Albany-area jamband, Formula 5 has lent its name to a new shake in Capital District Ben & Jerry’s scoop shops. The band is also set to host its Rock the Dock Music Festival in Lake George on July 13.
The Formula 5 Flavor Shake combines the iconic Cherry Garcia, Totally Baked and Phish Food ice creams with mini M&Ms and milk. It is available throughout the summer at scoop shops in Saratoga Springs, Albany and Lake George. A portion of the proceeds from the sale of the shakes will benefit the FUND for Lake George and Friends of Five Rivers.
Albany scoop shop co-owner Mike Sperduto said of the shake
“Bringing Ben & Jerry’s and Formula 5 together to mix up a shake just made sense. From The Grateful Dead and Phish to Willie Nelson, we keep our eyes on the smile, music and ice cream, so taking this to a local level made sense, and especially with the commitment of a band who embraces our values really solidified it for us.”
Watch the Formula 5 commercial advertising the new shake below:
The band is also set to host its second annual Rock the Dock Festival on the dock of the Lake George Steamboat Company in Lake George on July 13. In addition to the host band, other artists performing at Rock the Dock include, Soule Monde (Featuring Ray Paczkowski & Russ Lawton of Trey Anastasio Band), Strange Machines and Let’s Be Leonard.
Luke Dow, event manager for Rock the Dock, shared background on bringing the event to the docks on Lake George:
“Rock the Dock was started as a way to celebrate the Lake George Steamboat Company’s 200th anniversary by doing something that the company has never done in its history, hold a concert on the pier. The free concert was a way of giving back to all the loyal patrons as well as showcase the talents of local artists and food trucks. This year’s festival will also be focused on giving back, with 25% of all ticket proceeds benefiting the FUND for Lake George, to help with their efforts to keep the lake clean and pristine for years to come.”
Tickets for this year’s festival are $7 and available at the Rock the Dock website.
Formula 5 recently covered the Rush classic, “La Villa Strangiato” at the Hollow Bar and Kitchen in Albany. This performance marks the first time the band has covered Rush in a live setting.
On Friday June 1, guitarist Tom Hamilton and pianist Holly Bowling will bring their acoustic duo project to The Capitol Theatre for what is sure to be a magnificent set of Grateful Dead material. The show is billed as ‘Acoustic Exploration of The Grateful Dead.’
Currently, Hamilton and Bowling are touring together with Steve Lyons, Raina Mullen and Scotty Zwang as the highly received jam outfit Ghost Light. Given that but also given both Hamilton and Bowling’s extensive backgrounds in bringing new life to The Grateful Dead songbook, this Capitol Theatre show should be one of those shows to get out and see at all costs. For more info, visit The Capitol Theatre’s website.
In our excitement for the show, NYS Music sat down with Tom Hamilton and discussed in depth the nature of improvisation in today’s modern music climate.
Miles Hurley: So I understand that you’ve been playing with Holly Bowling since her many sit-ins with American Babies. And then of course there’s Ghost Light, and now this duo project. What draws the two of you together musically?
Tom Hamilton: I’d say we both respect the idea of improvising, and of really trying to go places. And seeing how far away from an origin we can take things out. And we listen. The whole thing for me, and for a lot of people I think, when it comes to improvising, is listening to what each other is saying, and giving each other the time and space to say what they have to say, and then reacting accordingly.
MH: What do find is different about improvising in a two-person setting as opposed to with a full band?
TH: Well the principle is always the same, and…well with the acoustic thing, there are just different variables, you know? The acoustic thing is interesting because, not only is it just two of us, but it’s an acoustic guitar instead of an electric guitar, and the pallet that I get to choose from is different. Different than what there normally would be with a band. So I guess it’s kind of doubly-different then. And I think for Holly, you could pretty much say the same thing, because in the band she’s using the keyboards, and not an actual grand piano. And there’s an enormous difference between the way she plays those two.
It’s like having any kind of conversation. The best kind of conversations a person will have, it’s not just the other person waiting to say what they want to say, it’s: “okay, I have heard what you’ve said, and I will retort.” A real back and forth. So with Holly and I, there’s a lot of respect, and a lot of listening.
MH: I got to catch Ghost Light’s show at The Acoustic in Bridgeport, and I could see what you’re explaining going on. Seeing the way you guys interact when building jams was almost as good as hearing it.
TH: Yeah, the thing I always try to stress is, let’s try to write a song right here on the spot. Let’s try to write a Radiohead tune right now. And see what happens, and if it goes somewhere it goes somewhere, if it doesn’t, it doesn’t. It’s about making choices. I think that’s the difference between bands that can get around, and bands that kind of just noodle. It’s a thing of saying things with a period on the end, rather than a question mark. “You said this, so this is what I say.” You keep making things happen. And sometimes it’s complete dogshit, and that’s totally fine. That’s the point of it, that it can go either way, and I think people respond to that. I think that’s why people come, because it could be the greatest thing ever, or the worst thing ever, and they think, “I want to see which way it goes today.” As long as everybody’s making choices, it’s always going to be a good outcome.
MH: One thing I think is interesting is that Holly started out doing the tribute thing, and I remember asking her about writing her own music, which Ghost Light has now given her the opportunity to do. But this acoustic project and now The Capitol Theatre Show will almost kind of bring both of you guys back full circle.
TH: Yeah, you know The Capitol and the Dead are both that common thread between us two. When we were asked about doing this, we just said absolutely. For me, the thing that makes it super not a problem is that…as long as we’re still chasing original music. And I mean original music, not like, “oh I’m going to take music that’s pretty been written a thousand times and put different words over it,” or something. No, like original songs and doing original things. As long as we’re using our other time to doing that, and contributing to the lexicon, I think it’s great. It’s great that we get to have the best of both worlds.
MH: This will be another one of several different Dead related projects you’ve been involved with. I think there’s something to be said for the fact of people coming to see you tribute The Grateful Dead in not just one but multiple different projects.
TH: I mean it’s certainly flattering, I will say that. It’s an honor that people care. And we’re lucky enough that with that songbook, you can keep it fresh, as has been proven over the last fifty years. Those songs are living documents that are always going to be growing, and as long as you’re helping that, and keeping it moving in a forward direction, it’s a wonderful thing, and I’m glad to be doing it.
MH: Thinking outside the Dead, were there any particular music artists that you and the other members of Ghost Light have bonded over?
TH: The fun thing about Ghost Light, I think, is it’s five pretty different points of view. I mean, yes, there’s bands that we all agree on. Like Radiohead is fucking Radiohead. They’re the Beatles of our time, and The Beatles are The Beatles of everybody’s time. There’s certain truths you can’t escape.
But there is like…we do a couple of Rolling Stones tunes, and it’s not that I don’t like The Stones, but I wouldn’t have brought that it, and Holly did, and that’s awesome. I brought in a Derek and The Dominoes tune that we do, that probably nobody else in the band would’ve brought that in. Raina brought in this song called “Wild One” that’s just this awesome punk tune, that none of us would’ve thought of. Scotty brought in “Head over Heels” from Tears for Fears.
We all have our own place we’re coming from. That’s the thing that turns me on about the band, and about people in general. It’s a weird time we’re in that most people, through either social media or in social situations, they surround themselves with sicophants. Surrounding yourself with people that are just going to say yes, or agree with what you’re saying, or have the exact same tastes as you. Where it’s like, “well if you don’t listen to what I listen to or believe what I believe, then I can’t hang out with you.” And I get it, but it’s also bullshit, and you’re not going to bring anything new to the world, by a bunch of people just agreeing with each other. And this is bigger than just music I guess, but differing opinions need to touch each other to create a new opinion, to bring understanding and to broaden horizons.
Like, everybody in the band, we all got together because we all love Neil Diamond, okay? And, more than likely, we’re going to end up making a shitty version of Neil Diamond. Which, A) nobody needs, because nobody needs a shitty version of Neil Diamond, and B) Neil Diamond already exists, you know what I mean? I think, putting together this group of people, the fact that everybody is coming from five pretty different places, that’s what’s making this band good, and that’s why people are reacting to it. It’s not something that just like what already exists.
MH: I feel that we’ve reached a bit of an influx, in the sense that there’s so many bands out there today, doing the jam thing, but it’s getting harder to do that jam thing without sounding unoriginal.
TH: Well I think it is easy to do that, if you just work at it. That’s the thing. It’s harder, obviously. But who the fuck said it was supposed to be easy? If it’s easy then you get a lot of what’s going on, which is just a photocopy of a photocopy of a photocopy. If you look at JRAD, that’s five super different folks, trying to sound original every time they walk on stage. You know, for being a band that covers the Grateful Dead, I feel like we’re more original than a lot of bands going, because we openly say, “listen, the songs aren’t ours, but the jams are.” You have some of these jambands that claim to have original music, but it’s a Phish song with different words, or executed poorly.
And it’s hard, it’s not easy. When we were writing this Ghost Light record, I was banging my head against the wall for months and months. That’s the nature of the gig, you have to try and navigate through an ocean of stuff that’s already happened. This Ghost Light record, there’s a lot of tracks where I just think, this sounds like us. I’m really proud of it.
Saranac Brewery, in Utica NY, has two shows coming up you don’t want to miss. Dark Star Orchestra and Get the Led Out are both making stops at the brewery on their separate tours this summer.
Dark Star Orchestra
Dark Star Orchestra is a Grateful Dead tribute band who’s known for recreating historic dead shows. Dark Star Orchestra formed over a decade ago and their determined commitment to ‘raising the Dead’ has drawn them nationwide attention from publications as big as Rolling Stone who say they are, “Quite possibly the most talented and accomplished tribute band out there… they’ve definitely mastered their inspiration’s vagabond nature.”
Get The Led Out is a Led Zeppelin tribute band who, “have captured the essence of the recorded music of Led Zeppelin and brought it to the concert stage” according to their press release. Get The Led Out consists of six musicians and are based out of Philadelphia. They have been dubbed by the media as “The American Led Zeppelin.”
Tickets went on sale Friday, May 25th at 10AM from Creative Concerts for both shows.
Show information:
Dark Star Orchestra
July 31- Saranac Breweries – Utica, NY
Doors: 7PM // Show: 8PM
All ages.
Get The Led Out
Aug. 10 – Saranac Breweries – Utica, NY
Doors: 7PM // Show: 8PM
All ages.
For more information on Dark Star Orchestra visit their website
For more information on Get The Led Out visit their website
A good music festival can be just as much about the patrons as it is the bands that are playing. Sometimes you’re lucky enough to find the perfect mix of the two. When that happens, it creates a truly harmonious feeling that every single attendee will take with them even after they leave the festival grounds. This pretty much sums up what Domefest is every year, especially in 2018.
This would be the 9th version of Pigeons Playing Ping Pong’s annual event, and it would prove to be the biggest and best one so far. With a sellout crowd of 1500 smiling faces ready to dance and have a good time, this flock would provide more than enough sunshine despite the rainy conditions that would persist throughout the fest.
The opening Thursday night music got the weekend started off with a bang. The Magic Beans, Formula 5, and Strange Machines warmed up the hungry crowd on the main stage while Shwizz took the set break duties on the side stage. Of course, this is the Pigeons’ festival, and they let everyone know who the headliners were when they took the stage Thursday night.
Playing to the theme of “Throwback Thursday,” the band’s only one-set show of the weekend would not disappoint. This was also lead guitarist Jeremy Schon’s actual birthday, so fittingly, the band started off the set with some birthday wishes. Most notable in this set was the bust out of two songs, “Candy” and “Dutchmaster,” both of which hadn’t been played since 2012 and 2011, respectively. Just to pull the curtain back on this moment for the readers a little, there’s a very good friend of mine (and the band’s) named Mike. He is, quite probably, Pigeons fan number 1 and “Dutchmaster” was his golden goose that he had basically resigned to the band never playing again. So when they called him out by name and dedicated the song to him, it was one of those special band/fan moments that you just can’t help but smile and feel good about. After the Pigeons set, The Mantras would take the crowd deep on the late night stage well into the night. Needless to say, despite the wetness and mud, day 1 was a great indicator of what the rest of the weekend would entail.
Friday would bring more rain and mud, but more importantly, more great music and good vibes. I’ve never seen a festival crowd happier to be out in the rain and sloshing around in the mud. It seemed like a literal afterthought on everyone’s mind and that feeling was infectious. It was rainy in the campgrounds, but sunny in our hearts.
The music on Friday afternoon featured Flux Capacitor, Joe Hertler and the Rainbow Seekers, West End Blend, and Headless Robot. Mateo Monk and Cycles would take care of music during the setlist breaks, save for one set break featuring Schwa, which is the side project of Pigeons’ bassist Ben Carrey. Broccoli Samurai then set the stage for the first two-set P4 show of the weekend.
As the first Pigeons set started, it started to become apparent that something wasn’t right with Greg’s voice. He basically let the crowd sing the whole first verse of “Poseidon” before it was clear that he wouldn’t be able to keep singing without completely losing his voice for the weekend. After pushing through the rest of the first set with superb versions of “Schwanthem” and “King Kong,” even a bust out of the Jefferson Airplane classic “White Rabbit” was sung by drummer Alex Petropulos, and impressively nailed at that.
During setbreak we were all wondering how the second set would play out without a lead singer. Would they switch up vocals? Play a set of only instrumentals? Will Greg just keep trying to sing with a raspy voice? All those questions would be answered within about 10 minutes of the second set’s opening song “Whirled.” It became pretty clear once they started really getting deep in the jam what was going to happen, and it was pretty amazing to watch (and hear). They would take the song on a 60+ minute ride, making it the second time in their career that they’ve played a single song set. (The first was on 4-15-18) This is a must listen for any fan of improvisational music; there really aren’t many bands that can keep a jam interesting for an hour. This one felt like something they had been working on for a while, which is the true measure of a great jam in my opinion. They would encore with one of my favorites of their instrumental tunes, “Avalanche.”
The Magic Beans lit up the late night stage on Friday, and they would not disappoint – definitely a highlight of the weekend for me. This was only the second time I had seen them and now I know why so many people talk about them. They are a very promising band that everyone should keep an eye on.
After some much needed rest, the final day of the festival would begin bright and early with Baltimore’s own Squaring the Circle opening up the main stage. The funky dance party would continue all day with bands like Ernie Johnson from Detroit, Backup Planet, and the McLovins. Baltimore power trio Deaf Scene would take up most of the set break duties on Saturday, aside from a special setbreak set by Pigeons’ front man “Scrambled” Greg Ormont.
All day, people were wondering if Greg would try to sing at any point. The answer, for this set at least, was that he would not. Using handwritten signs as props to speak to the crowd, he let them know that he had “lost his voice, so I’m just gonna jam.” And jam he did, complete with a pretty impressive tap dance for good measure.
Mungion would set the stage for the final Pigeons show of the weekend. It was the first time I had seen these guys and I can’t wait to see them again. One of the great things about Domefest is how careful the band is about picking their support. Every time I’ve been to a Domefest, I’ve come away with at least one new band that makes me want to seek out their music and see them live when I can. Mungion was one of those from this weekend.
As the crowd waited for the Pigeons’ weekend finale, there was much speculation about Greg’s voice and if he’d be able to handle two sets of vocal duties. Miraculously, after saying he drank an “entire honey bear” before the show, he was back to his old form. Belting out crowd favorites like “Melting Lights” and “Penguins,” the band definitely seemed to feed off the energy of their newly rejuvenated front man. The second set was maybe my favorite set of music from the weekend. The section of “Dome People” > “Su Casa” > “Horizon” felt particularly poetic. “Dome People” is, of course, about the festival itself and has been in the band’s rotation since Domefest’s inception, followed by “Su Casa” with its chorus of “This is your home now” and then “Horizon” with “Celebrate the people you love,” this seemed like a very intentional musical hug from the band to the crowd, thanking them for all of the love and support that made the event so special. Another great highlight from this set was the debut of a cover of Pink Floyd’s “Shine on You Crazy Diamond,” complete with a 4 to the floor funky jam for good measure. I love when a band takes a cover and makes it their own, and that is exactly what they did with this one. Ending with a raucous version of “The Liquid” and encoring with an incredibly fun “Julia” > “Super Mario” > “Julia” sandwich, they would put their triumphant stamp of success both on this set and the weekend as whole.
The final night of the festival would see a double dose of late night sets coming from The Fritz and Vibe and Direct. Both bands were absolutely great, they took full advantage of being the last acts on the bill and seemed to give all of the weekend warriors a second wind all the way to sunrise.
To wrap this up, Domefest is one of those very special small festivals. The hard work the band puts into this fest every year really shows in the product they put out. They are truly dedicated to making sure the Domefest experience is a great one for every single ticket holder. The band really cares about their fans and the fans, in turn, show all of that love right back. Just to let everyone know, the band members literally work at the festival despite headlining it. When I arrived to the main gate, one of the first people I saw was Greg with a walkie talkie making sure everyone was getting in o.k. and things were running smoothly. This is something that people notice, and it goes without saying that all of us genuinely appreciate the effort. The flock is a great group of people too. Everyone all weekend was helping each other if they needed it, pushing cars out of the mud, helping people back to their campsites if they were struggling, offering dry clothes, spreading hay around to make it less slippery. It’s always really amazing to see a large group of people that genuinely cares about each other’s well-being and happiness. As the band grows, inevitably so will the festival. Hopefully, all those same good loving vibes will continue to grow bigger every year too, and we can all continue to gather together each May to celebrate the people we love.
Review by Matthew Bowers, photography by Matt Shotwell and Mikki McMahon
This year’s Night Lights Music Festival will feature music on three stages on the weekend of August 23-26, 2018. For the eighth year in a row, The Heron in the town of Sherman will be transformed into a spectacle of lights and sounds. The lineup includes the music of Lotus, Motet, Aqueous and more. Several tribute sets are also scheduled: Wild Adriatic (Led Zeppelin), Space Junk (Disco Biscuits) and Psychedelic Jukebox (paying homage to the history of psychedelic rock).
Among the other acts are Wild Adriatic, Intrepid Travelers, Root Shock, lespecial, Folkfaces, and Danielle Ponder & the Tomorrow People. In addition to music, festival-goers will be able to enjoy camping, yoga, hiking, swimming and other outdoor activities. Local food and beverages and arts & crafts vendors will be on site. Early bird tickets are on sale now through the festival website.
The complete lineup includes: Lotus, The Motet, Aqueous, Octave Cat featuring Jesse Miller (Lotus), Eli Winderman (Dopapod), Charlie Patierno, Anomalie, Tropidelic, Bumpin Uglies, lespecial, Pappy (of Cabinet), Wild Adriatic (Led Zeppelin Tribute), Upstate Rubdown, Boss Tweed and the Carpetbaggers, Gatos Blancos, Funktional Flow, Danielle Ponder & the Tomorrow People, Dynohunter, Root Shock, Space Junk (Disco Biscuits Tribute), Holy Hand Grenade, Lazlo Hollyfeld, Intrepid Travelers, Folkfaces, Cold Lazarus, Psychedelic Jukebox, Cypher, Kaleidoscope Sky, The Good Neighbors, Able Footing, and Neon Veins.
There’s something magical about the Wanee Music Festival. It always feels like the start of festival season, the official kick off if you will.
Wanee began as a two-day festival with only 11 bands; it is now a three-day festival with as many as 44 performers. The lineup never disappoints, and you always end up with a few crossover sit-ins that are memorable and unique. The days are long; music typically begins around 11 a.m. and can go until close to 3 a.m. Then there’s the drum circle afterward. It’s only natural that the park’s motto is “Music Lives Here.”
Still, Wanee Music Festival couldn’t be what it is without the Spirit of the Suwannee Music Park. Maybe I am biased as a born-and-raised Floridian, but I believe this park encompasses the best Florida has to offer. It consists of over 800 acres of sprawling oak trees, natural springs, and a brackish river that probably terrifies visitors. In many ways the park still feels untouched, even as it fills with thousands of people for events. I have no doubt this is why The Allman Brothers began hosting the festival in 2005 and continued until 2014. The park even offers bands on Wednesdays now. It is a perfect marriage that brings out all of the beauty and wonder that Florida has to offer.
There are two primary stages in the music park—the Peach stage (main stage) and the Mushroom stage. The Peach stage is in a large open field, and there you will find the bigger names that typically rotate out yearly with a few regulars added into the mix. There is a large blowup mushroom with “The Allman Brothers” written on it as a way to pay homage to the festival’s roots; it sits near the large Ferris wheel that runs most of the day. The Mushroom stage is built strategically into the woods so as not to disturb Mother Nature but to embrace all that she has to offer. The amphitheater seating is made from old railroad ties that are carefully placed and stacked to not disrupt the large oaks that provide much needed shade from the Florida sun—as well as a place to hang your hammock. This is the stage on which the smaller bands play. Don’t let that description fool you, though; the bands that grace this stage are still top-notch and put on one hell of a show. I can’t count how many times I’ve watched a band play on the Mushroom stage only to find them again in a year or two on the Peach stage.
At the festival, you will also find beer guys with light-up hats dancing the night away while working, festival crews dressed in matching shirts, and children playing with new friends and loving every minute of it. Without question, someone will be wearing an animal onesie even though its 90 degrees out. You are also certain to see a few tutus, and people of all ages. Somehow it all works seamlessly for these few wonderful days, and everyone is just there to enjoy the music, take in the scenery, and have a great time.
This year’s festival headliners on the Peach stage were Dark Star Orchestra (Thursday), Widespread Panic (Friday and Saturday), and Phil Lesh & The Terrapin Family Band (Friday and Saturday). Other acts that performed on the Peach stage were Bobby Lee Rogers Trio, The Chris Robinson Brotherhood, Sonny Landreth, St. Paul & The Broken Bones, and As the Crow Flies. The Mushroom stage was packed with talent as well. Midnight North, Jaimoe’s Jasssz Band, The Marcus King Band, Walter Trout, The Main Squeeze, and North Mississippi Allstars all played on Friday. On Saturday, talent included The Yeti Trio, New Orleans Suspects, Pigeons Playing Ping Pong, George Porter Jr., Soul Rebels, and Karl Denson. Everything I saw was fantastic! Although Marcus King sitting in with Phil Lesh & The Terrapin Family Band was my highlight!
For an event of this size, festival organizers did a good job overall of not overlapping competing bands on the two stages. Any festival junkie knows that the worst part of the festival is trying to preplan each day at each stage so no bands are missed! It can be rather difficult. However, the close proximity of the stages to one another helps to keep festival goers on schedule.
I always say that the weeks following Wanee are the “Wanee Hangover;” it is so hard to get back to reality and the daily grind. There is just something very special about the festival, where you think, “Take me back!” The biggest comfort is that, since this is the “kickoff” of festival season, at least you know the summer tour is right around the corner. Until next year, “Merry Wanee!” I hope you enjoy going to the woods as much as I do.
Everyone loves rooting for the hometown star to catch a big break. Rochester’s very own Jon Lewis Band’slatest offering Get Wild Somewhere has the potential to expose them to their widest and most diverse audience yet. It has nothing to do with luck though. The eighth album they’ve recorded in four years stands solidly on the five member’s pure and unadulterated passion, dedication, friendship and, most importantly, talent.
The band’s namesake, Lewis is on lead vocals and rhythm guitar, accompanied by Dave Drago on bass, Jake Walsh on drums, Shawn Brogan on lead guitar and Alex Northrup on keys. With more time spent traveling to Los Angeles to record than actually spent in the studio, Get Wild Somewhere’s classic sound was accomplished through the use of vintage recording gear. All ten tracks were written with the intention of being played and recorded live.
“We didn’t want to do overdubs or try to manipulate our sound too much,” said Lewis. “That made it possible to record in a shorter period of time and also enabled us to make something that showcases all of our individual strengths.”
Fueled by adrenaline, backed by fans who crowdsourced over $2,000 to support the band’s trip to LA to record, and fed by the largest pizza they’ve ever seen (it had to be delivered through the loading dock door) Get Wild Somewhere has a polished, timeless sound that could only be done justice with vinyl.
The Jon Lewis Band consists of Dave Drago, Shawn Brogan, Jon Lewis, Alex Northrup and Jake Walsh.
Written by Lewis and produced, mixed and mastered by Drago in his 1809 Studios in Macedon, NY, Get Wild Somewhere tears onto the scene with the catchy opening track “Jerry My Berry.” Borrowing from the piano track that was used in famous recordings like “Werewolves in London” and “Summer Breeze,” combined with a catchy chorus, driving beat and melodious guitar licks, “Jerry My Berry” kicks the album off on an energetic note.
Track two, “Charity,” is a beautiful opus with rich vocal harmonies complimenting mournful wails from Northrup’s organ.
“You Don’t Wanna,” the third offering on the album, has a Beach Boys, surfer rock vibe to it. The clavinet introduces listeners to a an easy, breezy, likeable song that encapsulates the vintage vibe.
I just want to see your face
I just want to waste your time
I just want to talk to you
Cause you will see that I’m alright
The rough riding “Cinnamon Only,”carried by a driving lead guitar, is the first song on the album to have a full-length video to accompany it. Lewis created the video over one month’s time entirely with colored papers and sketches.
“I draw and cut out the characters, then photograph/animate them against a green screen, then I put all the layers together to create something I like to call ‘Paper World,’” he explains ,”The plot and story completely unfolded as I continued to work, just letting the song dictate the imagery.”
The album’s closer, “So Familiar,“ is a gorgeously dark and stormy, mostly instrumental, song that hits to the core.
Get Wild Somewhere is the sound of five friends pouring their hearts out and having the time of their lives producing fresh, original and crush-able jams, heartfelt ballads and indie rock. Each song come together effortlessly and stands on their own, as if they were just waiting to be born.
The energy and connection on the album translates easily to the stage. Check the Jon Lewis Band out for yourself Friday, May 18 at their Album Release Party at Three Heads Brewing. Here’s hoping that this is just the start of something even bigger for these five Rochester musical dynamos!
Key Tracks: Jerry My Berry, You Don’t Wanna, So Familiar
Gov’t Mule has announced their 2018 summer tour, hitting Wantagh and Lewiston, New York. The Warren Haynes led rock band finished up their spring tour at the New Orleans Jazz Festival.
The band is coming off their 10th studio album and highest selling debut, 2017’s Revolution Come… Revolution Go. The album is one of the band’s most politically driven pieces to date.
Mule will also make it’s way over to Europe where they will be headlining the “Gov’t Mule Dark Side of the Mule & Avett Brothers shows.” The bands will play a string of three shows throughout Europe where Gov’t Mule will perform Pink Floyd’s Dark Side of the Moon along with the Avett Brothers.
Pre-sale for summer tour tickets began Monday, general on-sale begins Friday, May 18th at 10 a.m.
June 2 – Atlanta, GA – Candler Park Fest
June 29 – Torgau, DE – Kulturbastion
June 30 – Utrecht, NL – TivoliVredenburg
July 1 – Maidstone, UK – Ramblin’ Man Fair July 12 – Wantagh, NY – Northwell Health at Jones Beach Theater*
July 13 – Holmdel, NJ – PNC Bank Arts Center*
July 14 – Mansfield, MA – Xfinity Center*
July 21 – 22 -Scranton, PA – Peach Music Festival July 24 – Lewiston, NY – Artpark
July 25 – Selbyville, DE – The Freeman Stage at Bayside
July 26 – 27 – Floyd, VA – Floyd Fest
July 28 – Jay, VT – Jay Peak
Aug. 4 – Notodden, NO – Notodden Blues Festival
Aug. 17 – Charlotte, NC – CMCU Amphitheater**
Aug. 18 – Charleston, SC – Volvo Car Stadium**
Aug. 19 – Whites Creek, TN – The Woods Amphitheater**
Aug. 21 – Huber Heights, OH – Rose Music Center**
Aug. 23 – Noblesville, IN – Ruoff Home Mortgage Music Center*
Aug. 24 – Tinley Park, IL – Hollywood Casino Amphitheatre*
Aug. 25 – Clarkston, MI – DTE Energy Music Theatre*
Aug. 26 – Des Moines, IA – Brenton Plaza**
Aug. 28 – Mankata, MN – Vetter Stone Amphitheater**
Aug. 29 – Papillion, NE – SumTur**
Aug. 31 – Park City, UT – Snow Park Outdoor Amphitheater**
Sept. 2 – Sun Valley, ID – Sun Valley Pavilion^
Sept. 14 – 16 – Telluride, CO – Telluride Blues & Brews
Sept. 23 – Louisville, KY – Bourbon & Beyond
*Dark Side of the Mule w/ The Avett Brothers & The Magpie Salute
** with Magpie Salute ^ with Lukas Nelson & Promise of the Real
The last time Phish came to Albany, they dropped a legendary “Seven Below” -> “Ghost,” one of the defining jams of the 3.0 era. Today, Phish has announced a 14-date Fall Tour kicking off October 16 with two nights in Albany, NY at the Times Union Center, and concluding with a four-night Halloween Run, beginning on October 31, at MGM Grand Garden Arena in Las Vegas. The tour also includes three-night stands in Chicago, IL, Hampton, VA and two nights in Nashville, TN.
A limited number of tickets are available now at tickets.phish.com through Tuesday, May 29 at 9AM ET. Tickets go on sale to the general public beginning June 1 and continuing through June 2. For more info, visit phish.com.
Phish and CID Entertainment are also offering travel packages (which include hotel & tickets) for Hampton, Chicago and the Halloween Run. Travel Packages go on sale Thursday, May 31 at Noon local time. Full details available here.
Phish 2018 Fall Tourdates 10/16 Times Union Center, Albany, NY 10/17 Times Union Center, Albany, NY
10/19 Hampton Coliseum, Hampton, VA
10/20 Hampton Coliseum, Hampton, VA
10/21 Hampton Coliseum, Hampton, VA
10/23 Ascend Amphitheater, Nashville, TN
10/24 Ascend Amphitheater, Nashville, TN
10/26 Allstate Arena, Chicago, IL
10/27 Allstate Arena, Chicago, IL
10/28 Allstate Arena, Chicago, IL
10/31 MGM Grand Garden Arena, Las Vegas, NV
11/01 MGM Grand Garden Arena, Las Vegas, NV
11/02 MGM Grand Garden Arena, Las Vegas, NV
11/03 MGM Grand Garden Arena, Las Vegas, NV
The Board of Directors of the Rochester Music Hall of Fame pulled out all the stops this year. The seventh annual award ceremony was held on Sunday, April 22 at Rochester’s historic Kodak Hall at Eastman Theatre. The sold-out event celebrated the contributions of musicians with local ties, including Rochester native and legendary drummer Steve Gadd, Eastman School of Music graduate and iconic bassist Tony Levin, world-renown percussionist and Eastman School Professor Emeritus John Beck, and masters of sacred steel The Campbell Brothers. Congratulatory messages were sent by Peter Gabriel, who has worked with both Gadd and Levin. Special guest performers included pedal steel guitarist extraordinaire Robert Randolph, preteen powerhouse Angelica Hale from America’s Got Talent, and a surprise appearance by Paul Simon.
At the ceremony’s commencement, a moment of silence was taken to honor the late Senator Louise Slaughter, a supporter of the arts. Board of Directors President Karl LaPorta announced that he and his wife would be stepping down from the board to spend some time traveling, although they will stay involved with the Hall of Fame. Vice President Jack Whittier will take the lead position on the Board moving forward. Whittier shared plans to branch into more community outreach and partnerships which foster the love of music. They’ve also acquired a location for the Hall of Fame at the corner of East Main and Gibbs Streets.
The ceremony opened with a few quick tribute songs from local singers, backed by the Hall of Fame’s house band, Prime Time Funk: “Kodachrome” sung by Alyssa Coco and Ronnie Leigh, a soulful rendition of “Wildflower” sung by Bree Draper, and “Sledgehammer” featuring the powerful vocals of Danielle Ponder.
The first inductee of the night was John Beck, a Pennsylvania native who started playing drums at a very young age, traveling by bus into Pittsburgh as a teenager to take lessons and later moving to Rochester to study at the Eastman School of Music. After ten years drumming in the military, Beck returned to Rochester to teach and to play in the Rochester Philharmonic Orchestra. He has played with orchestras around the world, and holds many accolades. He has also taught hundreds of students, including Steve Gadd.
The first piece he played was something he wrote for Gadd’s senior performance, played on the timpani. He then played a couple on a drum kit and some hand drums. Between songs, he went to the podium to talk about the music, and asked for a moment to get to the drums. But once behind the percussive instruments, he began moving with a deft agility and grace. For his grand finale, he chose a big band song, backed by Prime Time Funk.
Ferdinand Jay Smith
The next inductee was Ferdinand Jay Smith III, who has created some of the most memorable and longest lasting music in entertainment, including theme songs for television programs, Olympic Games, and advertising. A reel of some of his work was played, highlighting the local, regional, and national clients for whom Smith has produced work. Some of the best selections were saved for live performance by the house band, with guest singers. America’s Got Talent finalist Angelina Hale took to the stage to perform the theme song for Bausch & Lomb. The Empire State Games theme song was sung by a group which included two of Smith’s children and one of his grandchildren.
Ferdinand Jay Smith with Angelina Hale
After a brief intermission, Gadd and Levin were introduced by their friend Peter Gabriel, via video recording. The British rocker talked about knowing Levin “since the dinosaurs roamed the earth” and shared the joke about how many drummers it takes to change a light bulb. “One to do it, and twelve to talk about how Steve Gadd would have done it.”
Steve Gadd
Gadd and Levin met as students at the Eastman School of Music, where they studied together during the day and gigged around town by night, learning the ropes from local legends like Chuck and Gap Mangione. After serving in Vietnam, Gadd settled in New York City with Levin, and Levin introduced him around. They formed a jazz band called L’Image with friends Mike Mainieri, David Spinozza and Warren Bernhardt. Since that time, they have also toured and recorded with some of the biggest names in the music industry, as well as their own individual bands.
L’Image
The members of L’Image united on stage tonight to play a few of their songs, which prominently featured the xylophone and the Chapman stick. Levin is adept at playing the stick, sometimes plucking and sometimes with a bow.
Tony Levin
Just when we thought they would wrap up their set, Paul Simon walked across the stage. Simon shared a couple of stories about working with Gadd and Levin, then launched into performances of “50 Ways to Leave Your Lover,” which features Gadd’s prominent drum line, and “Late In The Evening,” for which Levin wrote the driving bassline. Simon’s surprise appearance was one of the city’s best kept secrets (EVERYBODY knew when Bill Murray was in town a few weeks ago, but Simon’s arrival was kept tightly under wraps until the show). This comes on the wake of the news that Simon will retire from touring after this year. The ‘Homeward Bound’ farewell tour starts in mid-may and wraps up in the fall with a three-night run in New York City.
Paul Simon with Steve Gadd
Paul Simon is a hard act to follow, but the Campbell Brothers held their own. The Sacred Steel gospel group started at their local churches and have grown to fill some of the most venerable music halls, but the members maintain their sense of humility and gratitude despite their growing recognition.
Campbell Brothers with Robert Randolph
From the first notes of the steel pedal guitar, there was a sense that something phenomenal was in store. The other instruments joined it, the sound swelling to fill every nook and cranny of the auditorium. What ensued was a hand-clapping, foot-stomping celebration of joy. Gospel singer Denise Brown came out to sing “I’ve Got A Feeling.” And Charles Campbell got everyone doing a call and response on the next number, “Hell No! Heaven Yes!” Robert Randolph danced his way across the stage to join in on pedal steel.
Campbell Brothers with Robert Randolph
Randolph led the vocals on the last performance of the night, “Purple Haze,” a song Jimi Hendrix played when he performed in Rochester in 1968. Gadd settled himself behind his drum kit, Levin grabbed his bass and the house band took up their instruments, Beck took up a hand drum and Smith procured a tambourine. The all-star jam was a glorious sight to behold. Randolph jumped up on his chair while playing the steel pedal guitar. Charles Campbell was strutting the stage, pulling out some Chuck Berry style moves. The joyful outpouring of sights and sounds capped off what was truly a memorable night.
Mark your calendar now: next year’s Rochester Music Hall of Fame ceremony takes place on April 28th. You won’t want to miss out on all the excitement in store!
