension-filled “Possum” which featured peak after peak to end the set on a very high note.

Thankfully, the end wasn’t the road, however, as the band came out with a two-song classic throwback encore. A standard “Bouncing Around the Room” led to a patient, building “Slave to the Traffic Light” which saw some fiery playing from Trey and left everyone going home wanting more. Phish will return to the Madison Square Garden for the second night of the run tonight, and it’s anyone’s guess as to what tricks they have up their sleeves.

Phish, Madison Square Garden, December 28, 2018

Set 1: We Are Come to Outlive Our Brains, Martian Monster, Axilla > Free, The Wedge, Meat, Ghost > Sparkle, If I Could, Maze, Walls of the Cave

Set 2: Set Your Soul Free > Swept Away > Steep, The Final Hurrah, Fuego > Shade > Bathtub Gin > Possum

Encore: Bouncing Around the Room, Slave to the Traffic Light

Trey teased The Little Drummer Boy in Bathtub Gin. Possum included a Long Tall Glasses tease from Page.

December 29, 2018
Walkin’ in the WinterWonderGrass

A weekend of walkin in the finest jamgrass around was made possible by the debut appearance in Vermont over December 14-16 at Stratton Mountain. WinterWonderGrass, now in its 7th year, has held events in Colorado and California since 2012, with founder Scott Stoughton and his team creating a musical village with a welcoming vibe at all turns.

Stratton was as idyllic a setting out east as WinterWonderGrass could have asked for. Located in south-central Vermont, the mountain is tucked away and has sprawling condos and chalets, a village that practically transports you to the Alps and world class skiing. This weekend added in 8 hours of bluegrass daily, with artists from across the country making the inaugural WinterWonderGrass at Stratton a rousing success.

Photo by John-Ryan Lockman © WinterWonderGrass Festival All Rights Rerserved 2018

Scott spoke to Jambase earlier this month about the inception of the WinterWonderGrass: “The original idea for WinterWonderGrass came together because I saw a lot of different music festivals happening,” Stoughton explained. “I saw the beer culture expanding. I was also living in a mountain town at the time, and I saw corporatization of mountain communities, influx of people, everything was branded, and it wasn’t feeling right. It wasn’t authentic.”

The result of Scott’s strive for authenticity is a music village that could be found at any ski mountain – after a run down the slopes, take off your skis and head over to the sound of banjos, mandolins and dobros and take a break with a cold one (or some hot coffee, cocoa or yerba mate). Walking into the venue each day, you feel like a member of a larger family, one that is smiling, laughing and dancing, and most of all, welcoming and friendly to all.

Photo by John-Ryan Lockman © WinterWonderGrass Festival All Rights Rerserved 2018

Friday kicked off with multiple sets from Pappy & Friends, Beg, Steal or Borrow, Fruition, Horseshoes & Hand Grenades, Pickin’ on the Dead and Vermont’s own Saints & Liars. With the three tent stages all close to each other, catching all three was as simple as strolling 50 feet away for a taste of something new. Headliners Jeff Austin Band and The Infamous Stringdusters had the crowd looking forward to the next two days, with powerhouse sets from both. Jeff Austin led a Yonder-style band with a set of speedy jammed out bluegrass originals and covers, capping the set with crowd favorite “Sideshow Blues,” while Stringdusters took spins on Phish’s “Possum” and “Bathtub Gin,” and invited up artist-at-large Bridget Law for Aretha Franklin’s “Respect.” Late night sets featured more from Saints & Liars and Horseshoes & Hand Grenades, as well as John Stickley Trio and Beg, Borrow or Steal.

December 24, 2018
Rubblebucket Brings Albany To Its Knees… Literally

On December 6, Rubblebucket brought their tour through Lucky Strike in Albany in support of their new album, Sun Machine. The duo in Kalmia Traver and Alex Toth are keeping the Rubblebucket name alive after a long, tough road. Sun Machine is an album that literally follows their own struggles as an on and off couple and keeping their personal issues aside as they continue to work together. The songs are incredibly powerful and make for what is being considered quite the theatrical performance.

And The Kids from Northampton, MA opened the show. They’ve been on tour together a few times now as Kalmia and Alex have become close with the members, even having the “Kids” come out on stage with them for a couple songs. Rubblebucket backs themselves with an incredible touring band that changes from time to time but generally stays the same. Mixing their old classics like “Came Out of a Lady” and new ones like “Party Like Your Heart Hurts,” the band puts on an incredible production with shadow screens and, at one point, literally bringing the crowd to its knees and crowd surfing over them while playing their horns.

Rubblebucket just announced their spring tour, coming back through New York in late January and mid-March before heading west.

December 23, 2018
The Ballroom Thieves Warm the Rochester Winter Once Again

The Ballroom Thieves returned to the Arbor Loft in Rochester for another show put on by Honest Folk. They stopped by last winter, Valentines Day to be exact, and were back for another frigid Rochester night. The folksy trio was back to let Rochester warm its souls next to their rich musical fire while the cold and snow settled in for the long haul outside.

They’ve been busy during their ten-month absence and brought with them two new EPs, one of originals and one of covers. The set borrowed heavily from the new material so the show varied greatly from their previous visit and they continued to showcase their evolution as a band.

On their very first visit to Rochester, back at Abilene, cellist Calin Peters had only recently joined the band. She was a bit shy and hesitant to take control musically. But if Tuesday night was your first time seeing the band, you might determine that the band was built around her specifically. Her beautiful voice led a seeming majority of the tunes and commanded attention unlike any other time we’ve seen them.

Drummer Devin Mauch and guitarist Martin Earley were both recovering from colds while Peters was limping and in a brace from a minor tour van incident. They jokingly were running at a collective 230%, though you wouldn’t know it from their output. On newer material like the raucous and meandering “Can’t Cheat Death,” the deep fuzzed out blues “Fistfight,” and the bubbling, bouncing and building “Almost Love” they were as energized and active as ever.

They threw some great new covers in the mix as well. Earley took the stage alone mid-set for a solo take on Tom Petty’s “Time to Move On” while Peters lead the band on Bahama’s spectacular “Lost in the Light,” which is featured on their just out EP, Covers.

The show ended with a “fake” encore of “Bury Me Smiling,” but there was nothing fake about this show. Honest through and through, including some highly detailed band introductions, including individual Q and A sessions, including such deep dive topics as pets, eating habits and high school accomplishments.

A short opening set by Odetta Hartman married electronics with acoustic folk. Drummer/percussionist Jack Inslee laid down landscapes of sound ranging from seaside and train noises to banjo melodies to backing choruses, while Hartman’s angelic voice and banjo, guitar or fiddle floated above. Inspired by the wedding-esque surroundings, they eschewed their usual spooky setlist for a more love-based repertoire.

Ballroom Thieves, Arbor Loft – Rochester

Setlist: Anybody Else, Can’t Cheat Death, Saint Monica, Only Lonely, Time to Move On (Tom Petty), Bartering, Trouble, Fistfight, Lost in the Light (Bahamas), Do Something, Almost Love, Bury Me Smiling

December 15, 2018
Dave Matthews Mixes Favorites and Covers in Albany

Dave Matthews Band has been on an extensive fall tour this year, making stops all across the United States, sounding tighter than ever and brought an incredible show to the Times Union Center in Albany, NY on December 5.

Usually, the band makes their way to the Albany area in the summer for their legendary SPAC runs in Saratoga Springs. The group opened up with “You Never Know” into “One Sweet World,” followed by “Samurai Cop (Oh Joy Begin).” Next, Dave Matthews and his band played crowd favorite “Everyday” followed by a cover of Aerosmiths’ “Sweet Emotion.”

The night was filled with crowd pleasers and hits like “Where Are You Going,” “Don’t Drink The Water” and of course “What Would You Say.” The Dave Matthews Band ended the night with a two-song encore featuring “Granny” and the Bob Dylan cover “All Along the Watchtower.” The group continues their tour through December 28 when they close in Miami, FL. Check out photos from their Albany performance below provided by Vinny Otto:

Setlist: You Never Know, One Sweet World, Samurai Cop (Oh Joy Begin), Everyday, Sweet Emotion (Aerosmith cover), Minarets, Where Are You Going, Burning Down the House (Talking Heads cover), Crush, Kill the King, What Would You Say, Here on Out, Don’t Drink The Water, Dancing Nancies, Come On Come On, Grey Street, She, You Might Die Trying

Encore: Granny, All Along the Watchtower (Bob Dylan cover)

December 10, 2018
Dave Matthews Band Opens NYC Run With Rarities and Special Guest

Dave Matthews Band returned to the world’s most famous arena for back-to-back sold-out shows as part of their 10-city fall tour on Nov. 29 and 30.

Having the opportunity of a summer tour to spotlight songs from the band’s 2018 release Come Tomorrow, DMB shied away from making that the focus with one four songs from the album in their set. Instead, they took the opportunity to mix the show up a bit with some rarities and older songs not often seen in their touring set lists.

Highlighting the latter part of the nearly three-hour single set was a special appearance by the talented Eric Krasno, a NYC native and founding member of Soulive (alongside Alan and Neal Evans) and Lettuce. Krasno joined the band for a fiery solo on “Lie In Our Graves.” (DMB’s second night featured Warren Haynes as a special guest).

With the early 2018 departure of the band’s long-time violinist Boyd Tinsley, whose parts were a defining part of their live sound, the band found keyboardist Buddy Strong to fill the spot. Strong is a talent behind the keys, touring or performing with majors acts like Usher, Ariana Grande, Miley Cyrus, and others. He brought a different dynamic to the performance than we are used to, adding a bit of funk and soul to the overall sound and crafting a new feel to some of the improvised moments of the show such as his solo on “Funny The Way It Is.”

A few familiar songs anchored the setlist to keep the less-seasoned DMB fans engaged such as “#41” and “Satellite,” though night two’s set was a little bit more mainstream in the tunes. Closing the encore was one of DMB’s more commercially popular songs, “Ants Marching,” featuring some extended jamming and Beauford riffing around an a drum intro that slowly teased the song.

Setlist (Night 1):

Seek Up, That Girl Is You, Why I Am, Samurai Cop (Oh Joy Begin), Kill the King, #41, Satellite, Again and Again, Sweet Emotion, Minarets, Can’t Stop, Lover Lay Down, Lie in Our Graves (w/Krasno), Sleep to Dream Her, Typical Situation, Funny the Way It Is, You & Me, You Might Die Trying

Encore: What You Are, Ants Marching

December 5, 2018
RPI Celebrates Launch of New Music Degree with the Rensselaer Orchestra at Carnegie Hall

A small yet well-known engineering school in Upstate NY isn’t somewhere that would be expected to produce the talent to perform at a world class concert hall. However, that’s what happened at Carnegie Hall on Oct. 24 when Rensselaer Polytechnic Institute (RPI) celebrated the launch of a new Bachelor of Science degree program in music with a debut performance by the Rensselaer Orchestra.

Produced by DCINY (Distinguished Concerts International New York), the show brought together friends, family and classmates of the performers along with NYC locals for an enjoyable night of classical music.

Under the direction of Nicholas DeMaison, the Rensselaer Orchestra presented two pieces beginning with River Rouge Transfiguration composed by Missy Mazzoli (commissioned by the Detroit Symphony Orchestra in 2013) and continuing with Jean Sibelius’s Symphony No. 5 in E-flat major, Op. 82, composed during the years of World War 1.

RPI President Dr. Shirley Ann Jackson began the show with some opening remarks about the new music degree and program. “…the degree is a means of preparing today’s contemporary musician for fluency in the arts as well as in the sciences…We all have recognized the degree to which the arts can spark innovation and the value connected with the arts, science, and technology.” Dr. Jackson continues, “our new Bachelor of Science in Music will enable us to further incorporate the arts throughout our research, curriculum, and student life experience…The theme of our musical program this evening is also about transformation that celebrates the work of two innovative and inspiring composers, Missy Mazzoli and Jean Sibelius.”

Since the concert, the university has released a video of the concert which can be seen here.

December 4, 2018
Blaine Holcomb Rocks a Standing Room Only Crowd in Erieville

Nestled along Tuscarora Lake between the Madison County college towns of Cazenovia and Morrisville, the Blue Canoe is a charming Adirondack style family restaurant. On Friday, November 30, this off-the-beaten-path venue was packed as it hosted Blaine Holcomb, a Nashville singer-songwriter born and raised in Hamilton and a graduate of St. Lawrence University.

Holcomb was in the area for a hometown-ish show, celebrating the release of his self-titled debut CD and did not disappoint. Holcomb is a young artist with a flair for modern country, yet has a truly high classic country IQ. His reverence for country royalty — George Jones, Merle Haggard, Johnny Cash, Waylon Jennings, George Strait — is evident in his writing and he makes it well-known that these people are his music idols.

Holcomb entertained the standing room only crowd at the Blue Canoe with an almost three-hour set; his only breaks taking place between songs when he signed CDs for the many in attendance. If there’s one thing Holcomb is, it’s appreciative. He has spent the better part of the past few years in residency at Nashville’s famed Tootsies Orchid Lounge, and in that time, has learned the skill of entertaining. He’s not above taking requests but makes sure he sprinkles classics into his set to let everyone know his roots.

His set reflected the modern country charts, with covers from Eric Church, Keith Urban and Chris Stapleton, but also paid tribute to the legends, covering his idols, George Jones and Merle Haggard. Holcomb’s take on Jones’s “He Stopped Loving Her Today” and Haggard’s “Mama Tried” had the crowd engaged and would have done the original artists proud.

Speaking of Holcomb’s roots, his visit to Erieville on Friday was a testament to that. He holds his family and friends close and makes sure to fit in a local show whenever he is in town, whether it’s at the Blue Canoe or Ray Brothers BBQ in nearby Bouckville. His maternal grandmother sat at a table stage left the majority of his set while his mother worked the crowd selling CDs. Many fellow St. Lawrence alums and former bandmates were also in attendance.

A highlight of the night was a ballad Blaine Holcomb wrote in honor of his grandfather, who he spent much time fishing with in his youth. The song, “Keep Your Line in the Water” is an emotional ode to an influential man that Holcomb held close and brought tears to the eyes of many in attendance.

Holcomb paid tribute to friend Daryle Singletary, who he’d met in Nashville, describing the affable nature of the man as he introduced his cover of Singletary’s song “Spilled Whiskey” that is included on Holcomb’s album. Singletary died earlier this year at the age of 46.

He tried ending his set several times throughout the night, but bowing to the crowd kept extending the set for “one more” song. One more song wound up being five more songs ending the night with rousing covers of Garth Brooks’s “Friends in Low Places” and Johnny Cash’s “Folsom Prison Blues,” with his fans singing along and begging for more.

Blaine Holcomb is a unique presence in this new world of country music. An old soul housed in a young body who isn’t afraid to mix the classics with the new. You can pick up his new album at his website here or at his shows. He returns to Nashville this week to continue his Tootsies residency. You can catch him live there or through the Tootsies Live Cam here.

December 1, 2018
Lotus Plays Games With Playstation Theater

Lotus has been on top of their game this year, bringing their heavy bass-line jams across the country and on Saturday, November 24, the quintet came to NYC and played to a packed show at the Playstation Theater in Times Square.

Set I: 128, Hammerstrike, Inspector Norse > Cosmosis, Cain & Abel, Travel > Greet the Mind

Set II: Slow Cookin > Wooly Mammoth, Faceblind, Through the Mirror > Sunrain, Spaghetti > Age of Inexperience

E: Strawberry Letter 23

You can catch the boys this winter at Dominican Holidaze and on their New Year’s Run. They play the Majestic Theater in Detroit and the Intersection in Grand Rapids before finishing with two nights at Park West on December 30 and 31.

November 28, 2018
A Spectacle at The Palace: The Disco Biscuits Return to Albany

The Disco Biscuits visited Albany’s Palace Theatre for a 2-night run this past weekend, the band’s first time in the Capital District since 2010’s show at The Egg. Opening up the night was the local and nationally touring band Formula 5 making their debut at the Palace. Though the weather was quite brisk, fans came out in droves to see both bands work their magic at the famous venue.

Formula 5 kicked the night off with an hour-long, all original set, opening with a newer tune “In The Sand,” into “Sad Bed,” a rocking cut from the group’s recent studio album All Points North. “Sad Bed” was left unfinished as the band transitioned into “Booher’s Pass,” a more somber instrumental tune that featured the best jam of the set, leading the group into some experimental type-2 territory. After another original “Gettin’ Tough Again,” the group closed out their set with another new song, “Breaking Glass.” The song mixes lyrical sections with synth-heavy, prog-like riffs and does it well, as the crowd was responding very positively to what F5 was laying down.

To open up the Palace show, The Disco Biscuits played the rocking “7-11,” an older song that was met with open arms by just about every fan in the theater. “7-11” was just the beginning of what became an incredible first set, which was foreshadowed by the band absolutely nailing the composed section of the tune. The jam was extremely fast-paced, featuring lots of drummer Allen Aucoin hammering away on his drum pad laying down an untzy groove for the rest of the group to build a heavy jamtronica groove off of. “7-11” was left unfinished so that the group could transition into the ending of “Above The Waves,” signaling to the fans that the band was inverting the song. Following the quick peak of “Waves” the group started working through the song’s composed section, another tune from the early days of the band.

The “Waves” jam continued the uptempo jamming from “7-11” before dropping back into the song’s chord structure and bringing the jam back to the peak it had opened with. Following a heavenly solo from Barber, the group dropped into “Minions,” a more recent tune that had a mysterious feel to it. Keyboardist Aron Magner utilized the full extents of his rig during this tune, looping a funky clavinet part during the verse and singing the chorus through a vocoder on one of his synthesizers. The majority of the “Minions” jam was the band flexing their funk muscles before they started lifting the jam into the last song of the set, “Voices Insane.” This version of “Voices” was superb, the band locked in and smoothly transitioning between each composed section, allowing some of the movements to breathe a bit before moving onto the next part.

After a quick set break, the group came out and opened the second set with “Sweating Bullets,” a grandeur tune that had a medieval feel to it during the composed section. The jam was fairly short and featured a somewhat dub reggae feel before coming to a close. The group then took a quick pause and dropped into “Resurrection,” which had an R&B feel to it and allowed for the group to show off a different side of their musical capabilities. The “Resurrection” jam was slower than most of the night’s previous jams, and served more as a jumping off point for the segue into “I-Man,” which is where the second set started to pick up.

The band very suddenly dropped into the fan favorite “I-Man” during the “Resurrection” jam, beginning with Barber singing out the opening lyrics of the tune, which was met by loud cheers from the entire crowd. Following the lyrical sections, the group started into the jam of the night, a supernatural peak that was incredibly patient in its build up, delivery, and subsequent redelivery as the group started back into the song’s chorus. Following “I-Man,” the group broke into Muse’s “Knights of Cydonia,” a song that has only been performed three times prior by the Biscuits. The “Knights” jam was full of untz and dove back into the jamtronica side of the Biscuits, before a very dramatic drop back into the song’s lyrics and main riff. To close out the set, the group broke into the upbeat “Story of the World,” which rounded out the stronger second half of the set. After the main composed section, the group broke into some more funk-themed jamming, bringing back some of the musical flavor that “Minions” was offering during the first set. The peak was pretty quick and brought the tune back into the melody of the tune before one last chorus and ending the set. For an encore the group played an extremely short, “World is Spinning.”

Saturday night was a spectacle of its own, with the crowd revved up from the night before and ready to rage the Palace. Opening with “The Tunnel,” which has found its way back into the rotation in the last few years took a journey that ended up in the latter section of “Spectacle,” which would also open Set 2 with the first portion of the song. “M.E.M.P.H.I.S.” brought the energy level even higher through the composition and eventual jam, which worked into Biscuits anthem “We Like To Party,” a statement that encompasses the tone of the crowd over the weekend. “Rock Candy” and “Save the Robots” took it back old school for a tight pairing to close the set.

To keep the party going in the second set, a 45-minute pairing of “Spectacle” -> “spacebirdmatingcall” made for a sweaty run of energetic of the Biscuits signature trancefusion jams. A brief “Hope” was a well placed breather, if you consider the flowing peaks of the song a place to rest. “Reactor” featured an inverted “Crickets” sandwiched inside, a crunchy progression of classic Biscuits jam vehicles that brought the set to a tremendous finish. “Portal to an Empty Head” closed the night in the encore slot, wrapping up the first multi-night Biscuits run in the Capital District since Camp Bisco was held in nearby Mariaville.

The Disco Biscuits have been on fire as of late, and have a few more runs you can catch them at before their NYE run at The Fillmore in Philadelphia. Check out photos from Filip Zalewski for a taste of what the the evening was like.

Setlists

Formula 5, Friday, November 23, 2018

Set: In The Sand > Sad Bed*# > Booher’s Pass, Gettin’ Tough Again, Breaking Glass
*”In the Sand” tease
# Unfinished

The Disco Biscuits, Palace Theatre, Friday, November 23, 2018

Set 1: 7-11* > Above the Waves (Inverted) > Minions > Voices Insane
Set 2: Sweating Bullets, Resurrection > I-Man, Knights of Cydonia**, Story of the World
Encore: World is Spinning
*Unfinished
**Muse Cover

The Disco Biscuits, Palace Theatre, Saturday, November 24

Set 1: The Tunnel -> Spectacle, M.E.M.P.H.I.S.-> We Like to Party-> Rock Candy, Save the Robots
Set 2: Spectacle-> Spacebirdmatingcall, Hope, Reactor-> Crickets (inverted)-> Reactor
Encore: Portal to an Empty Head

November 26, 2018