NYS Music 20​18

Category: Show Reviews

  • A Friend in the Berkshires: James Taylor Doesn’t Disappoint Fans in Timeless Concert

    Berkshires resident and world-loved music legend James Taylor crooned to a sold-out crowd at Tanglewood July 3, the first night of his traditional two nights at the rural venue near his summer home. The crowd filled every inch of the manicured lawn with blankets, tables, chairs and fine dining accessories, clearly reflecting that this wasn’t the first JT concert attended by most fans. Inside seats were filled as the crowd sat in high humidity and heat, waiting with anticipation for the first set.

    James Taylor was the first artist to set foot on the stage a little after 8:00, and he was met by cheering fans who quickly forgave the brief tardiness. The 70-year-old star appeared in his long pants, dress shirt and cap, and after brief waves, he slung his guitar over his shoulder as he sang “Carolina on My Mind.”

    Photo by Jim ‘JT’ Gilbert

    Taylor transitioned through both well-known pieces and some lesser-known songs in the first set. The light show, coordinated with the chorus and highlights of “Country Road,” seemed intent to remind the audience that they are indeed at a rock concert, not a folk concert.

    It would be a bumpy first set, though, marked by amp problems, some pacing issues, and low energy from artist and crowd alike. At one point after “Frozen Man,” seasoned Taylor matched the key of the reverb from the amp and joked, “Do we have any songs in that key?” Using humor and his incredibly flexible vocals, Taylor kept the crowd engaged through some slower moments. He introduced band members throughout the first set, and indeed the band members, including 2 percussionists, a trumpet player, flute and saxophone player, three backup singers, pianist, fiddle and of course the customary guitar and bass, are an all-star band.  Taylor turned to look at each artist as he or she performed, and genuinely reflected an appreciation for sharing the music with the artists.

    Folksy and dancing little jigs, Taylor covered “(I’m a) Road Runner” and danced around the stage. This seemed to wake the audience back up, but there was a bit wrong with the rhythm section and the band seemed off the pace with one another. “Copperline” saved the set, though, with Taylor’s infallible voice finding its vertical pitches with beautiful ease. They rolled into “Handyman” and “Mexico,” bringing the crowd to it’s feet.

    Before breaking for intermission, Taylor looked at the setlist and joked with the audience, pacing them for the twenty-minute break and promising “a lot of hits” in the second set. In between, he was on stage, signing autographs and taking pictures with fans.

    The second set delivered on the hits, and more than compensated for any troubling moments from earlier in the night. Fans sang along to the most famous James Taylor tunes, swaying in the heat to “Something in the Way She Moves.” Taylor impossibly made himself even more human and relatable with a song about his dog, Sunny, and shared adorable pictures of the pug. Each song in the second set related to the human experience: loving someone, losing someone, having a dog, being a friend.

    Photo by Jim ‘JT’ Gilbert

    And that’s really why people go to see James Taylor – the articulation of their own very human experience. We go to be reminded that we aren’t alone in these hard emotions, and in fact everyone struggles with sadness, joy, and how to show love. “Shower the People You Love” brought the crowd to its feet, singing along and encouraging folks to do just that – show the love to those around you.

    From “Sunny Skies” and “Walking Man,”the set transitioned to the faster, more intense rock feel of “Steam Roller.” Playing on a baby blue electric guitar, Taylor’s only electric guitar song featured some impressive riffs by the pianist, bassist, and sax players. Taylor waved his cap over the instruments, and jumped on one leg like an old time rock star, bringing gasps of joy and screams of love from the audience.

    Filled with folks who had traveled long distances to get to Tanglewood, the crowd talked to each other with civility, gentleness, and a genuine interest in one another in the shed. Couples surrounding this reviewer came from New Haven, Rochester, and even Philadelphia. It had become an annual pilgrimage for many of them. When asked why the same smile crossed their lips, heads shook a bit in disbelief, and no one could really articulate a specific reason beyond loving the music. But with the encore of “You’ve Got a Friend,” fans were truly speaking their hearts. James Taylor is their friend, their company in easy and hard times alike.

    Photo by Jim ‘JT’ Gilbert

    During this time of low civility, isolation, and sad news of disparities in our country, the concert offered a quaint respite in songs lending empathy, kindness, and intelligence. As long as he’s performing at Tanglewood, clearly James Taylor has thousands of friends overjoyed to have him – and each other – on this American holiday weekend.

    Setlist

    Set One: Carolina in My Mind, Country Road, The Frozen Man, Never Die Young, Don’t Let Me Be Lonely Tonight, Road Runner, Nothing Like a Hundred Miles, Raised Up Family, Copperline, Handyman, Mexico

    Set Two: Something in the Way She Moves, Sunny Skies, Walking Man, Up on the Roof, Steamroller, Sweet Baby James, Fire and Rain, Your Smiling Face, Shower the People, How Sweet it Is

    Encore: Shed a Little Light, In the Midnight Hour, You’ve Got a Friend

  • The Doobie Brothers and Steely Dan Turn the Heat up at SPAC

    The Doobie Brothers and Steely Dan stopped at SPAC on a scorching Saturday on June 30 during The Summer of Living Dangerously tour.

    Steely Dan Setlist: Kid Charlemagne, Hey Nineteen, Black Friday, Aja, Bodhisattv, Peg, My Old School, Dirty Work, Time Out of Mind, Black Cow, Rikki Don’t Lose That Number, Green Flower Street, Pretzel Logic, New Frontier

  • Umphrey’s McGee: Welcome Back to Asbury Park

    For the eighth consecutive year, Umphrey’s McGee made The Stone Pony Summer Stage in Asbury Park New Jersey a part of their summer plans. Located in the lot behind the iconic Jersey shore rock venue The Stone Pony, the Summer Stage sets have historically showcased the metal and prog rock side of Umphrey’s Mcgee’s vast spectrum of musical influences. The 2018 installment continued this tradition by showcasing “Remind Me” as a first set closer followed by a “Wizard Burial Ground” into a  “Sludge & Death” second set opener. They would ultimately close out the second set by going back to “Wizard Burial Ground” as well.

    In past years, Umphrey’s McGee has taken the Asbury Park encore as an opportunity to bust out a cover. They have dropped both “Mother” by Danzig and “Last Caress” by the Misfits as band debuts in 2012 and 2016, respectively. And their 2014 “Front Porch” had a “Don’t Go Chasing Waterfalls” (reprise) mashed into it. “Don’t Go Chasing Front Porches” on Zonkey part 2 maybe? For 2018’s encore, Pantera’s “Walk” was played for the first time with this preamble from bassist Ryan Stasik; “What’s up, New Jersey!?!?!?!? Put your fists in the air! When we come to New Jersey, we come to kick fuckin’ ass and play rock and roll.  We lost a good one, we lost Vinnie. He’s up there with Dimebag. Pantera meant a lot to me growing up. Rest in peace, we’re gonna play some non-sissy type music. Let’s have some fun!”

    mm/

    Setlist:

    Set One: Nipple Trix, Roctopus, Pequod, Andy’s Last Beer, Seasons, It Doesn’t Matter, You and You Alone, Remind Me

    Set Two: Wizard Burial Ground, Sludge & Death, Xmas At Wartime, The Silent Type, Jessica, Cemetery Walk, Cemetery Walk II, August, Wizard Burial Ground

    Encore: Kula, Walk

  • Music as the Last Real Magic: Imagine Dragons Cast a Spell on Saratoga

    Imagine Dragons brought the sound, look, and energy of a big-time rock show to Saratoga Springs on Friday, June 29 on their EVOLVE Tour. With Grace Vanderwaal opening, the group rolled into town with high energy, showmanship, and a unifying message of music as healing.

    Grace Vanderwaal, the Upstate teenager who made it big on America’s Got Talent, opened promptly at 7pm, bopping onto the stage singing “Dancing in the Moonlight.” Families sang along with the upbeat and likable Grace, who chatted up the audience and reminded folks she was originally from the area. Playing the ukulele and dancing barefoot, she brought a wholesome and organic positive energy to the night.

    The crowd had to wait a bit for Imagine Dragon stars to take the stage but were entertained by a slowly building classical score in the backdrop as folks filed in. Then, with steam, smoke, lights and a wall of sound, musicians were lifted on a stage above the main stage as they sang the very well known “Radioactive.”

    With the energy of big-time stars and a larger venue, Imagine Dragons musicians danced, sang and transported their audience with hit after hit. Lead singer Dan Reynolds appeared shirtless, bringing screams and gasps from many in the audience as he sang and jumped across the stage. ‘High energy’ isn’t sufficient to describe the band’s excitement and mood as they welcomed their fans; dynamic and vigorous, the group members’ smiles were matched with the audiences’ powerful spirited responses.

    Reynolds thanked the audience early in the evening for joining the band, specifying that music is the last real magic that unites people. In a climate of divisiveness, the American born band was clearly making a statement about acceptance and unity at a time when racism and hatred are more pronounced than ever.

    The bands’ vivacious musicianship pounded through the night with a wall of sound paired thoughtfully with visuals to match. Reynolds acted as a conductor, engaging the audience in singing lines like “I’m never changing who I am.” Shaking his finger at the fans, squatting to get closer to the audience, and even rolling his arms toward him in a circle, he drew the magic directly from the young families, teens and older couples who screamed lyrics of hope and self-assurance.

    The love song “Next To Me” seemed to speak directly to anyone who has loved and received unconditional love regardless of errors. Reynolds spoke of lovers and loners, reminding everyone that love needs to start with themselves before it is shared with another.

    Guitarist Wayne Sermon’s riff screamed out his own intense talent during “I’ll Make it Up to You.” For a brief moment, we were back in the 1980s with guitarists whose talent could steal the entire show. Sermon’s control of his instrument and confidence in the vertical riff brought gasps from the audience; it almost didn’t belong in the pop feel of the night, except to remind us that Imagine Dragons is, in fact, a rock band.

    After a beautiful rendition of “Mouth of the River,” complete with backdrop visuals of sunset, the group moved to a second stage embedded in the audience for three acoustic songs. This set, if not moving simply due to the closeness to fans, ended with a heart rendering “I Bet My Life on You,” a song about how parents give up much for their children with little in return, and yet everything in return.

    As if all this emotion and movement wasn’t enough, the band returned to the stage for a powerfully intense version of “Demons.” With fans singing along, Reynolds spoke directly out about depression and seeking help rather than facing demons alone.

    The fevered pitch of the concert had multiple peaks, including confetti and balloon drop punctuated moments during songs about love, appreciation, and the vitality of life. Finishing with “On Top of the World” and “Believer,” fans were mesmerized.

    Imagine Dragons reminded us: music really is the last real magic in the world.

    It unifies us. It reminds us to care for ourselves. It connects us to others. It reminds us to hope. And it stays with us, even after the last note is played.

    Setlist: Radioactive, It’s Time, Whatever It Takes, Yesterday, Walking the Wire, Next to Me, Shots, I’ll Make It Up to You, Start Over, Rise Up, Gold, Don’t Know Why, Mouth of the River, Born to Be Yours, Amsterdam, I Bet My Life, Demons, Thunder, On Top of the World, Believer

  • An Evening with JAZZ IS PHSH at The Egg

    Jazz musicians play The Egg fairly often, so the venue couldn’t have been more perfect when JAZZ IS PHSH came to Albany on June 27. With jazz musicians Domi Degalle (keys) and Felix Pastorius (bass) joining jam scene musicians Alicia Aubin (trombone, Big Mean Sound Machine), Dave “The Truth” Grippo (saxophone, Grippo Funk Band) and Rob Compa (guitar, Dopapod), JAZZ IS PHSH founder and drummer Adam Chase welcomed the audience to a unique performance of Phish’s music. A few dozen fans danced throughout the show in the upper rows of the intimate Swyer Theater, while others sat and enjoyed what could pass for engaging lounge music passively enjoyed while sipping a glass of wine at a neighborhood bistro.

    Jazz is Phsh egg

    A jazzed out version of “46 Days” began a night-long version of ‘Name that Tune,’ but for Phish songs; it took a moment or two for even the most fervent fan to figure out where each jazz odyssey was about to venture. “Dog Log” featured solos from Grippo and Aubin, followed by Domi’s first moment in the spotlight of the evening, with a re-entry to the final segment of the song done in textbook fashion. A Wayne Shorter/Q-Tip mashup came next in the form of “Ya Mar/ManWomanBoogie,” with a funk form of the calypso beat underlying the musicians, allowing the audience to get lost in the jazz groove while picking out the elements of the Phish cover and Q-Tip original.

    Jazz is Phsh egg

    “Bathtub Gin” had Felix sitting statuesque on his stool and took a solo that had all but Chase standing and watching, while Domi was steady and academic on “Gin,” one of the most popular tunes of the night, and easiest to identify. After, Chase informed the crowd that they would be playing a song that half the band had never heard, but fans would know off the iconic drumbeat, and with that, “The Wedge (Variations)” began, and the free flowing jam grew from Chase’s drumbeat. You have to think Trey Anastasio, let alone the rest of Phish, would love this band, watching their jazz-influenced compositions get reconstructed by jam and jazz musicians.

    https://www.instagram.com/p/BkjEXz_FRsB/?taken-by=phishiznit

    “Peaches en Regalia” was as tight as a jazz band could be playing Zappa, with Grippo performing double duty on clarinet and saxophone. Compa shined on “The Moma Dance,” a funky “Cars Trucks Buses” and “Stash,” which wrapped up the set with the audience clapping along to and introducing another element of Phish to the jazz musicians tonight – the fans are part of the show too. A “Camel Walk” encore, called out by Felix, was straight forward with jazz and funk and left the audience buzzing about a return performance down the road.

    Setlist: 46 Days, Dog Log, Ya Mar/ManWomanBoogie, Bathtub Gin, The Wedge (variations), Peaches En Regalia, The Moma Dance, Cars Trucks Buses, Stash
    Encore: Camel Walk^
    ^Manteca teases

  • Foreigner Leaves SPAC Crowd ‘Hot Blooded’

    On a beautiful ‘Hot Blooded’ Saturday night for outdoor live music in Upstate NY, Foreigner, Whitesnake and Jason Bonham’s Led Zeppelin Evening took over the Capital Region’s favorite outdoor venue, the Saratoga Performing Arts Center, with their Juke Box Heroes Tour.

    Fans packed the venue to hear a wide variety of rock & roll classics that will stand the test of time. Dubbed the Juke Box Heros tour, it felt like the quarters were popping with hit after hit from each band’s set list. Some fans in attendance called it a live version of local classic rock radio station PYX 106. Each band kept the talking to a minimum as it was all about the music.

    Jason Bonham, son of late Led Zeppelin drummer John Bonham, got the fans in attendance and those still trying to find their seats warmed up. On a packed night, his Led Zeppelin Evening prepared the SPAC crowd for a classic hard rock night.

    The band played Zeppelin favorites like Good Times, Bad Times, Whole Lotta Love. Bonham once played drums for Foreigner from 2004-2008. They closed with the Zeppelin classic Stairway to Heaven

    Setlist: Immigrant Song, Good Times Bad Times, The Ocean, Whole Lotta Love, Stairway to Heaven

    The venue was almost full by the time Whitesnake hit the stage. Frontman David Coverdale kicked things off with “Bad Boys.” Whitesnake rocked the house with all members getting a chance to show off their skills with solos. Guitarist Joe Hoekstra is a beast on the ax and fun to watch on stage. Each band member’s resume is pretty impressive before joining Whitesnake. Coverdale showed off his charisma strutting around on stage while constantly swinging his mic stand in the air.

    The SPAC crowd was singing word for word with Coverdale by the time fan favorites “Is This Love?’” and “Here I Go Again” were performed. They closed their set with “Still of the Night” and  “We Wish You Well.”

    Setlist: Bad Boys, Give Me All Your Love, Love Ain’t No Stranger, Slow an’ Easy, Crying in the Rain, Is This Love?, Slide It In, Here I Go Again, Still of The Night, We Wish You Well

    The now packed house at SPAC was amped up and rabid for Foreigner to take the stage. Foreigner started off with “Long, Long Way from Home” followed by “Double Vision.” The third song in the set, “Head Games,” marked the point of no return as fans were locked in and consumed by the band’s energy, sound and style hit song after hit song.

    Midway through the band’s set, frontman since 2005, Kelly Hansen took a moment to give thanks and applauded the only original member and co-founder left in Foreigner, lead guitarist Mick Jones for his longevity and contributions to the music business.

    Hansen stood on a rising platform at the beginning of “Juke Box Hero” to close out the band’s set. They would shortly return for a two-song encore set. Hansen brought out music students from Hudson Falls on stage to help sing on the first encore song, “I Want to Know What Love Is.” Hansen paused several times during the chorus to let the fans sing it instead. Foreigner closed their encore set with “Hot Blooded.”

    Setlist: Long, Long Way From Home, Double Vision, Head Games, Cold As Ice, Waiting for a Girl Like You, Dirty White Boy, Feels Like the First Time, Urgent, Starrider, Juke Box Hero Encore: I Want to Know What Love Is, Hot Blooded

  • Photo Gallery: Wurliday and Super Doppler at Troy’s Rockin’ on the River

    Rockin’ on the River in Troy hosted Albany’s Wurliday on June 20 for some lively funk and soul, with guest vocals by Tyrone Hartzog and Ilana Morris, and led by Justin Henricks on guitar. Super Doppler followed with their brand of country rock and roll from Norfolk, VA, who perform later this year at The Sloss Music Festival in Birmingham, AL.

  • Syracuse is ‘Still Into You,’ Paramore

    It is nothing but awe inspiring seeing Paramore go from performing on a tiny pink bus on the Shiragirl side stage on Warped Tour in 2005, to seeing lead vocalist Hayley Williams having pink hair and wearing a pink jacket, performing in front of thousands of fans at the Lakeview Amphitheater on June 17 who were still into you.

    Kicking off the show with “Grudges,” Williams couldn’t help but have a huge smile on her face as she sang. Williams kept her performance fun, kicking her stylish yellow boots in the air, yet still letting her raw emotions shine through as she knelt to get closer to their fans.

    Williams dedicated their hit “Still Into You” to Paramore, which was a cheeky nod to all the trials and tribulations that the band has dealt with throughout its career.

    still into you paramoreHalfway through Paramore’s set, the band took a quick break to allow their crew to set up the stage for an acoustic mini set. They came back out to perform a cover of “Passionfruit,” “Misguided Ghosts” and “26.” This was a very intimate and personal portion of the set with Williams sharing some insight on how she felt now as opposed to when she initially wrote “Misguided Ghosts” and even teased about the audience giving her a therapy session.

    Dialing the energy back up with “Caught In The Middle,” the band continued to give their all for their fans. Another highlight was when Williams picked three fans named Jessy, Cameron and Danielle to come onto the stage and help the band finish “Misery Business.”

    After seeing Paramore’s performance, it is safe to say that their fans will forever “still be into you.”

    Setlist: Grudges, Still Into You, Rose-Colored Boy, That’s What You Get, Crushcrushcrush, Fake Happy, Playing God, Forgiveness, Ignorance, Pool, Passionfruit (Drake cover), Misguided Ghosts, 26, Caught in the Middle, Idle Worship, No Friend, Misery Business, Ain’t It Fun, Told You So, All That Love Is, Hard Times

  • Bonnaroo 2018: Waking Up in the Present

    Bonnaroo days bleed together and it was hard to resist the sun making a full circle upon The Farm, as birds chirped at 5:30am – music still thumping from The Ville and Kalliope. With Eminem, Anderson.Paak, and two sets of Bon Iver today, it seemed hard for them to compare to the rising wave of 16-year-old Billie Eilish. She was the talk of Roo – before, during, and after her set.

    Read Part 1 of NYS Music’s Bonnaroo coverage HERE.

    Earlier on, she spoke to press about her quick rise to stardom, losing those ‘friends’ close to her and fighting a fake internet-driven world. She was unfiltered and spoke like any 16-year-old would, but something so intriguing and real laid beneath the surface.

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    It wasn’t until she took the Which Stage that teens flocked and the rest not much older. Whispers and smiles filled the crowd about her age and attitude. That discomfort Eilish felt off-stage suddenly disappeared as the barriers blended into all of Centeroo. Her music is seamless in hope and heartache as intimate feeling slowly cuts.

    “Put your hand up if there’s somebody you fucking hate out there,” screamed Eilish – finger pointed up. It was unanimous. She is human and her music speaks to us. Eilish continued in choreographed dance with her brother and stage partner, Finneas O’Connell. They played “Lovely” for the third time ever at her debut-Roo performance as well as the catchy dance groove of “my boy” that’s refreshing, moving Bonnaroovian’s parallel to Eilish.

    As Eilish concludes, “Those of you who fuck with me, thank you … And those of you who don’t fuck with me [pause]. Thank you too.” The crowd willing drops to the hay-filled grass with little effort for Eilish during the bridge of her final song. Bodies drive up with hard crashing drums bordering your favorite rock-dub breakdown.

    Captivating music and artists like Eilish continued to pour in including rapper, drummer and producer Anderson .Paak, First Aid Kit and Old Crow Medicine Show. Rebelution took That Tent by storm along to Bon Iver’s first set on Which Stage. The Rebel-horns were fiery, screaming out with improv every chance they could. Glowing totems danced with the packed crowd and swayed with lighters on mellow tracks like “Fade Away.”

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    A white curtain was draped from What Stage as a Godzilla-spoof Eminem appears on screen. The crowd goes nuts and the curtain falls to Slim Shady himself spitting the tongue-twisting Dr. Dre cover “Medicine Man”. It was just like a scene out of 8 Mile – hands swaying back and forth with “Kill You,” “Rap God” and “Like Toy Soldiers.” Fireworks blast into the night sky during “White America.” The set caused immediate controversy about alleged ‘gun shot’ sound effects during the performance.

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    Bon Iver’s second appearance on Which Stage was poetic. It was hard to categorize it in purely musical terms. It was moving. Opening with a heartfelt acapella chorus of “Heavenly Father.” Likewise, TU Dance accompanied the ensemble with white t-shirts stamped “PEOPLE,” reminding us we are all human. It was as if Bon Iver didn’t exist, there was just music and pure emotion. Iver featured a five-piece trombone section and countless guest including Francis and the Lights, Sylvan Esso, Moses Sumney and Naeem Juwan. It was captivating and the crowd agreed, swaying slowly or too mesmerized to move their eyes away from the stage.

    It was unbelievable to think, most haven’t experienced this many bands in a lifetime let alone in three days. Sunday morning crept upon us and frankly it was hard to digest all the music we loved, wanted to see and the ones we didn’t, but had got sucked into the live performance anyway.

    For the fourth and final day at Bonnaroo, it hardly felt like the end. Canada’s Broken Social Scene played That Tent with a massive 10-piece band. They could have gone wherever they wanted and still griped the crowd’s attention. “Texico Bitches” and “Shampoo Suicide” moved Bonnaroovian’s equally. The band was drum-driven with dynamic and transparent intent. “I don’t have much to say, we’re just gonna keep playing….On the count of three, let everything out and scream as loud as you can.” The music had taken over. “One more time.” The crowd yelled beyond belief.

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    By this point Bonnaroo fever had caught up with us – trapped between the heavenly vocals of St. Paul & The Broken Bones or Moon Taxi’s third return to Bonnaroo. St. Paul was unruly, biting the cord and letting the gold microphone dangle from his mouth as the band slows in a mountain-sized retard. The band fades away.

    In route to Moon Taxi, you were halted by the experimental trio that is Daniel Caesar. The drums would not let up – what seemed to be a 12 minute constant solo. The keys and bass kept pushing and pulling during “Streetcar,” while Caesar expresses his love of felines. “Do y’all like cats? [crowd cheers] Do y’all know my cats name? I try to facetime my cat every day…dead ass [seriously].”

    By the end of Moon Taxi you could feel the world during “Two High.” It was real – invading your brain. We were floating like beach balls as big as the moon. Three of them surfed the crowd during screaming keyboard-synth solos on “Make Your Mind Up”. Seriously, where did they come from?

    The band also paid it forward with a rock mashup of “Lose Yourself” [Eminem], “All These Things That I’ve Done” [The Killers] and MUSE’s “Uprising” as the amber-sun came down on Tennessee. When there are just too many bands to see, take the ‘moon taxi’ whistling the melody to “Good As Gold.”

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    Finally, the end was upon us although it didn’t sink in until you woke up singing “Mr. Brightside” at 6:30 Monday Morning. The Killers were fantastic, bring a Las Vegas strip show to Bonnaroo. Brandon Flowers dressed in an all red suit with gold pleats mirroring a modern day Elvis.The Killers played a Tom Petty tribute of “American Girl” with the intro of “Free Fallin.” It was wild. Fireworks filled the sky. Stage lights were beaming through the night on The Killers first Bonnaroo gig.

    Ambient keyboards began. Two notes and Roo instantly goes wild, screaming at the top of their lungs. Flowers licks his lips and grins back at them – then turns slowly to the band. “I don’t think they’re ready. Did you get that one in the back,” he looks out. Bonnarovians are going wild and the keys lean into the same two notes as before. But this time, a little harder and longer…

    “Read My Mind” was only the beginning of the end. A near 15 minute wait cued an encore of “The Calling” and “When You Were Young” featuring a collective Bonnaroo choir: I got soul, but I’m not a soldier.

    So as you can see this whirlwind we call Bonnaroo is unlike no other. It is ever expanding. The festival takes eight or more months to prepare 24/7 – nearly twice as long as any other festival. With dates booked for June 13-16, 2019. We can only wait to see what will top a fantastic 2018 Roo.

    Bonnaroo Day 3 Gallery

    Day 4 Gallery

  • This Crazy Dream Called Bonnaroo

    “I want you to take one moment to be present enough [in this dark world] to realize that you’re surrounded by people that you may never see again, but for some reason we all came here today. And we get to be present. And we get to be right here with each other. So no matter what you are going through, I know this doesn’t make it go away. But for one second, just be present, enjoy music, and lets just fucking do this!”

    Hayley Williams, Paramore.

    Williams speech, as she sat cross-legged at the edge of What Stage, embodied the spirit of Bonnaroo for artists and fans alike. We were truly one – over 60,000 pieces woven together for the 17th annual gathering on The Farm. With 150 performances, art & culture, community building and sustainability efforts, it was effortless to make Bonnaroo your personal oasis out of the masses. But, we hardly had time for the music – chasing back to back sets which quickly wore holes through our shoes, top and bottom. Artist big and small, including Paramore, made their debut-Roo appearances and revealed unheard material. It’s only to be expected when you hear the word Bonnaroo. It swallows and consumes. It sucks you up and spits you out four days later of non-stop musical bliss. Welcome Bonnorovians.

    Bonnaroo Part One: Thursday and Friday

    There is no void in the wake of DREAMERS, a powerhouse rock trio with heavy New York roots. Lead guitarist and vocalist, Nick Wold’s feet tuck into his chest and plummet to the Who Stage, kicking off their first Bonnaroo performance at 5pm. They’re abrupt – snapping you into consciousness. The band drifts from punk, alternative and electronic music in its bare form.

    “A triangle is the strongest shape in music,” said Wold, as he form his hands accordingly. Debuting their new single “Screws,” the band shows off an eclectic mix of grunge guitar, electronic drums and bass that moves. “It’s about composition and playing tight together to communicate exactly what we wrote,” added Wold. “We are excited to express this thing we have been feeling and working on.” The driving chorus of “Wolves” picked the crowd off their feet while the breakdown in “Painkiller” sent everyone into oblivion.

    “Bonnaroo is one of those holy grail festivals. So it is a cool thing for us to be here,” said Wold. The band is excited to soak in the music vibe and become one with the audience to see all the new acts throughout this lineup.

    Iowa’s Lissie, continued at That Tent with the title track of their forthcoming album Castles, featuring an all female front with bassist Megan Mahoney and guitarist Toni Lindgren. Swelling peaks and valleys made the set dynamic, heard in “Love Blows” and “Feels Good.” Lissie sang with heart and makes a vivid connection to the lyrics in real time with “Best Days.” The soulful singer was in control, engaging the crowd. The performance strayed away from the electronic record with Luke Anderson on acoustic drums.

    Stripped down at On Tap Lounge, R&B singer Jalen N’Gonda revealed “Medicinal Fix” for the first time live. Accompanied only by a Cajon, N’Gonda’s set was jazzy and syncopated, stretching each chord higher than the last. Songs like “Honey” (If Only Honey Was As Sweet As You) were soothing, displaying N’Gonda’s pun personality. “I hope you think it’s sweet.” A solo guitar take on “Hollar” was proof Jalen is just as strong with or without his full band.

    As night fell, New Jersey bred Jasha Tull, known as Space Jesus, gave Bonnaroo new life. “You can have all the psychedelics you want, just don’t get paranoid out there. Drink lots of water and hug your friends all day!” The love was real and bass roared across Centaroo from The Other Stage. Massive screens surrounded the DJ with psychedelic visuals sucking you into the wormhole. Festival-goers, two females in particular, were stretched over the barricades head-banging with each drop. As the rave settled, Tull called a friend up on stage, who proposed to his fiancé for their first Bonnaroo. YES!

    If you haven’t hear the name, Pigeons Playing Ping Pong, it is exactly what it sounds like – an overwhelmingly energetic jam-funk band bouncing from one groove to the next. Fans gathered in That Tent for an epic hour and thirty minute set, like a flock of pigeons taking the name way too literally. Getting lost in “Horizon” while actual ping pong balls soared across the stage covering the floor post-set. Lead vocalist Greg Ormont’s eyes nearly popped out of his head singing neverending songs like “F.U.,” while the band swung in unison with their flock.

    “We’re all staying for the rest of the weekend to hang out with you guys,” said Ormont, and the crowd went nuts. The band featured trumpet and sax players of The Revivalists, Michael Girardot and Rob Ingraham for many tunes. It was only Thursday and us Bonnaroovians couldn’t get enough. “Welcome to the flock. This one goes out to you!”

    As Thursday rolled into Friday morning in Manchester, the party was still going with various DJs across the campgrounds and a secret set from Cage The Elephant at Plaza 9. The main stage lineup was impressive; featuring Paramore, Manchester Orchestra, The Revivalists, Sturgill Simpson, Muse and Bassnectar.

    With the sun high, dripping sweat, our 15-hour trek around Centroo began. There were just too many good artists to pass up. In route to Which Stage, the second largest at the venue, edgy post-glam Pop lured you into the intimate On Tap Lounge.

    Nude mannequins stood on either side of the drums – headless, wearing ball caps. “Undies! Undies!,” lead singer, Julia Lauren Bullock screams. She pressed her lips to them and launches them back at the packed tent. “Yeah, that’s a big fucking pair of underwear.” The ambient keypads lingered in the Tennessee heat. Bullock, stretches the mic cable through her dirty blonde hair, back facing the crowd, dancing with it.

    Meet The Foxies. Bare syncopated drums kick off “Our Blood Is Fire,” from their 2016 EP Oblivion. The band sets off, inviting ‘our friends’ up onto stage. The trio screamed the hook, ‘fire – fire – fire’ pressed up against guitarist Jake Ohlbaum’s cheek. It was a party-gone-wrong and Bullock was the antagonist. The Nashville based band continued with their latest 2018 single of “Be Afraid Boy,” in your face and full of attitude.

    Early on, New Orleans iconic brass band sound blew north with Trombone Shorty & New Orleans Ave. Troy Anders, a.k.a Trombone Shorty conducted the band with conviction, cueing each syncopated hit and crescendo. The rhythm section with dirty-growling horns moved in the breeze, left to right in unison – making the set as visually funky as it was sound. The Alto Sax player was breakdancing and dragging staff from backstage into the groove. Screaming arena-rock guitar solos contrast the driving second-line style, making mashups of The Jackson 5 and RHCP’s “Give It Away” riveting. These guys are truly masters of their craft – constantly moving on stage and switching instruments seamlessly.

    Trombone Shorty walked back from behind the drums dripping in sweat, as if he had just emerged from a Louisiana Swamp. “One more time,” Shorty calls out and the horns scream with the crowd – Ba-Da-Da-Daaaaa. Five minutes later the energy cuts abruptly, with an outro only possible at Bonnaroo. His arms spread to the ceiling of This Tent, folded across his chest and burst back out in the air slowing the band. “We love you Roo, see you next time.”

    Vivid clouds and clear skies paint a soundscape for the love that is Bonnaroo. One can’t help, but to be submerged in the culture and essence of each band, being, and walk of art that roams The Farm. Manchester Orchestra appears on Which Stage blowing your thoughts to the back of Centroo and filling your mind with sound. Now, you’re just hanging on for the ride.

    “I’ve Got Friends,” is energetic with landscape overtones pouring from the band. “Cope” amplifies intensity with raging distorting leads. The band disappears into their backdrop and the music becomes faint. Hairs rise on your skin as Manchester Orchestra drives up in melodic progression. Rock-cinema pours out of the lower 108 speakers spread in front of the stage. Ending with bassist Andy Prince, dangling his instrument from its headstock, over his shoulder to the floor – ringing in discord.

    No introduction is needed for Paramore. It was only 6:15 and we had been lost in musical paradise. “It doesn’t seem like life just, suddenly got better once we sang about it, but I will say that singing about it and dancing about – it sure makes the time go by a lot more fun, I guess,” Hayley rambles on.

    Williams was frisky and vibrant. In between her intimate prose with all of Roo, she jolted up for Paramore classics including “That’s What You Get,” “Ain’t It Fun” and “Ignorance.” Williams’ Bowie inspired makeup, megaphone, and high-kicks made the set anything but, hard times, a-play-on she kept throughout the show, even After Laughter.

    What made Bonnaroo’s stages so exciting is that the bands always spiced up their music. Paramore, in particular, gave “a little Roo treat” featuring their drummers band, HalfNoise. Zac Farro go out from behind the kit to sing “French Class” alongside Williams, while excerpts from the music video played on screen.

    With nearly 90 degree heat, we needed a wakeup call. “Y’all ready to Rock n’ Roll?” David Shaw of The Revivalists screamed across Which Stage. Saxophonist Rob Ingraham, was strapped into a 4-point harness, twirling his sax and jumping across stage.The guitar stacks followed suit. As the band took on “Wish I Knew You” and “It Was A Sin” the wood began to bow beneath their feet like a trampoline. Michael Girardot bounced his feet in the air crashing into his keyboards, as the whole rig tipped back into one of the two dueling drum-sets. Everything was ready to come down. But it didn’t.

    Shaw, dressed in overalls, was ‘The Farmer’ rounding up his roo-cattle engaging them at every chance he could, pointing the mic out into the fields. “I don’t know if Shaw is late for the Hoot-N-Nanny or early for the Okie Dokie (a later band playing the Who Stage),” said Ingraham. The energy was real. Shaw jumped on and off stage relentlessly, eventually charging the gates around the pit screaming out, lost in the crowd.

    Red as David’s beanie, an apple rockets on-stage inches above the monitor. Shaw reaches down and snatches it up. Crunch – It sinks into his teeth. He then throws it out to the herd for feeding. Shaw had made it home – all two tons.

    The chaos continued with Country artist Sturgill Simpson performing on the What Stage on his birthday. His footsteps onstage cued the ovation of “Happy Birthday.”

    British Rock trio MUSE was overwhelming, shoving their discography down your throat with little breath in between. Opening with “Thought Contagion,” “Hysteria”, and “Interlude” to name a few. Despite their fame, it was MUSE’s first appearance at Bonnaroo. Eleven screens backed the drummer featuring live video onstage an kaleidoscope effects. The band carried on with precision, playing their hi-tech carbon-neck instruments and touch sensitive picking. Before their six-song encore, the band tributed Rage Against the Machine’s “Guerrilla Radio” into “Back In Black,” by AC/DC.

    For “Madness” lead Matt Bellamy wore 3-D style glasses revealing the lyrics in real time to the slow electrified trance. Giant balloons soared during “Starlight,” as hands clapped in uniform with the snare. When they burst the sky was filled thousands of tiny silhouettes falling like snow, cannons and confetti tying everyone together.

    The night would not come to and end without the infamous Tom Petty Superjam at This Tent. Heavy attendance was required to fill the shoes of Petty. Cage The Elephant’s Matt Shultz, David Shaw, My Morning Jacket drummer Patrick Hallahan, Sheryl Crow, Justin Vernon of Bon Iver.