Boasting an impressive 30 year run, the preparations for Warren Haynes’ Annual Christmas Jam are underway. The popular, two-night benefit will take place on Dec. 7 and 8 in Asheville, NC at the U.S. Cellular Center. Tickets for presale were released on Oct. 19, along with a limited number of discounted two-day passes and VIP packages. Regular ticket packages go on sale at 10 a.m. on October 26th.
Grammy Award-winning vocalist-songwriter, prolific producer, and notorious guitarist, Warren Haynes has more than upheld his reputation by continuing to curate performances that draw crowds year after year. Haynes spoke on the event’s transformation over the years stating,
I can’t believe that it has been 30 years since myself and a few friends held a small event in a local club so we could all play together around the holidays and donate a small amount of money to charity… It’s gone from being a local event to an international one and we couldn’t have done it without the help of all the great artists, bands, and musicians that have donated their time through the years… This is truly going to be the biggest and best Christmas Jam yet.
This year’s line-up, in alphabetical order, for Dec. 7 is as follows: Dark Side of the Mule, Grace Potter, Jamey Johnson, Marco Benvento, and Mike Gordon of Phish. Dec. 8, also in alphabetical order, includes: Dave Grohl and friends play “PLAY”, Eric Church, Gov’t Mule, Jim James, and Joe Bonamassa. While local and international music fans can expect stellar performances both evenings, the entertainment doesn’t stop there. There’s no need to wait around till dusk; attendees can treat themselves to “Xmas Jam By Day” concerts and events. Also note that there are still other artists to be announced as the Christmas Jam draws nearer so be on the lookout for further announcements.
The 2018 Christmas Jam marks 30 years of great music, but it also commemorates 20 years of Warren Haynes collecting donations specifically for the Asheville Area Habitat for Humanity. Haynes’ investment in his community and long-term commitment to this cause has resulted in the Christmas Jam collectively raising roughly 2.3 million dollars for Habitat for Humanity. For concert goers looking to be more directly involved in the charity, there is another day event which coincides with the concert. “Before the Jam, Lend a Hand” brings together the musical artists, event staff, and attendees to help construct those homes which are only possible due to concert proceeds.
The link below is a video of Warren Haynes performing “Melissa” with Warren Haynes with Jake Shimabukuro at last year’s 29th Christmas Jam.
In a legendary place like The Capitol Theatre, the most memorable acts performing there today channel the ghosts of its musical past, like Frank Zappa, Janis Joplin and The Grateful Dead. Acts that will be remembered, years from now, alongside giant names like those are the ones that manage to echo those nearly unfathomable experiences from the earlier years of this concert palace. When the five-piece Americana jam sensation Greensky Bluegrass kicked off their show last weekend with their aptly-named original song “Bring Out Your Dead,” they did exactly this. For this reviewer, the vibrant myth of Pink Floyd performances here in this theatre glowed within the Cap’s interior, vibrating invisibly at the tips of this epic and harrowing modern song. This Capitol Theatre show might have served as a great benchmark showing just how far Greensky Bluegrass has evolved, from a new string band outfit several years ago into the epic rock concert performers they are today.
But the band then showed their range fast, as the next several tunes were some of their much more feel good stuff. “Wings for Wheels” and then “Handle With Care” carried the room from the shadows of that cool opening to a sunny bluegrass beach in paradise. Complimenting this portion of the evening was a roving solo picking, with members trading off in typically swift style. The Lil’ Smokies, the dynamic newcomer five member string band that had opened up for the night with their own highly received set, are set to tour with Greensky for much of the latter’s upcoming tour. So, it should be no surprise that many nights will feature either members of The Smokies, or the entire group, up to collaborate. At The Cap, Greensky invited the Smokies dobro player Andy Dunnigan and fiddle player Jake Simpson up for some fun.
First up was “Second That Emotion,” and not the most epic version you’ve ever heard but still no doubt a much-appreciated nod to one of The Cap’s late musical presiders, Jerry Garcia. But it was the “Worried About The Weather” that closed out set one that was the real kicker, perhaps the standout performance of the entire night. Dunnigan and Simpson never lagged behind or shied away, but instead showed their confidence beside the members of Greensky and made the dramatic tune into an explosive performance.
Set two brought the deeper cuts, with miles of space and focused improvisation, which seemed to see the band toying around with all the funky effects tech at their disposal. After starting out with some more smile-makers in “Fixing to Ruin” and Steam Powered Aeroplane,” Greensky laid down a huge “Ground Hog” and “Wheel Hoss” pairing, and the musical territory traversed here was as mystifying as it was funky and rhythm-inducing. The improv-loaded segue helped to reinforce the claim that Greensky Bluegrass is the headiest of all progressive grass groups out there right now.
This was followed up by another cool pairing in “Tarpology” and, perhaps another Garcia nod, “Ain’t No Bread In The “Breadbox,” with this latter tune being a real stand out on its own. While it hit the usual rolling groove Greensky puts into it, on this night the band pushed even harder to truly dig on it for several minutes. This one must have been an extra-special version in all the versions played.
It is said when a Hobo dies, “They caught the Westbound.”
Lean in, Hobos; one of our own traded in his ticket for a seat on that locomotive ghost. This one hurts.
To say Andy Goessling lived a life of music would be an understatement. Music was how he communicated. He was never considered a man of many words. In fact, many of the online testimonials include the comments, “We never talked much,” or “I only spoke with him for a moment.” He wasn’t much for words. But the words he did speak, became etched in one’s mind like a poignant moment in a movie forever embedded on that reel tape. I cannot count the times I stood or sat with Andy in silence beyond a hug and a kiss hello. Andy was the quiet observer. His presence was enormous.
SONY DSC
Andy loved antiquing. In every town across the U.S., he would find time to visit the antique shops. Mostly, he’d shop for antique instruments. Countless friends recall Andy being a master negotiator when it came to the ancient tools of the trade.
Longtime friend, former band mate, and neighbor, Jeff Barg (Bovine Social Club) recalls meeting him in the 1980’s and their friendship flourished ever since. Andy mentored him via text when it came to instruments.
“Andy had a knack for finding old instruments in thrift and music stores. I would find stuff and send him pictures. He would tell me what they were and what they were worth. He vibrated on that plane where the instruments would find him,” said Jeff.
Quoting Mark Twain, “A gentlemen is someone who knows how to play the banjo and doesn’t.” Perhaps Andy would play on those words, or perhaps he would take spirited jabs at his longtime friend and band mate, Tim Carbone (Railroad Earth). Andy would tease that a gentleman never plays the violin. However, in spite of his silly antics, Andy just recently picked up playing the violin, the last of his instrumental conquests. Tim has always regarded Andy as being the inspiration, but ultimately, in the end, it was Tim that inspired him.
Upstate NY musician and friend, Kevin Maul (The Nellies) met Andy through his knack of antiquing. Twelve years prior, Kevin’s one-of-a-kind Dobro had been stolen. One day in Buffalo, Andy had come across this unique Dobro and sensed something wasn’t right. Kevin recalls his monumental experience:
“He called up Beard guitars, the maker of this Dobro, and they told him that it had been stolen…He got my phone number and contacted me. He had said that maybe we would meet up at a festival someplace and he wouldn’t want to have me come up to him and say ‘hey that’s mine’. He was very nice about the whole thing.” Kevin continues to play his lost, but since found Dobro, today.
Andy was a member of several bands over the years: Kings in Disguise, Blue Sparks from Hell, Secret Admirers, Sleeping Bee, Shockenaw Mountain Boys, and most notably, Railroad Earth. His early musical years were largely shaped by his geographic location.
Hailing from New Jersey, there is a little known cream-of-the-crop group of artists living in proximity to each other. He’d find himself noodling for endless hours on back porches, or front porches, or at a party, at the local roadhouse bars, farms, studios, and just about every Amen Corner he could find. While on the road, he played everywhere and with anyone. It could be 5 a.m. with the sun dawning on the horizon, but Andy could be found at some campsite at some festival tapping his toes to the beat of his fingertips hitting the frets. It never mattered to him how large the stage was or how small the crowd. Andy was happy with an instrument clutched between his palms. His collaborations were countless. He’s played with so many musicians, it’s too numerous to list, but suffice to say, the six degrees of separation applies here. Playing was his gig.
Andy met John McEuen (Nitty Gritty Dirt Band) because he tracked him down and sent him and email out of the blue. I recall Andy telling me that the music of the Nitty Gritty Dirt Band was some of the earliest songs he learned how to play. Five years ago, Andy did what many of us fail to do and that is having the confidence and courage to put ourselves out there – he simply asked John if he could join them for a set in New York City. John remarked:
Two nights later, the ever-grinning Andy Goessling showed up. As the show progressed, whenever I nodded towards him for a solo, there it was – always grabbing the right tool for the job. A master catcher of hot notes no matter what I threw at him. Audience applause showed their appreciation for his solos… I soon started planning a recording with Matt Cartsonis for Chesky Records and Made in Brooklyn came together… the one thing I was not sure of, one I considered essential, was if Andy could make the sessions. He did! And this time he brought the zither. The way he played made the listener feel as if you had tuned in notes from a distant past on a strange and beautiful sounding instrument…He raised our bar. Following the album, I called on him whenever the show budget would allow, and he came and did it again – made us better.Lucky we are to have known and played with the great Andy Goessling.
Andy was the unassuming jokester, full of off-the-cuff, witty one-liners. I was fortunate enough to have caught a show Andy was playing with John. At the end of the show, with the intention of greeting fans, he instead gravitated toward me – he always found solace and comfort in the warmth of old friends. We began to speak, albeit briefly, when all of a sudden, another band member blurted out across the lobby, “Hey Andy!” I had just teased Andy that we should relish in the one sober moment we’ve had in the ten years we’ve been friends. The timing was perfect. Andy looks to his music buddy square in the eye and with deadpan face, he proclaims, “We’re having a moment, man.” And then, he laughs. The kind of boyishly cute laughter that is astoundingly infectious, especially endearing because Andy would chuckle after all his own jokes.
There are endless adjectives used to describe Andy, and they are all true. He was talented, gifted, kind, humble, genuine, peaceful, gentle, introspective, and humorous, just to name a few. But these words barely scratch the surface of Andy’s personality. Andy, the man of few words, spoke via his own actions.
I’ll never forget one day in January, Andy and I watched Mavis Staples from the side of the stage as we often did at festivals. He could have stood with anyone else, yet he stayed with me as I squealed and gushed over the amazing Mavis Staples. Most would consider my outward displays of fangirlism rather annoying, but not Andy. He savored the joy music brought others, even if it wasn’t his own. I sensed my own expression was one he felt, too. Hours later, he found me in the crowd of 10,000 or so and it was dark.
Without a word, he reached in his pocket and handed me a folded piece of paper.
Perplexed, I began to open the folded paper and as I did, it dawned on me what Andy had just done. For once, it was Andy that had left me speechless.
He had given me the Mavis Staples set list.
He proceeded to say he didn’t think he’d find me, so he was going to keep it in his guitar case to give to me when he saw me at another show. Andy’s considerate gift will forever be cherished and dear to my heart.
That is the kind of human this world lost.
For a man that was not much for words, there are two that would stand out the most: authentic and thoughtful.
The ripple effect of his kindness extends beyond the music he used as a tool for joy or healing, or communication and that makes it difficult to imagine a world without Andy. I’m grateful I shared a sliver of time with him on this plane. Andy lived the good life, and while we wish he had one more night on the road, souls of his caliber are needed elsewhere, somewhere in the ethereal realm where he heals from the great beyond. He was an immeasurable blessing for all of us.
We are now left with the deafening sound of his silence and a blindingly brilliant shaft of white light illuminating down on Andy’s now vacant space on stage. Andy deserves that warm applause.
Remember this name: Caroline Jones. The 28-year-old country singer and songwriter released her first album, Bare Feet, in March 2018, and has had an outstandingly remarkable concert season opening for country successes Tim McGraw, Jimmy Buffett, and Zac Brown.
NYS Music caught up with Caroline Jones after she opened for the Zac Brown Band at Saratoga Springs September 29, 2018. Jones’ performance demonstrated great versatility in her 20 minutes on stage. Mashing up John Denver’s melodies with her own, covering Coldplay’s “Fix You,” and even singing her original songs “Bare Feet” and “Tough Guys,” Jones sounded a lot like a female Zac Brown. She even pulled out the harmonica on the last song, unapologetic of her flexibility. She can sing, play guitar and harp, and even writes music.
Jones was unassuming as she sang on a stage washed in blue-violet light. Her petite frame was relaxed as her arched her voice over two octaves. She walked around the stage, dancing and singing about wanting a man to call her baby, and alternatively, telling people it’s tough if they don’t accept her as she is. Her voice training in opera shone through as she managed challenging transitions with ease.
After the performance, she graciously met fans at a meet and greet where she authentically appeared both relaxed and interested in each fan’s words. Smiling for the camera and chatting about fans’ love of her music, Jones was right at home during the meet and greet.
During the interview, Jones revealed her interest in country and pop music started young, at age nine, when she began vocal lessons with a teacher who specialized in jazz and opera. The teacher was her primary coach for many years, eventually guiding her to NYU to study opera. But her love of country was organic to her; she never lost it, and has found her way back to writing her popular tunes.
Jones offered that her parents, featured in the autobiographical song “County Girl,” were from different backgrounds. Jones shared her father is southern, and wanted her to stay connected to her southern values, including humility and a love of nature. She excitedly shared she enjoyed walking the grounds of SPAC earlier in the day and had found a babbling brook and the sunlight filtering through the trees. She admitted she often writes her best music in nature.
When asked about her future, Jones confidently sees herself still writing music in ten years and growing as an artist and woman. She hopes to continue to put out the type of music that communicates her values and connection to nature and womanhood, as she has done so well this year.
Jones had a sea of plaid flannel fans swaying and singing with her during her versatile twenty minutes on stage. Later in the night, she got the nod of approval from Zac himself as they played guitar together.
Remember the name, Caroline Jones. She is quite possibly the biggest name about to burst onto the country scene this year.
Folk singer and songwriter Izzy Heltai spent his summer on tour all over the United States, but there was one festival in particular he was excited to play, the FreshGrass Festival in North Adams, MA.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
Having lived down the street from MASS MoCA where the festival takes place the four years he attended MCLA as an Arts Management major, this festival has always felt like a homecoming for Heltai.
“What’s great about FreshGrass is that its always felt like the festival in my backyard,” Heltai explained. Even though he now lives roughly an hour away in Northampton, there is still something about North Adams and the FreshGrass festival in particular that holds a special place in his heart.
“The festival took me on before I was really ready to play that festival which, when organizations or places do that for someone who’s just starting to figure out what they are doing, is really cool and really nice,” Heltai explained.
“Now I feel really ready, prepared, and good enough to play there, but when I first started playing there I had no idea what I was doing.”
When Heltai climbed on stage in Courtyard C, there was an ease about him that showed he had really come into his own as a musician, a comfort in what he was doing. As he explained it in his interview, the more you practice, the better you get and spending the entire summer on tour it seemed, from the audience’s perspective, he was more than ready for his third year occupying the stage.
Over the years, Heltai has learned a lot on the fly, but one thing he’s figured out for sure is to not leave practicing until it’s too late, He says one always thinks they will have time to get another practice together during the festival weekend, but the likelihood of that actually happening is pretty low. With his accompanying band, which included stand-up bass player Dan Bisson and electric guitarist Micah Katz Zeiger, it was easy to tell they had run through these songs many times. It was practically second nature for them.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
Heltai was more than okay with his 12:30 p.m. time slot on Sunday, explaining that he gets booked at a lot of bluegrass festivals. In reality, he’s more of a singer-songwriter and doesn’t have just a four-chord progression with intense violin or mandolin ‘shredding’ over it. His sound is very acoustic and mellow in comparison.
“Maybe everyone is a little hung over and ready to listen to some softer folk tunes,” Heltai explained, with a laugh about why he thought his time slot worked so well. For him, getting to share the poster with names like Brandi Carlile, one of his favorite singer-songwriters who also performed at FreshGrass last year, or the Indigo Girls, who performed this year, is one of the best parts about it. It’s an honor for him to be in the same lineup as them.
Sometimes during performances, when an artist tries to get the crowd to participate, it’s like pulling teeth, but not for Heltai. He had the crowd participating with ease in combination with some witty remarks made by his supporting guitarist, Zeiger.
Two of his favorite songs to perform are “Not Eden” and “Anyone to Anybody.” He explained they are a lot of fun to play, especially around the North Adams area, because a lot of people know the words and sing along, which was definitely evident at his performance. People all around were matching his words in harmony with the tune and clearly knew these songs.
One of the big things that helped Heltai in his career was the support from the Arts Management professors at MCLA. They not only taught him how to organize, market, and advertise himself, but also gave him the freedom while still in school to use his tools in the real world and go on mini tours instead of being in the classroom all the time. The goal is to be able to put what you are learning to use outside of a classroom, and Heltai was able to do just that.
Heltai doesn’t see himself as a successful artist yet, saying, “We will see about successful,” despite the fact he has performed at FreshGrass Bluegrass Festival, Kerville Folk Festival, Falcon Ridge Folk Festival and Ossipee Valley Music Festival. He has also worked as support for musicians such as Ghost of Paul Revere, Honeysuckle, Caitlin Canty, Upstate Rubdown, Frances Luke Accord and The Sweetback Sisters.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
When asked what one of the hardest hurdles to get over is, Heltai replied, “Especially with the type of music I do as a singer-songwriter, I usually play solo, a lot of people just don’t listen and that’s okay.” He explained as a solo artist you have to find the environments you work best in. Sometimes you aren’t going to end up in the best environment, and people there won’t care about your music. That’s unavoidable, and it’s okay.
From watching him at Stage C, it would be hard for listeners to not care about his music, because the crowd was hanging on every word.
Heltai plans to start recording his new EP in October and it will include his “Marching Song,” performed at the FreshGrass Festival. His music and social media can be found on most platforms, under the name Izzy Heltai.
Amy Helm’s album This Too Shall Light comes out Friday, September 21 on Yep Roc Records. Produced by Grammy-award winning producer Joe Henry, this 10-track album delivers on illuminating a whole different side of Helm’s already unique songwriting style. Amy Helm left the comfort of her home in Woodstock, NY to record in Los Angeles at Union Recording Studios over a span of just four days. Along with a cast of stellar musicians and collaborators, Helm was able to pull together a collection of original songs and some covers to create a sonically vibrant album, guided by her rich vocal reflections, on the cyclic essence of life. While her past work was a bit more raw production wise, this album makes great use of stacked gospel harmonies while maintaining the fidelity of the instrumentals. Each song offers a steady build, but each also occupies a different level on the dynamic spectrum keeping the motion of the songs interesting.
Something that stands out when the album is looked at as a whole is the organic feel of each recording. While the production is not pristine, it effectively acts as a nod to the authentic nature of the music, as well as the authenticity of Helm herself. She and her band went into the studio for four days without having really rehearsed the songs, giving the performances a feeling similar to that of Astral Weeks by Van Morrison. This experimentation, and the overall leap out of the comfort zone, payed off big for Helm in a genre mixture where authenticity breeds emotion. One song that stuck out was her original piece, “Odetta.” It sums up a lot of what the album is about musically; the loose interplay between the guitar and piano along with a percussive sync between the bass and subtle drum line give the song a steady pulse and interesting variety of melodic lines. Stacked on this are wonderfully produced and performed gospel harmonies. Helm’s pristine transitions from full-voiced resonance to her elegant lead voice are stunning. Her dynamic range is huge, and she’s able to emote the lyrics by the difference in her tonality. From her note attack to how she slowly fades out her lines, her control is apparent.
Amy Helm was able to carve out a fresh sound on a few covers, and offered a couple tribute songs to her father, Levon Helm (The Band). One of these tributes, a cover of the hymn “Gloryland,” showcased just how well these featured vocalists (Allison Russel, JT Nero, Adam Minkoff, and Doyle Bramhall II) can lock in with Helm and each other to create bright and vivid harmonies which sound like one big voice singing together. From the album’s beginning to end, the harmonies shine through the mix of just about every song and give them a characteristic gospel taste. Whereas the instruments tend to keep it on the loose side, these harmonies are air-tight without being overproduced – they were mixed in stereo to great effect. While the album doesn’t feature too much original material, Helm is able to make the covers interesting in a manner different than the originals. Specifically, in “Freedom for the Stallion” (Allen Toussaint’), Helm’s cover is steeped in gospel influence, and her vocals give the song new character, as she breathes a different perspective into the strong set of lyrics. She and the band are able to do this effectively throughout the album. It would be great to see more original work, but this is understandable since the timeline was so short, and that shortened timeline was a gamble that ultimately paid off. Overall, both the covers and original compositions that are on this album are wonderful and show signs of things to come as Amy Helm continues to build her discography.
Key Tracks: Odetta, Gloryland, Freedom for the Stallion
The WinterWonderGrass Music Festival has been an exciting treasure of Colorado and California for several years. Being an all-ages, community-centric event, with a variety of craft beer, cider, and local foods, it has earned the love and admiration of many who have attended. Not to mention that it features world-class bluegrass and roots artists who add musical entertainment to the mix. However, what was once thought to be an event almost entirely composed of local residents, WWG has made its first steps to expand its amazing winter lifestyle celebration to the east coast. After an impressive seven years in Steamboat Springs, Colorado and five years at Squaw Alpine Meadows in Lake Tahoe, Stratton, Vermont will be the first Northeast destination to experience this thrilling combination of high-quality artists and authentic partners/vendors from December 14-16.
Founder of WinterWonderGrass, Scotty Stoughton wished to make his vision of community, family, philanthropy and leadership into a fantastic display of music, craft beer, and cuisine appreciation. When asked about what WWG truly stands for and the motivation to create such an immensely popular communal event, he responded:
The inspiration behind WinterWonderGrass is to recreate the magic of ending your snow day at the base of the hill surrounded by family and friends, reminiscing about the days turns, while sipping a beer and listening to acoustic music. I learned to ski at Bromley, and those moments and memories are never far from my spirit. Living in the West, I have observed the expansion of ski towns and mountains, and I have a deep desire to recapture the true essence of the sport and communities that were built around mountain adventure!
Out of the 20+ bands performing on four stages over the course of three days, Railroad Earth and The Infamous Stringdusters have already been announced to kick off the extravagant grassroots festival. The layout of the event itself is conveniently designed to accommodate all attendees, music lover or otherwise.
The outdoor main stage is flanked by three heated beer halls, where side stage acts deliver inspired performances, often joined by guest musicians. The audience then has a variety of delightful options to move from the main stage, to the toasty beer halls, to the coffee bar, kids zone and to on-site sponsor activities. This journey of winter music and spectrum of drinks is shaping by the day to include more attractive performers and contributors to make it an event you do not want to miss.
For further information on General Admission, VIP, and Ski Pass details, check out the WinterWonderGrass Music Festival website here and be set for the Northeast and Vermont’s very own December debut of this iconic celebration.
The seventh year of the KeyBank Rochester Fringe Festival is underway. Now the largest multi-genre festival in New York State, the 2018 Rochester Fringe Festival offers more than 500 performances and exhibits across dozens of venues. Offerings include theater, comedy, art exhibits, multidisciplinary shows, and live music. Here’s the NYS Music Guide to what music-lovers can look forward to this opening weekend.
https://youtu.be/f2WL6Gy329o
The main attraction this weekend is the outdoor spectacle on Friday and Saturday, featuring the US debut of Massaoke. The UK sensation is sweeping the festival circuit world-wide, playing everyone’s favorite sing-along hits. Catch the act at Parcel 5 on Main Street. Massaoke starts at 8:30pm each night, but live music starts at 5pm. Opening on Friday night are The Crooked North (Americana), La Muralla (salsa), and Vanishing Sun (funk/soul). Saturday night features Chris Eves and The New Normal (rock), EightFingers (country/blues), and Cold Fronts (garage rock from Philadelphia). Parcel 5 events are free and open to the public.
For the night owls, the party continues long into the night at the Immersive Igloo 3D sound experience at Spiegelgarden at 9:30 and 10:30 and the Silent Disco in the Spiegeltent. These two events are ticketed, and sell out quickly. Check ticket availability: Immersive Igloo and Silent Disco.
Silent Disco photo by John Schlia
Looking for something a little more laid-back? Settle in and enjoy some refreshments at local coffee shops and enjoy some free live music.
Java’s Cafe on Gibbs Street hosts eclectic rock/folk band Paxtor at 7 p.m. on Friday. Then on Saturday, they feature acoustic trio The Genesee Three on Saturday at 5 and the eclectic musical stylings of Leah and the Upheaval at 7 p.m.
Around the corner the Little Theatre Cafe has plenty to offer music-lovers, starting with local cover bands B2 and Sad Bastards on Friday night. A full bill on Saturday starting at 2 p.m. includes RIT Surround (a capella barbershop), Proof of Purchase A Capella, The Annual Bill Destler and Rebecca Johnson Show (folk), Norm and The Outliers (jazz), Desert Rhythms (belly dancing), and Howie Lester (international/folk). And the fun continues with interactive shows on Sunday with Music and Visuals with Motion Capture at 1:30 and Virtual Karaoke at 5:30.
Eastman School of Music will be hopping this weekend. Friday night features two performances by the University of Rochester’s Institute for Popular Music: a performance of The Yes Album at 7 p.m. and Led Zeppelin IV at 9 p.m. Dave Rivello’s ensemble performs Saturday Night. And Sunday brings the return of the popular Gospel Sunday at 2 p.m. Gospel Sunday is free, but the room fills to capacity quickly, so arrive early. Tickets are on sale for the other shows at Eastman School of Music’s Killbourn Hall.
U of R Institute for Popular Music
Fans of contemporary dance troupes will want to check out the schedules for PUSH Physical Theatre and Garth Fagan. And if you’re in the mood for a musical, there’s Hedwig and the Angry Inch at 7 p.m. all this weekend or next Thursday and Friday at Lyric Theatre (click here for tickets).
If you’re already looking ahead to next week’s events, you may want to consider heading out on Wednesday night to catch a rare live performance of Instrumental, the soundtrack to the comic of the same name. Author and composer Dave Chisholm released the set last year, and this will be the first time it will be performed with the comic pages projected as the backdrop. More information and tickets are available here.
This is just a taste of what this weekend has to offer in Rochester. A comprehensive list of events can be found at the Rochester Fringe website rochesterfringe.com.
Several events are already selling out. If you plan to attend a show, purchase tickets in advance.
Online: rochesterfringe.com
Phone: (585) 957-9837 (additional fees apply)
Box Office: One Fringe Place (corner of Main & Gibbs Streets)
In Person: Venue door one hour before start of show (subject to availability)
The 2018 Borderland Music & Arts Festival released an electrifying lineup this week in anticipation of its inaugural festival at Knox Farm State Park. Scheduled for Sept. 22 and 23, the event is known particularly for its appreciation of rich artisan history within the Buffalo-Niagara region and will be accompanied by sounds from a wide spectrum of bands.
The headliners for the festival are just as incredible as the food, drinks, and services offered. Saturday’s lineup features major names such as the Revivalists, the Sam Roberts Band, Dr. Dog, Sam Bush Band, and Sister Sparrow and the Dirty Birds. Additionally one of Buffalo’s favorite Canadian groups, the Barr Brothers will be crossing the border to share their high energy folk tracks. Sunday features blue-eyed Philly soul legend John Oates & the Good Road Band, Oteil & Friends, Margo Price, and the Infamous Stringdusters.
Tickets are available now and vary in packages from two-day VIP to General Admission. The two-day VIP ticket is priced at $359 and includes VIP parking, prime viewing for both stages, a private bar with local fare, and a private Friday Night reception at the Knox Mansion. In addition, the festival is family friendly with free admission for children 10 and under when accompanied by a paying adult. Even the location of the event is breathtaking as it is fully surrounded by the Great White North and Great Lakes. For anyone looking to enjoy a fantastic weekend filled with delicious food, talented music, and excellent drinks, the 2018 Borderland Music & Arts festival is a fest to surely consider this fall.
Check out the video for the Revivalists’ hit song, “Wish I Knew You” below:
Held the final weekend each and every year, the Great American Irish Festival (GAIF) is one of Central New York’s favorite July events. Mixing it up this year by reducing the numbers of days of the festival to two may have welcomed a few grumbles, but for the most part was a highly successful decision as crowds were full and constant at all of the activities underway. Adding a few choice events this year like Sean Finnerty and Colum Tyrrell, two very funny Irish Comedians from NYC, and a Sip and Paint gave festival goers additional options for fun and frolicking.
You find at this festival there are two types of attendees: the ones that pick a stage and watch from beginning to end and the stage jumpers, such as myself, who try to capture every moment of every artist on all stages. This can become a bit daunting at times, trying to be in two places at once. However, if you were hopping back and forth between stages throughout the weekend you were pleasantly pleased to see that you were able to catch a major portion of each set without missing any of your favorites. The scheduling was meticulously organized so that everyone could enjoy every band. Well done GAIF band schedulers, well done.
Over on the Contemporary Stage Friday night (and Saturday as well), The American Rogues solidified themselves as festival favorites as their high energy ensemble of percussionists ramped up the crowd and laid down the beat that catapulted the weekend into one of the most successful yet. This ever-changing group has more than 17 members that alternate shows throughout the year, hailing from all across the US and Canada. These musicians come together to give fans an electrically charged set of Celtic music at its finest. Meandering around the festival grounds throughout the weekend, there was constant chatter about their new favorites at the festival, The American Rouges.
Under the Traditional Stage’s pavilion, Diana Ladio and Alison Lynn of the Moxie Strings got the party started. These two electrify every crowd they play for with their unique sound of electric cello and fiddle. Their blend of Celtic and classical sounds, blend beautifully to entrance all those that hear them. Joined this evening by special guest David Howley of the band We Banjo 3, and Kian Byrne on Saturday, they set the tone for all those looking forward to a traditional Celtic experience.
Following the Moxie Strings were a trio of sisters, Greta, Willow, and Solana Gothard. The Gothard Sisters have perfected their harmonious style of Celtic renditions over the years growing up in a musical environment together. With oldest sister Greta on guitar, violin, octave mandolin, and vocals; middle sister Willow on violin, mandolin, octave mandolin, bodhran, and vocals; and youngest Solana on violin, bodhran, djembe, whistle, percussion and vocals too, these talented sisters each add their own secret ingredient into the blend that make them a winning recipe. Add in a dash of Irish dancing and these sisters clearly have found the magic to captivate their audience with their melodic playing and angelic tunes.
Arise and Go has become another festival favorite with their upbeat original compositions of traditional Irish music with touches of the Scottish and Canadian influences they’ve acquired through their years of training. Hailing from Ithaca, these three musicians, Ellie Goud, Michael Roddy, and Tim Ball, have blended their unique sounds to create their own sound of Celtic music and beguiled those who had the privilege of catching their set Friday night.
Searson has been a festival favorite for years. Sisters Erin and Colleen Searson were joined by Frazier Gauthier on bass and Dave MacDougall on percussion, and together they brought their Ottawa Valley Celtic traditions to Central New York. Playing on both the Traditional and Contemporary Stages throughout the weekend, it’s not surprising their fans followed them wherever they were as their fiddle playing and step dancing lures you in and gets you moving. Searson has become part of the GAIF family and their live show is one to not miss
As the night progressed back over on the Contemporary Stage, Central New Yorkers welcomed back Enter the Haggis. In past years, Enter the Haggis would typically play a Saranac Thursday then only play the opening night at the GAIF. However, this year would see that tradition end. Focusing their full attention on GAIF this year, festival goers were pleased to welcome them for the entire weekend. Their musical ability to tell a story in the most melodic manner has won over their fans, lovingly referred to as Haggis Heads, time and time again. Their high energy performance ramps up every crowd I’ve ever seen them play for. Singing along to each and every song, this band could step away from the mics if they wanted as the crowd knows each and every word and happily participated throughout the entire weekend. If you haven’t seen Enter the Haggis live, check them out this November as they return to The Wescott Theater for their annual fall show.
This year, festival goers were extremely excited for newcomers We Banjo 3. Making their first appearance at the festival ever, we were honored to welcome them and celebrate the release of their new album Haven the very same night.
I had a chance to speak to the lads before their set about the new album, recording, their history, and although Fergal was jokingly a little put out with his question, fans truly wanted to know the history of the red pants Fergal, I promise. The lads were friendly, silly, and their personalities on camera match their charismatic personalities on stage and they immediately won over the crowd and left them wanting more than just the one evening they were here for. This is one band that festival goers want more from so stay tuned for upcoming shows in the area. You will be happily surprised as dates are announced.
Completing the Friday night lineup,The Elders took the stage. The weather advisory for a massive downpour wouldn’t dampen anyone’s spirits, because their favorite musicians from Kansas City were in town. This group has become family to GAIF over the 11 years of playing here in Central NY and they poured out their souls to those who could stuff underneath the massive circus tent of the Contemporary Stage as the rain poured down outside. Joined by friends from Searson,The Moxie Strings, We Banjo 3,and Enter the Haggis throughout the night on stage, it was like a family reunion of sorts. The love and respect they have for one another together with the love from the fans out front of the stage made for a magical evening of music.
Saturdays’ activities began bright and early for the annual 5K Ranger Run and Highland Games. As gates opened, crowds poured in and tents and stages filled up quickly with those vying for the best seats in the house for their favorite bands.
On the schedule for Saturday was local favorites, Blarney Rebel Band, Rochester’s 1916, a return from the American Rogues, festival favorites Barleyjuice, Enter the Haggis, and capping off the night was the final performance of The Elders on the Contemporary Stage. Over to the Traditional Stage, attendees welcomed back locals Craobh Dugan, Triskele, Stoutmen, Donal O’Shaughnessy, House of Hamill, Moxie Strings, The Gothard Sisters, Hair of the Dog, and last but certainly not least, Searson.
House of Hamill, featuring Brian Buchanan from Enter the Haggis and his wife Rose Baldino, formerly from Burning Bridget Cleary, made their first appearance at the festival together. These two have a magical musical chemistry on stage. Between the two of them, they have more than 25 years of writing and performing under their belt and their collaborations on stage clearly reflect this. As they lovingly bantered and played around on stage, they clearly won over their audience and left them wanting more.
1916 has performed at GAIF before, but this year’s performance may be the first time several concert goers were able to take in their set (such as myself). As I was walking in to the festival I met up with Jon Kane, one of the band members, and I asked him to describe their sound. He described them to a “T” for me. He said it’s a mix of ‘Celtic rock meets Johnny Cash’. Spot on, Jon. It was exactly that and I loved them. In the middle of the afternoon their jumping around and thumping on stage got everyone up out of their seats, making this afternoon performance one of the most energized sets all weekend. If you haven’t had the chance to check them out, do so. They hail from Rochester, NY and central New Yorkers can get a peek as they play all over the state. You can thank me later.
Barleyjuice has become another of the Great American Irish Festival’s regular performers. Each year, attendees clamor to get up front for their “in your face” and gritty renditions of Celtic rock music. This band never ceases to please a crowd and once again left it all on stage for those who had the chance to see their set.
One traditional that never changes at the Great American Irish Festival is the Mass Pipe Band March on Saturday evening. Competing all weekend, the participating bands group and march throughout the festival to the field in which winners in each category are announced. Once there, they play and perform together brining chills to all that witness – another “must see” event.
As the night wore on, the time came that everyone had dreaded, the final performance of their favorite band, The Elders. How could it be that the band that won their hearts would no longer be coming back? For many, it’s why they came to the festival each and every year. Last year’s void was felt and this year’s goodbye was bittersweet for both band members and festival attendees.
Tears were had by many as songs they knew they would never hear again, were sung one final time. As the night wore on, friends from other bands joined them for one final collaboration. It was an energetic, wistfully sad night. They won the hearts of all many years ago, and left their hearts on stage with their fans. As they end touring, they took the time to share their final thoughts with those here in Central New York. Take a peek below at a message they sent to each and every one of you.
As Sunday morning came, and breaking with the tradition, mass was held in Utica at St. Patrick’s/St. Joseph’s Church. Across from the newly built Irish Cultural Center, the congregation was serenaded with traditional bagpipes and music. In time, as the Center is completed, mass will be held within for all to enjoy.
Change is never easy. Whether it’s change in the number of days of a the festival, the addition of new things or the elimination of favorite things, it never gets easier. But change can be good. Change should be embraced as with change comes new opportunities. The Great American Irish Festival is an amazing event. It’s run entirely on volunteerism. Volunteers are what makes this festival great, and what makes it run smoothly. There have been changes throughout the years, some good, some not so good. But I urge each of you to embrace these changes and give this festival your support. Like any great team, it’s a winning formula that makes it click. Fans of sports teams don’t jump ship when they loose, they stand with them until they get the right mix. So I urge all that may have stopped going, or no longer volunteer, or stopped being a part of this event to give it another chance. Take a peek at the Great American Irish Festival site and give some feedback to how you think it can improve. The team wants to make things perfect for all that attend and your feedback is critical to making the right changes. For all those who have never given up, thank you. Thank you for believing in the Great American Irish Festival, because after talking to so many from all over the world, it truly is considered by those who perform and attend to be The Great American Irish Festival.
One traditional that never changes at the Great American Irish Festival is the Mass Pipe Band March on Saturday evening. Competing all weekend, the participating bands group and march throughout the festival to the field in which winners in each category are announced. Once there, they play and perform together brining chills to all that witness – another “must see” event.
