NYS Music 20​18

Category: Show Reviews

  • Rochester Fringe Goes ‘Instrumental’

    Dave Chisholm has a knack for writing and illustrating comics and a gift for making music. Last year, he released the graphic novel Instrumental along with an accompanying soundtrack that he composed. The multi-instrumentalist has a doctorate degree from Eastman School of Music, and not only wrote all the parts for the ensemble, but also performs on the trumpet himself. The members of the band also represent the characters in the graphic novel, who are also in a band. The story line centers around the moral dilemma faced by a musician who is gifted a killer trumpet. Yes, the instrument literally kills listeners.

    Luckily for those of us in the audience, this is a work of fiction. Even if it weren’t, I would have taken the risk. While the soundtrack has been performed live a couple times since its release mid-2017, this was the first time it has been projected onto a screen behind the musicians. The effect was spectacular.

    The novel has seven chapters, each corresponding with a track on the album. As you see the characters in the ensemble playing, you hear their instruments being played live. The characters really come to life.

    One of my favorite characters, the drummer of the fictional band, has an intense practice session at the beginning of the chapter entitled Decompression, and it was such a thrill to see and hear the drum solo played live by local percussionist Matt Bevan-Perkins. Syncing video and audio is no easy task, especially when the music is being performed live. As the drummer, Bevan-Perkins deserves kudos for setting the pace for the rest of the band so that it appeared seamless to the audience when the song ended at the same time as each chapter of the book. Bevan-Perkins was a stand-in for the Instrumental band, but performs regularly in Chisholm’s other project Talking Under Water.

    The protagonist of the work is a trumpet player, so the trumpet is featured prominently in the performance. Chisholm has masterfully infused musical symbolism and applied principles of music theory to create harmony and dissonance as appropriate to the story line, and carrying through golden threads of melody that tie the work neatly together. The listener is swept along as the trumpeter marches through the frustration of grinding out a gig, soars to heights of celebration, then plunges into depths of despair. All the while, Chisholm is playing the role of both musician and conductor giving visual cues to bandmates.

    One of those bandmates was saxophonist Colin Gordon, who performed an absolutely stellar solo during tonight’s performance.The string section was comprised of Chris Potter on guitar and Dave Kluge on bass. On the grand piano was Matt Curlee, whose part was featured prominently in the finale.

    The audience members fell completely under the spell of Instrumental, and rewarded Chisholm and the Instrumental band with a standing ovation. The line to meet the musicians afterwards lasted nearly as long as the performance itself. If you missed the show, the graphic novel and soundtrack are both available on Amazon. Visit Dave Chisholm’s website for more information about his comics and music.

    This event was one of more than 500 events that have been slated for this year’s KeyBank Rochester Fringe Festival. The state’s largest multimedia festival runs through Saturday, September 22.  A comprehensive list of events can be found at the Rochester Fringe website rochesterfringe.com. Stay tuned to NYS Music for continuing coverage.

  • Photo Gallery: Perpetual Groove at Brooklyn Bowl

    Perpetual Groove brought their usual non-stop, southern style jams to Brooklyn Bowl on Saturday, September 15. Featuring Brock Butler (guitar, vocals), Adam Perry (bass, vocals), Matthew McDonald (keys, vocals), and Albert Suttle (drums), they reminded the packed house exactly why they skipped out on other awesome shows. One fan said before the show that he was skipping David Byrne for this show, and at intermission confirmed to that he had made the correct choice.

    Set One: Release>GreenTea>Mayday>NaiveMelody>OutHere>GreenTea>DetoxMansion>GreenTea, PaperDolls, OnlyAlways

    Set Two: AIM, Crapshoot, MOTA>Closer>RobotWaltz, StealyMan>BestOfAnything

  • Funktional Flow Turns Up the Heat in Buffalo at Iron Works

    It was a hot night in Buffalo, the same night that Elton John was playing at Key Bank Center for his Farewell Yellow Brick Road tour. Parking was difficult since the Elton John show was a sellout, but neither the heat nor the traffic could deter people from showing strong for Funktional Flow‘s show at Iron Works. Even with a sold out event next door, the Buffalo-based group never fails to draw a crowd of eager attendees to one of their main home-base venues. As per usual, the Funktional Flow team was able to enlist the support of another great act; the Syracuse-based reggae group Root Shock. Anyone coming early was lucky enough to catch a preview of the light show for the night. The lighting at Iron Works was vamped up and prepped to go, with a spectacle of mixed colors and effects. It’s always a pleasure to catch a show here.

    Root Shock opened up the night for Funktional Flow

    The crowd started flowing through a few minutes into Root Shock’s set. Root Shock came off as a weathered group, utilizing all the tools present in their 6-piece outfit. Guitarist Phil Grajko and Jessica Brown traded off on vocals, while the extended rhythm section showcased their ability to create intricate reggae grooves. Their set had great transitions, giving the audience some slower songs to rock to, and some faster ones to get down. From the balcony of the venue, it was cool to see a group of dancers doing tricks with hula hoops and getting the audience moving. The band also got the crowd dancing, and even played some songs that they’ll be recording this upcoming weekend- always a treat to hear unreleased material. As Root Shock finished, it was a good idea to venture closer to the stage to get a spot near the barrier. One could overhear chatter that there was a line out the door. 11 pm came around and the crowd cheered as Funktional Flow took the stage.

    The lighting was a huge highlight for this set. A backdrop of colors and textures adds so much to the atmosphere of the show, and the effects lined up well with the music the band played. You can tell that these Iron Works shows are special by how in sync the band and the sound and light crew were. Funktional Flow’s set was rock solid; their mix of flavorful reggae and funk rock works to great effect live. They also had a couple of feature percussionists for this event: Ryan Nogle on drums and Griffin Brady on auxiliary percussion. This added a lot to the groove which was simultaneously being fortified by Ben Whelan’s melodic and percussive bass lines. Joey Lewis flashed his technical prowess with scathing guitar solos and carried some of the vocal duties along with singer Jefferey Kuebler. One of the coolest parts of these Funktional Flow sets is when Jefferey and Joey lock in on a guitar riff and get a classic rock type guitar duel going. Matthew Lester provided a heap of energy as he ripped solos on the saxophone and held down the keys to round out a huge live sound. The highlight of the night was hearing their original song “Trouble” with the night’s lineup. The album version from Time Will Tell is great, but the added meat from the auxiliary percussion, on top of Nogle’s huge drum sound and lightning fills, differentiated the tune and revealed a whole different dimension of the song. That’s what these live shows are all about! Definitely catch these two bands if they come through your town and be on the lookout for their music.

    Matthew Lester provides energy through his stage presence and concise solos
    Ben Whelan (right) holds down the groove while Joey Lewis (middle) nails riff after riff
    The variety of lighting textures added to the audience experience
    Ryan Nogle and Jefferey Kuebler (right) lock in with Ben and Joey (left)
    Iron Works filled up with eager supporters

  • State Fair Closes Out with Record Attendance

    The Great NY State Fair is like no other event of the year and set record attendance with over a million attendees meandering the fairgrounds throughout the week, scoping out the best eateries to gorge their faces at, visiting all their favorite exhibits and animal barns, braving the carnival rides, and spending tons of money on winning a super-sized stuffed animal that probably won’t even fit in the car for the ride home.  In today’s economy this is one affordable family-filled excursion this has become a family tradition for many. We all have our favorite things and traditions while at the Fair, and the diverse attractions and exhibits offer something for everyone. That’s what makes the Fair the Great New York State Fair!

    Another tradition at the Fair is the amazing music fairgoers get to experience for free.  When most things are beyond our means, this gift comes with the price of admission and never ceases to amaze me at the quality of acts they are able to get twice a day.  This year’s lineup had something for everyone; every genre was represented.  Starting the Fair off with a bang on Day One was a mix of rap with Mir Fontane, and rock legends Blondie.  You may think that Mir Fontane and Blondie have little in common musically, but I beg to differ. Although “Rapture” was not the first rap song ever to have commercial success, it was the first to hit the charts and, some say, the first to be aired on MTV.  Blondie introduced us to a Fab Five Freddy and Grandmaster Flash, as she sang of the “Man from Mars.”  Although it was on the B-Side of Walk Like Me, the song grew legs and took off running in 1981, climbing the charts to number one on the US Billboard Hot 100.

    Mir Fontane may not be a household name for some, but I didn’t mind him.  It’s difficult to describe if he is versed at what he does, as I’m not qualified to judge.  But if I was to give a personal opinion here, this wasn’t anything that would make me change the radio station. I would continue to listen. He had a great stage presence and got the audience engaged from the moment he came out.

    As the day wore on, the crowds began to fill in as the show time neared.  You can always tell when there is a favorite act as the seats begin to fill in earlier than usual.  Taking my place up front, I watched and listened to the scuttlebutt of stories of those waiting, sharing with each other memories of Blondie back in the day.  Whether it was shows they had seen or songs that they loved, there was a strong connection – one to which I could relate.  Back in the ’70s and ’80s, female-fronted bands were a rarity.  Blondie was a role model to those who followed music.  What made Blondie unique was her ability to be herself and share her craft in her own way, whether it was through her lyrics, her videos, or her presence itself.  She was unique and fascinating.  Fast forward 40 years and she’s still that beautifully expressive individual.

    With an estimated 18,000-20,000 in attendance that first night, she took the stage and it was as though the clock rewound to 1981 for me as she stood there singing all of my favorite hits.  Joining her on stage was original member Clem Burke on percussion, with Matt Kitz-Bohan on bass, Leigh Fox on keyboards, and Tommy Kessler on guitar. Although not elaborating, Deborah Harry mentioned Chris Stein’s absence as he was greatly missed by all. Despite being down one member, they were on their ‘A Game’.  Belting out both original hits from back in the day and newer recent releases, she captivated the audience and had them on their feet dancing and singing along from song number one. Still marching to the beat of her own drums, her stage ensemble included a cape that said “stop fucking with the planet”, to a ’60s-like swing dress, to an Under Armour neon pink shirt that only she could pull off as the ensemble lit up the stage under black lights. To say she’s still got it is an understatement.  She’s got it and, like great wine and whiskey, has only gotten better with age.

    The week progressed along nicely with shows and events going off without a hitch.  Even when Dickey Betts had to cancel his appearance due to a medical condition, the Fair was able to substitute the Dropkick Murphys in his place without batting an eye.  A first time appearance for the Murphys at the State Fair, they were quickly a crowd favorite as attendees began to fill in and pack Chevy Court in anticipation of their favorite Celtic Rock band.  People called off work and traveled from all over for this last minute show.  Listening to fans share memories of performances at Fenway Park on St. Patrick’s Day, I knew this truly was a score on the part of the Fair.

    A Celtic music lover myself, this was a first time performance for me.  This Boston-based band has been around since 1996, how they escaped me until today was beyond me – perhaps because they are a little edgier than the bands I normally see at the Irish Festivals.  As the Fair prepared for the rowdy crowds this band usually incites, the troopers were placed along the fence line and ready in the event a mosh pit and crowd surfing began.  Not that their fans usually get too unruly, but because this was not a normal venue for such activities.  As the band began to play, I could certainly see why their fans love them so much.  Their energy was off the charts.  Frontmen Al Barr and Ken Casey flew around that stage in a non-stop blur for the next hour or so, making it difficult to even photograph them.  Fans sang the lyrics verbatim and when Casey came out into the crowd to sing “Rose Tattoo,” they loved it. Heck, I loved seeing that. Artists that are there for their fans garner much respect in my book and this band is known for being down to earth and right there for and with their fans.

    The variety of music at the Fair was vast and although I didn’t have a chance to see everyone I wanted due to scheduling conflicts, the quality of acts was unprecedented in my book.  A first time look at Live, the band, was enjoyable for many, including myself.  Touring with the Counting Crows this summer, they certainly packed a punch, filled the seats on a hot August afternoon, and gave the fans a show heating up the stage for the latter performance.

    An arena band for certain, The Counting Crows sell out no matter where they go.  In my personal opinion, Adam Duritz and his band are musical geniuses. Their ability to tell a story is more than just the simplistic vantage we are accustomed to in musical lyrics. Their songs are more than just lyrics, they are literature.  The story they tell has depth, has feeling, and the characters have emotions. Duritz’s ability to convey this is a gift and I’m moved every time he sings. This was one show I knew I had to make the time for. No matter what is going on, when Counting Crows come to town, I’m there.  Duritz seemed very at home with the crowd that night.  Sitting, singing, smiling, and engaging with the audience and his band; it was a joy to see him so light hearted. Normally, he’s so focused into his music and performance and serious.  That night it was just a jam session with thousands of his closest friends.  One of his best performances I’ve seen yet.

    There just wasn’t enough time in the day to see everything I wanted.  For the most part, the weather held out for all of the shows, with only a few hiccups during the weeks of the Fair. The Lil Yachty show was unfortunately canceled due to rain, and then the incidents that followed the Boogie Wit da Hoodie show will un-foundly fuel the fears of trouble that is often associated with rap acts.  Unrelated, other than the trouble makers arrested that were there the same night as that show, we hope the Fair will continue to book rap artists as the majority of those in attendance that evening have rare glimpses in this area to see their favorite rap performers.

    As we close the book on the 2018 Great New York State Fair performances, it’s exciting to see what they will begin to schedule for the new Exhibition Center at the fairgrounds.  This new facility is huge with state of the art features, and we look forward to seeing the variety they bring there.  Hats go off to the staff and coordinators for this year’s events and a job well done.

    ______________________________________________________

    Set Lists

    Blondie: One Way or Another, Hanging on the Telephone (the Nerves cover), Fun, Call Me, Gravity, Rapture, Fragments (an Unkindness cover), Maria, The Tide is High (the Paragons cover), Too Much, Long Time, Atomic, and Heart of Glass

    Dropkick Murphys: Kelly’s Kitchen, The Boys Are Back, Prisoner’s Song, Sandlot, Johnny, I Hardly Knew Ya, Blood, The State of Massachusetts, Caught in a Jar, I Had a Hat, Sunshine Highway, The Fields of Athenry, Folsom Prison Blues

    Live: All Over You, Love Lounge, Pain Lies on the Riverside, The Dolphin’s Cry, Selling the Drama, Baby What You Want Me to Do (Jimmy Reed cover), The Distance, I Alone, Lakini’s Juice, White, Discussion, Encore: Heaven (Ed solo acoustic), Turn My Head (Ed solo acoustic), and Lightning Crashes

    Set List Counting Crows:  Mrs. Potter’s Lullaby, Catapult, Omaha, Hard Candy, Anna Begins, Miami, Colorblind, God of Ocean Tides, Washington Square, Round Here, Recovering the Satellites, Goodnight LA, A Long December, Mr. Jones, Hanginaround, Encore: Palisades Park, Rain King, and Holiday in Spain

    ​

  • Repetitive but Never Boring: Ringo Starr and his All Starr Band Cover Old Favorites

    Ringo Starr and his All Starr Band brought a bit of nostalgia to Saratoga Performing Arts Center on Friday, September 14, covering 25 well known songs from the ’80s and ’90s. On a stage decked out with a large drape screen-printed with a peace sign, sunflowers, and stars, the former Beatle, Sir Richard Starkey, Jr., brought together an eclectic group of performers. On stage with Ringo in the group were Colin Hay of Men at Work, Steve Lukather of Toto, Gregg Rolie of Santana, and newest member Graham Gouldman of 10cc. Percussion and sax featured Warren Ham, with Gregg Bissonette focused on drums..

    Ringo Starr and his All Starr Band

    Starr bounced out to the stage after everyone else, smiling and singing, echoing back to folks who offered “I love you” praise with “I love you too!” Flashing peace signs and telling jokes that had a canned, somewhat repetitive rhythm, Starr’s fans smiled and seemed to honor his worn humor kindly with the knowledge of a well-seasoned audience. This was Ringo Starr, after all, one of two still living former Beatles. He has earned the right to be silly and predictable. Starr, meanwhile, enjoyed himself tremendously, laughing at jokes tricking the audience and playfully engaging fans with silliness.

    The group rotated through their best-known hits from each ensemble they were known for previous performances in, lending a sort of cover band feeling to the night. From “It Don’t Come Easy” to “Evil Ways,” “Black Magic Woman,” “Land Down Under” and “Africa,” the music had a familiar bounce and four count. Fans had to wait for the third song to get a Beatles tune; Starr recalled that piece, “What Goes On,” was co-written by Lennon, McCartney, and Starr – and he lamented playfully that he knew the audience believed as he did that he should’ve had top billing on the authorship.

    Ringo Starr and his All Starr Band

    Later, when “Yellow Submarine” started, fans howled their approval. This was, after all, why many spent their Friday night at the Spa City venue. Ending “A Little Help From My Friends” with Lennon and Yoko’s “Give Peace a Chance” mixed in, Ringo’s message about peace and love being “the only way” rang out throughout the park.

    The audience members, mainly an over 50 set who appeared to adore Ringo as much today as they did when they were in their teens, had already bought that message years ago. But they sang along, swaying in the moment with the peace of their earlier days. The audience even flashed the peace signs back to Sir Ringo.

    Ringo Starr and his All Starr band were somewhat predictable in their song choices and repetitive rhythm and vibe. But people didn’t come to hear new music, as much as to remember old favorites. Watching the 78 year-old former Beatle flash peace signs and cue folks to believe in peace and love was oddly reassuring though on this cool night in Saratoga. We need repetition sometimes, to remind us that the simplest messages are often the truest. Be kind. Give peace a chance. Smile more. Just like Ringo and his friends.

  • Holly Bowling Lets It Grow in Cohoes

    Holly Bowling stopped in for a show at Cohoes Music Hall this Sunday, September 16. Bowling, hailing from San Francisco, is well known for her solo piano transcription of the infamous 36 minute version of “Tweezer” that Phish played in Tahoe, NV in 2013. She started touring as a solo act soon after, captivating unsuspecting audiences with her soulful renditions of Phish classics. She soon expanded her act to include a vast number of Grateful Dead tunes, which can be heard on her studio release Better Left Unsung.

    Holly Bowling Cohoes

    Bowling opened up the Sunday show with “It’s Ice,” an incredibly intricate Phish composition which she plays with ease. This segued into “McGrupp and the Watchful Hosemasters,” which featured a “China Cat Sunflower” tease in the section that is typically reserved for McConnell’s solo. Bowling was able to open up this piece as well as any multi-instrumental band could, showing her ingenuity in experimentation, even as a solo artist. She delighted the crowd when the end of “It’s Ice” emerged from deep within the depths of “McGrupp.” After this, she paused to acknowledge her gratitude for her presence here, and explained her love for the building, which was the sight where the name of her band, Ghost Light, was conjured.

    The first set continued with the Grateful Dead’s “Lost Sailor” which transitioned into Phish’s “Roggae,” which was played and finished in its entirety. This was followed by a beautiful version of the Dead’s “Mountains of the Moon,” which drifted effortlessly into “Saint of Circumstance,” completing the “Lost Sailor” for any familiar Dead fans.

    Holly Bowling Cohoes

    After a short break, Bowling came back for a nearly continuous second set. A soaring version of “Bird Song” opened the set, which flew beautifully into the first complete part of “Weather Report Suite,” including the prelude. This naturally blossomed into an uplifting rendition of “Let It Grow,” really bringing the energy up in the room.

    Bowling seamlessly transitioned from this Dead heavy set into Phish’s “A Song I Heard the Ocean Sing,” which then flowed into a fun version of “Sand.” This was followed by Led Zeppelin’s “No Quarter,” which proved to be just as powerful of a song when played by one woman on a grand piano, as it is with four of the greatest rock and roll musicians of all time. Bowling then brought back the Dead by gliding into an impassioned version of “Morning Dew.” After a brief pause, Bowling closed out the set with “Swept Away,” a Phish rarity that is welcome to any diehard fan, and which fits perfectly with Bowling’s style as it reflects her ability to maintain the emotional integrity of the songs that she transcribes. To top it all off, this shifted seamlessly back into the end of “Let it Grow,” which truly completed the second set.

    Holly Bowling Cohoes

    Upon leaving the stage, Bowling came back for an encore. “Slave to the Traffic Light” proved to be a perfect fit, with a warm, uplifting jam that would have left Page himself smiling from ear to ear. Not only was this classic composition executed with perfection, but it also included a “Let it Grow” tease, making it a unique reflection of the performance from that night.

    Following this performance in Cohoes, Holly Bowling will be returning to Albany on November 14 at Jupiter Hall with her band Ghost Light.

    Set 1: It’s Ice > McGrupp and the Watchful Hosemasters > It’s Ice*, Lost Sailor > Roggae, Mountains of the Moon > Saint of Circumstance
    Set 2: Bird Song > Weather Report Suite Prelude, Weather Report Suite Part 1 > Let It Grow > A Song I Heard the Ocean Sing > Sand > No Quarter > Morning Dew, Swept Away > Let It Grow
    Encore: Slave**

    *w/ China Cat tease
    **w/ Let It Grow tease

  • Jamiroquai returns to NYC after 13 year absence

    The last time Jamiroquai graced NYC with its presence, they sold out the newly opened Nokia Theater Times Square for two nights back in 2005. The band was hot off the heels of their latest release, Dynamite, and it seemed like the United States could not get enough of their frontman, Jay Kay. Fast forward to 2018 and the East Coast was aching for some Jamiroquai news. After teasing 4 U.S. dates via Twitter, it was finally announced that their triumphant return to NYC would occur on September 8 at the Forest Hills Stadium in Queens.

    Saturday finally arrived and the crowd did as well to a day full of drizzle and promise. Gangstarr’s DJ Premier took the stage at 7 pm to start a massive dance party for anyone that beat the traffic. The legendary producer spun ’90s hip hop tracks for the ever-growing crowd to get down to as the sky continued to open up on everyone that arrived. He warmed up the crowd for 45 minutes before the stage was set for the main act.

    Jamiroquai NYCJust after 8 pm, the enormous screen on stage lit up and the band members began to assemble as Jay Kay ran on stage to a thunderous applause. As Jay’s helmet moved up and down while changing colors, they started things out with “Shake It On,” off of the new album, Automaton, before diving into 2001’s “Little L” off of A Funk Odyssey. The party continued with “Use The Force” and the always funky “Space Cowboy.”

    “Alright” from Traveling Without Moving kicked the crowd into fifth gear and gave everyone the opportunity to sing along with Jay during the chorus. He brought it back to 2018 with “Dr Buzz” off the new album and followed that up with the hit, “(Don’t) Give Hate a Chance.” Continuing the hop between decades, they dove into “Main Vein” as the rain started coming down a little harder. No precipitation was going to keep this crowd from enjoying their night and the classic “Runaway” was the perfect soundtrack to the weather. Jay was met with a phenomenal cheer as he sang the opening lyrics, “Can you dig it? There’s something in the air tonight”.

    Jamiroquai knows what their fans love and “Cosmic Girl” could not have come at a better time in the show. This psychedelic disco track illuminated the crowd as they continued to lose their minds before Jay slowed things down and treated everyone to the slow version of “Emergency on Planet Earth” off of their debut album. Soon enough, the sounds of Jay’s Lamborghini Diablo SE30 could be heard over the speakers as they dove into “Travelling Without Moving.”

    The crowd exploded with cheers as they started “Canned Heat” and I certainly saw at least a dozen ‘Vote for Pedro’ shirts dancing harder than anyone else. Jay allowed his bandmates to really jam out this song and the funky beat never stopped. The last song of the set was 2002’s “Love Foolosophy” and the crowd could not have been more receptive of this choice. Jay thankfully understood the strict 10 pm curfew enforced by the venue, so without leaving the stage, they dove headfirst into their most popular hit, “Virtual Insanity.” The crowd and the band gave it all they had as 10 pm approached. Amidst a roaring applause, Jay promised they would be back and we couldn’t have been happier.

  • moe. Fills Second Night of Saranac Run With Heavy Hitters

    After a warm, beer-scented night one at the Saranac Matt Brewery, moe. prepared to warm up the crowd on a rather chilly night two of their Utica run. It was bassist Rob Derhak’s turn to write the setlist, and he had some surprises in store for the eagerly awaiting moe.rons.
    moe saranac run    To start off the first set, moe. dropped into their classic “Spine of a Dog,” singing the opening acapella lyrics for a few lines before letting the audience take over. Following a standard composed section, the group jammed on the song’s chord structure for the entirety of the jam, leading it into an up tempo peak before dropping into “Plane Crash,” sans Al Schnier’s usual tremolo-laden intro. Arguably Derhak’s most well-known song, “Plane Crash” had the whole audience singing along with its catchy chorus. The jam again stayed within the structure of the song itself, but led to its usual Schnier-led peak before ending with one last chorus. After a little bit of banter about how playing at Saranac in Utica feels like home to Derhak, the group played the short but sweet Chuck Garvey-penned “Who You Callin’ Scared?.” “Lazarus” followed soon after, a somber sounding tune seemingly referencing the biblical figure Lazarus, the man who Jesus supposedly rose from the dead 4 days after his death. Garvey took many jaw-dropping solos throughout the song’s many music interludes, leading the group through the jam section and into the final choruses before ending the song.

    To close out the set, the group whipped out the segment of “SIlver Sun > Puebla > Moth,” beginning with the Pink Floyd-esque Schnier tune “Silver Sun” to keep the slower vibe of “Lazarus” going. The intro was jammed out for a good eight and a half minutes before Schnier and Garvey broke into the song’s mysterious lyrics.

    Following the lyrical portion, the song was brought into a dark ambient jam led by Garvey, and driven by the strong rhythm section of Jim Loughlin on percussion, Vinnie Amico on drums, and Derhak on bass. As the jam picked up, Schnier and Garvey dropped into the song’s beautiful guitar harmonies before bringing the tune into “Puebla,” retaining the somber vibe of “Lazarus” and “Silver Sun.” “Puebla” wasted no time getting into the jam, kicking it off a mere two and a half minutes into the song, and jamming on the song’s main structure for more than six minutes before bringing the tune into uncharted territory. The group experimented a bit before ultimately bringing the song up into “Moth,” another Schnier led number that brought the mood up after the somber previous few songs. After working through a few verses and choruses, the group let Derhak take the spotlight for his first big bass solo of the night. The rest of the band decided to back up a motif Derhak was creating in his bass solo, and added textures around it to bring the musical idea to life. After about five minutes, the group brought the jam back into “Moth” territory and Schnier led the band to the best peak of the set with a fiery solo, singing out one last chorus before exiting the stage.

    After a toast to Nick Matt, the CEO of Saranac Matt Brewing Company, moe. came onstage and dropped into “New Hope For The New Year,” Garvey’s contribution to the new songs performed at the band’s return to the stage at the Capitol Theatre this past February. It seems to be Garvey’s way of putting everything into perspective and appreciating life after Derhak’s cancer scare, a very optimistic message for a somewhat downbeat song. The jam didn’t get too crazy, mainly switching between the typical A/B sections and allowing Garvey an area to stretch his legs solo-wise. After the hook, the group performed the main melody one last time before transitioning into “Kyle’s Song” through a “no huddle” segue. “Kyle’s Song” is a fan favorite across the board, coming from the band’s most loved album, Wormwood, a studio masterpiece released in 2003. The “Kyle’s” jam kicked off like it always does, with a killer solo from Garvey himself that usually makes up a good portion of the song.

    After a near six minute solo, the group dropped back into the chorus, before suddenly dropping into an unusual jam on the song’s main melody, but at half time. Loughlin saw this as an opportunity for a Marimba solo, and took a quick one before the band started to pick up the pace and bring the song into the legendary “Bearsong,” one of the heaviest songs in moe.’s catalog. Big inflatable Saranac branded bears were released into the audience as the intro of the song played out, and Schnier drove the group into the main section of the song. The jam stayed in the song structure and acted more as a solo base for the dueling duo as Derhak slapped away at his bass. The audience raged in full force with the group as Schnier brought it into one last chorus and the ending riffs of the song.

    As a break between the heavy jamming, Schnier led the group in his tune “What Can I Say,” a ballad with heartfelt lyrics backed by soulful blues music. The only way the band could follow that up was of course, “Rebubula > Yodelittle > Rebubula,” the jam segment of the night. Garvey kicked off “Rebubula” with an extended Leslie filled intro, before the rest of the band joined in and started to tease what song was about to start. After nearly seven minutes of open ended improv, the guitar duo broke into the opening notes of the song, and Derhak quickly fell in line behind them with Amico and Loughlin backing the groove up. The song is centered around Derhak, slapping and singing his heart out during the main verses of the song, and this time he was driving the bus a bit faster than usual. The group went through the typical composed riffs before Loughlin melted “Rebubula” into “Yodelittle,” with the help of Schnier and Garvey. Schnier assumed his role as the leader for the song, dropping into the song’s catchy chorus with Garvey harmonizing his vocals as usual. “Yodelittle” featured the longest jam of the night, clocking in at 23 minutes, and went the most out there of any song the group played over the weekend. Derhak took another of his famed fuzzy bass solos while the rest of the group layered textures behind him, before Loughlin took the reigns from him for a quick vibes solo. Schnier and Garvey dropped back into the opening riff of “Yodelittle” as they brought the song back into “Rebubula,” finishing out what they had started.

    Garvey took the helm and soloed his way into the peak of the jam before Derhak broke into the final verse of the song. The group repeated the chorus a few times before ending the song, leaving the stage for a quick encore break and Al.nouncements. The encore opened with “Don’t Wanna Be,” Loughlin’s first vocal effort of the night, which started the end of the show off on a dark note. He showed off his unique, yet spectacular voice as well as his vibraphone skills before the group took a quick break and dropped into “Okayalright.” A highly upbeat Derhak-penned tune about a time before moe. was even a band. The song didn’t contain any jamming, the group seemingly wanting to spread the positivity of the chorus of the song. After a quick thank you from Derhak, the group left the stage for the final time of the weekend.

    moe. performed two fantastic shows this past weekend in Utica, playing to their hometown crowd at a venue they love. The audience was spreading the love, and sharing in the incredible experience unfolding around them. Check below for a taste of the night through the photo gallery from Dave DeCrescente.

  • moe. Brewed Up Tasty Jams on Night 1 of Saranac Run

    Buffalo rockers moe. returned to Saranac Matt Brewery in Utica, NY for a 2-night run over September 7th and 8th. The weather was warm, the city was bustling, and the moe.rons were ready for some brain-melting music. 

    The show opened up with a fellow Buffalo act, moe.’s protege if you will, Aqueous, a younger group more focused on groove, but inspired by moe.’s progressive music. The band opened with their version of the classic “Super Mario Bros. Theme,” before bringing it into the four on the floor dance tune “Second Sight,” a song featured on the group’s newly released Color Wheel Wave 1 EP, released the day of the show. Following “Second Sight” was one of their more popular songs, “Kitty Chaser (Explosions),” a heavier rock tune that usually leads the crowd to some head banging during the explosive chorus.

    The group jammed it out a bit before segueing into their freshly debuted cover of Paul McCartney’s “Live and Let Die.” Next was another heavier tune, the Evan McPhaden-penned “Origami.” At this point the crowd had started to fill up, and they grooving along to what Aqueous was brewing at Saranac. To close out the set, the band played the jovial “Random Company,” featured on their last studio effort, Best In Show. “Random Company” had the longest jam of the set at 18 minutes and solidified Aqueous as a band to look out for in many .rons’ hearts.

    moe Saranac Run

    If you’ve ever been to a moe. show, you know the band loves to come out swinging and stay that way until they leave the stage following the encore. Saranac was no different. As they broke into “Timmy Tucker,” the audience knew they were in for a treat. It should be noted, Rob Derhak was particularly on point all weekend, nailing all of his vocal and bass parts in his typical Rob fashion, but attendees could tell he was feeling especially on fire in this home field venue.

    After a few chorus sing-a-long’s with the audience, the group brought “Timmy” into a fairly standard jam, before slowing it down a bit for the majority of the improv section. Around the 15-minute mark, there was a short peak, and the group brought the song into one last chorus before bringing it to a close. Following “Timmy” was the fast-paced “Mar-DeMa,” originally written for an event the group threw called ‘The Electric Lemoe.nade Acid Test.’ The tune acted as a great break from jamming following “Timmy,” and heavily featured the rhythm pair of Vinnie Amico and Jim Loughlin on drums and percussion, respectively. The group brought “Mar-DeMa” into the Al Schnier classic “Bring It Back Home,” another crowd sing-a-long, with catchy lyrics that are easy for even the non-.rons to follow. The song stayed within the bounds of its musical world for the jam, serving as a sort of experimental solo backing track for both Chuck Garvey and Schnier.

    moe Saranac Run

    As “Bring it Back Home” was closed out by a fantastic drum solo from Amico, the grip dropped into the fan favorite “Water,” greeted by a roar of cheers from the crowd. “Water” was the first heavier song of the show—while still keeping its flowy vibe throughout—and led to an amazing solo from Garvey as the rest of the band kept the train going behind him. After a short break, the band dropped into the Garvey-led “Hi & Lo,” slowing the feel down a bit after the faster paced “Water,” and allowing Garvey to stretch his legs vocally for the first time of the show.

    “Hi & Lo” featured a more experimental jam at first, but was brought into a usually driving moe. jam with a peak led by Garvey, before being slowly dropped into Derhak’s newest tune, “LL3,” written following Derhak’s victory over cancer, penned about the train he took into Boston for his cancer treatment. This version of “LL3” was a bit faster-paced than they’ve been playing it since it was debuted at their return to the Cap and the stage this past February. The whole group was locked in throughout the tune, and Derhak was singing with all the emotion he had in his heart. The song was brought into a quick peak, featuring another fantastic Garvey solo over the tune’s dark, descending melody. After one last chorus, the group brought the tune into the set’s closer, “Big World,” an upbeat tune that brought the crowd’s energy back up following the rather somber “LL3.” Schnier led the song vocally and on guitar, taking a quacky, envelope filter-filled solo and leading the tune into its usual peak.

    After a short set break, the group came out and immediately broke into “Buster,” the upbeat song about a pig that can fly, a fan favorite. “Buster” featured a fairly standard jam on the song’s main groove, and provided a soundtrack to the party .rons were having out in the audience. Following a mini-peak, the band took a quick break, and dropped into “Prestige Worldwide,” the Derhak-penned jam vehicle that debuted in late 2016. The intro of the song always provides some of the finest Schnier-Garvey guitar interplay you’ll get to see live, and sometimes will build into a mini-peak before the main song even starts.

    After Derhak finished singing the last of the song’s verses, the group dropped into the “B” section of the song, and started into a typical Schnier-led jam, before Loughlin took a hefty vibrophone solo that left jaws dropped to the floor. Garvey took the helm after Loughlin’s solo and brought the group into the end of the song. Following “Prestige,” Schnier introduced Mike Gantzer of Aqueous, while praising the group and saying “they really keep us on our toes,” before leading the group into his song “Mexico.”

    “Mexico” is the tale of Schnier’s 21st birthday trip to Mexico, a trip he’ll never forget. Throughout the tune, Gantzer followed along with Garvey’s textural lead playing while still adding his own flavor to the mix. Following the the main portion of the song, Gantzer grabbed the bull that is moe. by the horns and led them into a jam that isn’t exactly typical in a tune like “Mexico.” The Aqueous guitarist proceeded to take a solo that evoked the loudest cheers of the night from the crowd, and Schnier changed “cousin Dave” to “cousin Mike” for the last verse of the song.

    moe Saranac Run

    Derhak dropped into the opening lyrics of “Captain America” and the crowd cheered as it raged full force at the brewery. The jam was getting ready to drop into “Four,” so the group took it slow and let the tension build as they crept their way towards those opening chords. Garvey and Schnier led another duo guitar section until Derhak took off on a tiny bass expedition before “Four” officially started. This version of “Four” started off a little slower than it typically does, but the group brought it up to tempo in time for Garvey to start into the lyrics. The jam was the second longest of moe.’s night, consisting of 2 peaks and a really experimental bass solo from Derhak, utilizing some of his more interesting sounding effects pedals and blowing the minds of everyone in the audience. To close out the set, the group brought “Four” into “Meat” through a really ambient, almost techno jam.

    The progressive “Meat” was met by a roar of cheers from the crowd, and immediately got down and dirty. “Meat” is like Rush taking steroids and jamming for 20 minutes. The song is a prog rock masterpiece, and moe. knocked this one out of the park. Loughlin took another, shorter impressive solo in the midst of the jam, before Derhak took another long bass solo. This time he utilized some fuzz effects, making his unique bass sound like a synthesizer for doing what he does best and ending out the jam with a crazy awesome slap solo.

    The group drove the train all the way home to the station at the end of the “Meat” jam, peaking with an impressive solo from Garvey that was weaving in and out of the song’s riffs. The group came out and encored with the Schnier-penned fan favorite “Seat of My Pants,” the reggae-esque rock number with scat-like lyrics. The jam didn’t get too crazy, it stayed a typical “SOMP” jam till the end, but provided the perfect ending to an incredible show.

    NYS Music will also be providing coverage of the final night the moe. Saranac run, so check back tomorrow for that article. For a taste of what the first night of the Saranac run was like, check out the photo gallery below.

    Setlist:

    Set 1: Timmy Tucker, Mar-DeMa > Bring It Back Home > Water, Hi & Lo > LL3 > Big World
    Set 2: Buster, Prestige Worldwide, Mexico*, Captain America > Four > meat
    Encore: Seat of My Pants

    *ft. Mike Gantzer of Aqueous on guitar

    Photography by Matt Shotwell / Strawberry Island Dweller

  • David Byrne brings American Utopia Tour to the Palace Theatre

    David Byrne’s much-hyped (and rightly so) American Utopia Tour found its way to Albany’s Palace Theatre on Sunday, September 9, after six months of crisscrossing the country, with all the buzz about the set and production having preceding each performance. Byrne’s catalog of music was on display throughout the night, with 21 songs covering his solo work, as well as that with Talking Heads and with St. Vincent and Fatboy Slim, combining for a nearly two-hour performance with the psychedelic alt-rock of Tune-Yards opening the night. With a futuristic mix of electronic, new wave and indie pop, plus a lead singer dressed like a dystopian Supreme Court justice, made for an interesting prelude to Byrne. Forty minutes of pure energy and symphonic pomp was capped by “Heart Attack,” and paired nicely with the variety of Byrne’s music that would follow.
    American Utopia TourNature sounds over the PA filled the air as the stage was set for David Byrne. When the curtain opened, we found Byrne sitting at a table holding a human brain, pointing out the purpose for the brain in the lyrics of the opener ‘Here,’ an anticipatory introduction into the evening’s performance. Slowly, an 11 piece band, including six percussionists and drummers, emerged from behind the silver strand curtains that surrounded the stage on three sides, as Byrne moved into “Lazy,” which could have easily been pulled from LCD Soundsystem’s catalog. But it was the opening beats of “I Zimbra” that brought the audience to their feet in unison, like a preacher calling the congregation back from a moment of reflection.

    Following “Slippery People,” Byrne took a moment to recognize Headcount and encouraged everyone to register to vote, and then make sure they vote in elections, which was met by thunderous applause from the audience. The St. Vincent collaboration “I Should Watch TV” and “Everybody’s Coming to my House” preceded two of the most familiar songs of the night, “This Must be the Place (Naive Melody)” and “Once in a Lifetime,” the crowd singing along some of Byrne’s finest work.

    The band was introduced one by one for a slowly growing intro to “Born Under Punches” from the acclaimed Remain in the Light. Byrne’s solo work was showcased with four songs that followed, “I Dance Like This,” “Bullet,” “Every Day is a Miracle,” and “Like Humans Do.” Blind” took on an ominous feel with low stage lighting projecting a monstrous shadow of Byrne on the curtains behind the band, with a raucous “Burnin Down the House” closing the 80+ minute set.

    For an encore, Byrne introduced “Dancing Together” as a song with lyrics provided from Imelda Marcos’ own words and originally from a musical Byrne collaborated on with Fatboy Slim about the former Philippine dictator’s love of shoes and disco. A frenetic version of “The Great Curve” followed, with the woke audience moving to the enthusiastic Talking Heads original. Returning to the stage for a second encore, Bryne chose “Say Your Name” by Janelle Monae to put a coda on the evening, which shares the names of numerous individuals who have been victims of police and/or racial violence, including Trayvon Martin, Michael Brown, Sandra Bland, Amadou Diallo and others. It was a powerful statement to send the audience out on and left an exclamation point on an evening at The Palace.

    Byrne’s American Utopia tour continues with stops in Syracuse on Sept. 12, Queens on Sept. 15, and two nights in Brooklyn Sept. 16-17.

    Setlist: Here, Lazy, I Zimbra, Slippery People, Dog’s Mind, I Should Watch TV, Everybody’s Coming to my House, This Must be the Place (Naïve Melody), Once in a Lifetime, Doing the Right Thing, Toe Jam, Born Under Punches (The Heat Goes On), I Dance Like This, Bullet, Every Day is a Miracle, Like Humans Do, Blind, Burning Down the House

    Encore: Dancing Together, The Great Curve
    Encore 2: Hell You Talmbout*

    *Janelle Monae cover