Long Island’s Cloud (aka Tyler Taormina and friends) return with their new album Plays With Fire, featuring the single “Wildfire.” With a poppy, vibrant sound, hints of Panda Bear Electronics, Mazzy Star and Cocteau Twins can be found in this warming tune.
“Wildfire” is accompanied by a music video for “Watch Your Mind Wander,” which Taormina directed in Los Angeles, one which revels in the sinister side of a good time, and an exclusive non-album B-Side. Nearly 10 minutes of tenderness and melancholy, “Watch Your Mind Wander” glimmers and glistens as it loops to its gentle conclusion. It’s a powerful comedown from the frenetic crash of “Wildfire” and offers yet another hint of what’s to come on the forthcoming Plays With Fire LP from Cloud.
Returning to New York for the first time since his fall from a stage prop tipping over on him at the Hammerstein Ballroom in September, Marilyn Manson is once again making headlines while performing in the Empire State.
As described by concert goers in attendance at The Paramount, an intoxicated Manson took the stage, performed a few songs, and rambled incoherently before walking off stage early.
People.com reports that Manson used his past injury as part of his stage act at the beginning of his set, as he was pushed out on stage in a wheelchair by guys in hospital scrubs. While keeping his back to the crowd for most of his brief performance, he started and stopped songs several times, and incoherently played the guitar for several agonizing minutes.
Some fans are going as far a saying that 49-year-old Manson had a meltdown on stage. He threw his mic down, pushed over equipment on stage and demanded fans tell him that they love him. As he walked off the stage for good, fans chanted “Fuck you, Manson.”
Fans flooded to the venue’s Instagram to voice their displeasure of the night’s event on a post advertising the show, with many asking the venue and organizers to issue a refund. One fan stated on their site, “The worst event I ever experienced. He should be held accountable for his actions and not get paid for this.” Another fan posted, “3 songs in and the dude had a mental breakdown or was a drunk dick. Remember @marilynmanson we pay $$$ to see you, I’m getting a fucking refund. Pissed! Waste of time.”
One fan who had a meet and greet before the show with Satan’s favorite son, took to Reddit and shared his experience before the show.“There’s no more to it. I had the meet and greet. He was wasted. He was worse on stage. Rambled on and on about us loving him. Here’s the set Reflecting Deep six Rambling on and on for minutes Disposable teens (cut short) He’s off stage for 5-10 Back and rambles for 20 min about who knows what Saturnalia (poorly played riff over and over for 10+min into lunchbox riff with him doing spoken word for 15 min. Stumbled off stage. Band finished lunchbox the right way. Gods gonna cut you down house music.”
The show at The Paramount was originally slated to take place on Oct 9, 2017, but Manson’s stage injury put him on the shelf for nine months, canceling and rescheduling several tour dates.
The Friday after Valentine’s Day at Funk n Waffles Music Hall homemade hearts hung from the ceiling and decorated the stage. It was a night built for the love of the local music scene. The Moho Collective set the stage and Overhand Sam would close it down, but not before inviting a bunch of friends to help with the celebrating.
With a name like The Moho Collective, you might believe this band would bring a stageful of members. But as just a trio, the “collective” in their name might better describe their influence-rich sound. The trio, Kurt Johnson on guitar and pedal steel, Justin Rister on bass, and Ryan Barclay on drums and percussion, “collect” musical styles from across the globe, combining them in new and mystifying ways. Their hour-long set travelled to Australia, with Barclay laying down a low drone on the didgeridoo on “Bamal,” Mexico/Latin America with the fiery Satana-esque guitar shredder “Wenindee,” the Far East with the pedal steel plinking groove of “Chikyu Hakken,” before finishing up in Canada with their stirring instrumental rendition of Neil Young’s “Cowgirl in the Sand.”
Through it all they explored heavy rock, soulful funk, jazzy blues and tripped-out effects-laden spaciness. If you like music that shakes your hips, pumps your fist and makes your head spin, The Moho Collective is for you. They’re promising two new albums this year and probably already have more shows on the calendar than they played in all of 2017 so there should be ample opportunity to enjoy their worldly and otherworldly grooves this year.
Johnson’s guitar mate from Maybird, Sam Snyder, aka Overhand Sam, is even more enigmatic to first-time listeners. As is implied in the name, he plays guitar “overhand.” It looks odd at first and is met with many quizzical looks from first timers. Playing for friends, family and longtime fans, there weren’t any surprised faces Friday night. Snyder lends his hand to many bands in the Rochester area, gives lessons and records/produces local music. He used his set as a bit of a showcase for some of these projects.
Backed by bassist Benton Sillick and drummer Aaron Mika from Anamon, Snyder ran through tracks off his 2017 release Longer Legs. Songs ran the gamut from melodic punk to new wave to twang rock, with the trio format giving Snyder’s unique guitar stylings plenty of room to shine.
Midway through their set, Anamon front-woman Ana Emily Monaco was invited up to play a pair of new songs she’s been recording with Snyder’s help, who also plays in her band. Johnson joined on the pedal steel to lend a rich backwash of country twang to her lilting mid-tempo rock.
Next, Snyder invited his guitar student Matt Treadwell and drummer Joe Parker to premier a couple songs of their own, in a project tentatively named Penthorse. In a bit of a 180 from Anamon, these songs had a spastic herky-jerky energy, afro-beat inflected sound and near-spoken word vocals.
The set finished up back with the original trio playing more from Longer Legs, with a lively cover of the Kinks’ “Everbody’s Gonna Be Happy” thrown in for good measure. Yet more friends helped close out the night, with the McCarthy brothers from new-to-town August West joining on vocals, and Johnson back up to play some Omnichord. The band laid down yet another premier, ripping through the infectiously catchy “Lalalazy” to close out what was a lovely night showcasing the talent of Rochester.
Valentine’s Day. The perfect occasion to spend an intimate evening alone with your loved one, or as was the case Wednesday night in Rochester, the perfect occasion to spend an evening with a few hundred live music lovers for an intimate show with The Ballroom Thieves. It was apparently an easy choice for many, as the show at the Arbor Loft, a beautiful event space above Hart’s Grocers in the East End, was sold out in advance.
The trio from Boston, returned for their third Rochester show, and first in over two years. They played two near-hour long sets, both with their own unique overlying flavor. Guitarist Martin Earley strapped on his electric guitars throughout the opening set, while Calin Peters picked up her electric bass for a good portion. In the second set, Earley went almost entirely acoustic, while Peters spent the majority on her cello. The energy ramped up throughout the first half, up until a blood-pumping fervor in the set-closing “Wolf.” The second set was more subdued on the whole, eventually winding all the way down to a show-closing encore performance of Paul Simon’s “American Tune,” completely unmiked.
Electric, acoustic, no matter. This trio is greater than the sum of it’s parts. Their unique mix of instruments and variety of playing styles kept their sound fresh and invigorating throughout the two-hour show. Devin Mauch is more percussionist than drummer. He serves as not only the beat-keeper, but a third melodic instrument. Utilizing multiple mallets, wire brushes, and traditional sticks, he coaxed a smorgasbord of sound from his minimalist kit, which included an unusual hand-powered bass drum. Peters’ could hold down the low end with the bass during unexpectedly rocking moments, pluck out a more gentle bass on the cello, play foil to Earley’s leads or carry the load with lush bowed flourishes. Earley’s guitar sounds ran the gamut; electric, acoustic, finger style, flat picked.
The band had a full toolkit, but also knew when and where to use it. There might be no drums, no cello, or just Earley solo; almost every song had a unique mix. Their gorgeous three-part harmonies were nearly ubiquitous though. And with good reason, it’s what elevates this trio to the next level and makes The Ballroom Thieves sound like The Ballroom Thieves. Even a cover of The Heartless Bastards’ “Low Low Low” turned into a song of their own (Earley jokingly wanted to claim that it was), as Mauch sang with just a hint of Erika Wennerstrom’s distinct vocal delivery.
Nothing fills the heart quite like an intimate evening of genuine and earnest music, even if the messages conveyed weren’t always all that romantic. As they wrapped up the evening with the aforementioned bare bones “American Tune,” there wasn’t a person in attendance who didn’t believe that The Ballroom Thieves was the right choice for Valentine’s Day, love songs or no.
Setlist Set 1: Peregrine, For Mercy, Lantern, Pocket of Gold, Oars to the Sea, Here I Stand, Trouble, Saint Monica, Do Something, Wolf
Set 2: Blood Run Red, Wild Woman, Coward’s Son, Bury Me Smiling, Archers, Bees, Only Lonely, Low Low Low (Heartless Bastards), Sea Legs, Anybody Else
Encore: American Tune (Paul Simon)
With members of his touring bands on stage at The Egg, the catalog of David Bowie was celebrated in earnest, featuring a mix of classics, rarities and fan favorites that sprang an audience from their seats throughout the night. Having lost Bowie just over two years ago, the stars sounded very different tonight thanks to the voices of Bernard Fowler (The Rolling Stones), Gaby Moreno, Joe Sumner and Corey Glover (Living Colour) bringing life to Starman’s songs once again.
Celebrating David Bowie featured an incredible lineup fronted by Queens native Mike Garson, who performed with Bowie at his first and last U.S. concerts, and noted early on that he was blessed to play 1000 concerts and 20 albums with Bowie and was proud to continue bringing his music to you. Joining Garson were guitarists Earl Slick and Gerry Leonard, Carmine Rojas on bass and Lee John Madeloni (Slick’s son) on drums. Over the course of two and and a half hours of more than 20 songs, between 5 and 10 musicians were on stage at a time, echoing Garson’s remark, “It takes a village to get Bowie’s music across.”
With all this talent and the music of David Bowie, it raises the question, “Is there such a thing as too many hits to play?” The answer, by the end of the marathon performance, was a definitive no. Rojas noted after the show that with all the tunes to choose from, it is hard to pick what to play, but they intend to mix it up night after night this tour. Bowie indeed had too many hits to count, plus a bevy of under-appreciated albums, many of which found themselves in the limelight this evening, performed by the musicians who knew the music better than anyone other than Bowie himself.
Starting the night with “Bring Me the Disco King,” an extended cut from 2003’s Reality album, Fowler took the lead on vocals from the get-go, following with “Rebel Rebel,” “Moonage Daydream” and ‘Fame” which saw the crowd rose with encouragement from Fowler. Living Colour’s Corey Glover, who sang backup for Fowler on many songs tonight, took to the mic for the first time singing “Changes,” followed by “Space Oddity,” the first song vocalist Gaby Moreno, a 2017 Grammy nominee for Best Latin Pop album for Ilúsion, sang amid a starry backdrop. Joe Sumner, Sting’s son, sang and played acoustic guitar for “Quicksand” off Hunky Dory, followed by Glover back on vocals for “Young Americans.”
An immense highlight of the show followed in the form of “5 Years,” performed elegantly by Moreno. The gritty, dark rock of “Station to Station” brought Earl Slick into the limelight to perform the title track of the album to which he contributed. During the outro to “Alladin Sane,” a piano medley by Garson included Bowie, Beatles, and old timey piano tunes mixed in. Moreno and Fowler performed a duet on “Wild is the Wind” while Sumner sang “Ziggy Stardust” better than anyone alive, with Slick shredding throughout.
During “Suffragette City,” Glover ventured into the crowd for the latter part of the song, and admiring the amphitheater in front of him, he took a seat in the top row to take in the set closing “All the Young Dudes,” where Sumner had everyone waving hands in the air.
For the encore, Gerry Leonard came out for a solo guitar rendition of rarity “Loving the Alien,” followed by Sumner stepping out to sing “Life on Mars?,” an emotional rendition of one of Bowie’s best songs. For the grand finale, “Heroes” closed the show, bringing all 10 musicians to the stage for an all-star ending to an emotional tribute for one of the greatest rock n’ roll legends ever.
Setlist: Bring Me the Disco King, Rebel Rebel, Moonage Daydream, Fame, Changes, Space Oddity, Quicksand, Stay, Conversation Piece, Can You Hear Me, Young Americans, 5 Years, Station to Station, Time, Lady Grinning Soul, Alladin Sane, Wild Is the Wind, Ziggy Stardust, Suffragette City, All the Young Dudes
Encore: Loving the Alien, Life on Mars?, Heroes
Celebrating David Bowie next perform this Friday, February 16 in Boston, MA at Chevalier Theatre, Saturday, February 17 in Montreal, QC at M Telus and Sunday, February 18 in Toronto, ON at Danforth Music Hall.
Schenectady’s historic Proctors Theater, has announced it’s 2018-2019 theater lineup. The lineup boasts several hot ticket Broadway attractions including Hamiltonthat are headed to the Electric City’s version of New York City Theater.
Gracing the stage during this season will be a blockbuster lineup that includes the musical “Hamilton,” “The Phantom of the Opera,” and “The Book of Mormon.” The lineup was revealed Monday at the venue’s “Proctors Bash” event. Other shows featured in the season’s lineup include “Anastacia,” “A Bronx Tale,” “How the Grinch Stole Christmas,” “School of Rock,” “Charlie and the Chocolate Factory,” and “Waitress.”
Proctors CEO Philip Morris, commented on the upcoming season, “Almost all of our titles in our Key Private Bank Series, and our exclusives, too, are still hot tickets on Broadway right now. We’ve never had this happen before and it shows that Proctors continues to be a major player in touring Broadway. It’s here, right in Schenectady.”
Lin-Manual Miranda’s “Hamilton,” is slated for a two week stay in the Capital Region Aug. 13-25, 2019. The musical is about the nation’s first treasury secretary and founding father, Alexander Hamilton. Inspired by the 2004 Pulitzer Prize-winning biography by Ron Chernow, “Hamilton,” was nominated for a record 16 Tony awards, taking home 11, while earning Miranda a Pulitzer Prize for Drama.
Turning the stage lights on to start the season will be “Anastacia.” From the creators of the classic “Ragtime,” “Anastacia” takes us to back to the twilight of the Russian empire to the exhilaration of 1920 Paris. “Anastacia” will run Oct. 9-14, 2018.
Chazz Palminteri’s autobiographical story “A Bronx Tale,” will run at Proctors on Oct. 23-28. First made famous on the big screen, actor Robert Neary, who plays Palminteri’s “Sonny” character on stage said this about the musical. “It’s the PG version of the film. There aren’t nearly as many F bombs. And I get to sing.”
The Andrew Lloyd Weber classic, “The Phantom of the Opera,” will come out of the shadows for a two week stay on April 25 – May 5, 2019. Actor Derrick Davis, a Long Island native who has been playing the title character for the past 7 months said, “How could you get tired of this brilliant musical. It was the first show my parents took me to see when I was a kid. Now that I’m a part of it, it’s a part of my life.”
Called the “Best Musical of This Century” by the New York Times, “The Book of Mormon,” is a musical comedy about two young Mormon missionaries who travel to Africa to preach the Mormon religion. The Book will be performed May 14-19 2019.
For those ready to get into the Christmas spirit, Proctors holiday offering, “How the Grinch Stole Christmas” will make a run at the theater on Dec 5-9, 2018.
Disturbed has hinted at a new release some time in 2018. The question is, what kind of release will it be?
About a year ago, Disturbed frontman David Draiman stated that the band would do what many other bands have recently, and produce an acoustic EP before moving on to the band’s seventh full length studio album. No word if those plan are still intact or if the band will put the acoustic album on the shelf for a new full length effort.
Disturbed has re-entered The Hideout Recording Studio in Las Vegas where the band secretly recorded their last album Immortalized, and teamed up once again with producer Kevin Churko for another go around.
Blabbermouth reported that in a 2016 interview with For Guitar Players Only, guitarist Dan Donegan commented on Churko, and the band clicking from the start during the band sixth studio album. He stated:
We took some meetings with some big-name producers, just to see what they had to offer. It was just a great, eye-opening experience to know that there’s some geniuses that can kind of challenge you and throw these ideas out. When we met with Kevin Churko, we just felt something within the first hour, two hours that we were bouncing ideas off each other. It was pretty obvious that he just seemed like the right fit for us. We just felt like some of the suggestions he threw at us definitely helped elevate those songs to make them even hookier and riffier. It was just amazing. I didn’t really want to leave the studio. After nearly three and a half, four months of recording, I was a little sad when we were done. It just felt like, creatively, ‘Ah, man, I still want to keep going,’ but we already felt like we had such a strong album.
Disturbed is slated to perform as one of the headliners for the 25th annual Rock Fest in Cadott, Wisconsin on July 12-15.
I Set My Friends On Fire has come a long way in the past decade. The post-hardcore band that started with two teens and a laptop and has evolved into a full band with members from across the U.S. NYS Music caught up with guitarist Nate Blasdell and bassist Connor Mitchener as they were readying to take off for the tour to celebrate the 10th anniversary of ISMFOF’s debut album You Can’t Spell Slaughter Without Laughter.
photo: Daniel Finkelstein
Paula Cummings: How did you get your start in I Set My Friends On Fire?
Nate Blasdell: I played in a band called The Bunny The Bear. I was pretty young, 18 years old, just out of high school. I learned a lot from that band. It was everything I thought I wanted. We were signed to a label, doing well on tours. We had a booking agent. On the outside, that looks awesome. But there’s a lot of awful stuff that happened. We burned bridges, we made mistakes. We were kids. I was considering what I wanted to do with my life and how I wasn’t a free-spirited 18 year-old looking to run away anymore. I just wanted to play music with people I cared about. Matt Mehana and I started talking and one day I asked if he wanted to get ISMFOF rolling again. We went back and forth for eight months. One day, I was like, “Let’s make a deal, if I can book us a tour in Russia, you’ll start ISMFOF up again and we’ll start touring.” Twelve hours later we had a contract and the plane tickets were fully paid… You have to be crazy to be a musician.
Connor Mitchener: You have to be a masochist.
NB: You have to make a lot of sacrifices. It’s hard to maintain relationships. We sleep in a van, from sleeping in hotels. We went from having plane tickets paid for you to having to front for plane tickets. So we started to lose money and we went through member changes before things fell into place. We had this strand of two months of touring that were horrendous. Not just financially but emotionally. We were in Russia and we all got sick.
CM: I missed a show.
NB: Our drummer got robbed of his camera. My Uber driver ran someone over.
CM: I almost got detained.
NB: He almost got kicked out of the country because his visa expired. We saw money lost from our hotel room.
CM: Literally all the money gone.
NB: All the money we made from tour we lost on our last day in Russia.
CM: That was the kick in the gut.
NB: The biggest thing about that is we flew from Russia to New York and had to play a show in New Jersey that night. We ended that tour with a smile on our faces. Everyone was still laughing, still making the best of it. That’s when we knew we had the right lineup. I think we’ve finally got it right. We’ve all been through the struggle. Instead of being jaded, it makes us that much more hungry and more appreciative of whatever comes our way.
PC: How many countries and continents have you played?
NB: It was thirty last year. Then we did Estonia, Latvia and Sweden. So thirty three. We did Asia, Europe, North America and Australia. Russia was awesome. We didn’t expect to be treated so well there. People were waiting at the train station. We couldn’t walk outside the show. They were really appreciative. We can have that experience, then we can come home and be completely normal people. I think it’s cool because you can experience it, but it’s not your full life.
PC: What was the feedback from your teachers and school counselors when you wanted to pursue a career in music?
NB: I grew up in a suburban area. I came from a good family too. There were expectations. I went through a lot in high school. I used to be all about sports. As I fell out of love with sports, I fell in love with music. Teachers and counselors I had thought I was crazy. Not only teachers and counselors, but some friends of parents and some extended family. I got lucky that I have the most supportive family every. My father has a good job. He saw that money doesn’t buy happiness, and he wanted me to be happy. I went to college when I turned 21. I’m glad I went back. I think that anyone who had a tough time in high school shouldn’t rule out college. It’s crazy. I work as a substitute teacher now alongside of some of the teachers who told me to give up. I had an orchestra teacher tell me I was a failure at music when I was in 6th grade and that I should give up violin. When you tell a kid something like that…
CM: At the most vulnerable age.
NB: It’s funny how that stuff comes around. I had some caring teachers who wanted what was best for me, but I had some who were like, “You have no idea what you’re doing.” We went out and found ourselves.
CM: We learned a lot more than we ever would in school.
NB: It took a couple years to find ourselves. We learned a lot from touring. Every kid has a different plan. I highly advise finishing high school. I know it’s a battle for some people, but once you get that piece of paper, it’s like your life is about to get a thousand times better.
CM: Like Dobby getting a sock.
NB: It will make your life that much better. You can hang it on the wall and no one can take that away. I went on tour thinking I was going to tour for the rest of my life, and I came back as a teacher. That’s one of the reasons I became a teacher is to push kids in the direction of their own greatness instead of society’s standards of greatness, and find themselves. College is always there. It isn’t for everyone, but I encourage people to try it. But there’s no time frame on it.
PC: Connor, did you have similar experiences with teachers and counselors in high school?
CM: Oh, yeah. I come from a way smaller place than Nate did. It’s pretty country. I remember getting called to the counselor’s office to do financial aid. I’m like, “I’m not going to school right away, so I don’t need to do this.” They were like, “Yes you do, because you’re dumb not to.” It sucked. High school sucked. That place just didn’t get it. People in my town never leave. There were teachers who were like “I had your parents when they were in school.”
PC: How supportive was your family?
CM: So my mom was stoked. When Nate called me, he was like, “Buy a bass, learn to play bass and come join me.” We were homies. I was like, “cool.” I go home and tell my mom and she was ok. I was a cross country and track runner. I had scholarships. I go to my dad and say, “I’m going to play music,” and he told me I was pissing away my future. They saw where this led and my dad comes to out of state shows now. They were concerned. It was random. It wasn’t a plan I ever had because I never thought I could do it. Honestly, at face value, our story is kind-of ridiculous.
NB: We both grew up in good families where there was a lot of trust. It’s cool because they’ve been supportive. There was a point where they were worried, but now there are instances like my dad will be at work and say, “My son is in a band.” They’ll ask what band, and he’ll say I Set My Friends On Fire, and they’ll be like, “No way!” Our dads brag about us.
CM: It started like, “My kid plays in a band. He doesn’t really do anything,” and now it’s prideful to say.
PC: What advice would you give to 18 year-old you?
NB: Look at the bigger picture. Don’t be blindsided by the initial look of something. And don’t let hate affect you so much. People are going to hate. I don’t let it affect me at a personal level. Don’t get caught up in what everyone else is doing. Everyone has a different plan. You can’t compare your success to others. Try not to get attached to your idols on an emotional level.
CM: Heroes become human.
NB: Who they portray themselves as and who they are is way different.
Photo: Andrew Parker-West
PC: What is your favorite lyric on You Can’t Spell Slaughter Without Laughter?
NB: Matt’s lyrics are insane. “Don’t drink and park, accidents in cars cause population” from Beauty Is In The Eyes Of The Beerholder.
CB: The end of WTFWJD, “Let me get a sip of what you want me to say, I am so thirsty.” I love the end of that.
NB: IMFOF lyrics are more meaningful than they appear. You can’t deny that we’re a sexual and violent band with content.
CB: It’s more wacky than violent.
NB: The thing that Matt does that’s really cool is that he has lyrics that appear sexual or violent but they are part of a way bigger meaning. It’s not like he’s writing it to be edgy.
As I was thanking them for the interview, they mentioned that they will be doing an interview called ‘How Well Do You Know Your Bandmate?’ while on tour. I threw a few practice questions at them. Having known each other for seven years and spent so much time together, they nailed the answers. In case you were wondering… their favorite restaurants on tour are In-N-Out Burger, Chipotle, Cook Out and Chic-Fil-A. Connor’s favorite beverages are Code Red Mountain Dew and Dr. Pepper. And Nate doesn’t eat candy often, but when he does, his favorite is Lemonheads.
Tickets are on sale now for the I Set My Friends On Fire on their 10 Years of Slaughter Tour. They still maintain their MySpace page, as well as Facebook, Twitter, and Instagram. Find music by I Set My Friends on Fire, from their debut You Can’t Spell Slaughter Without Laughter to their latest single “My Uzi Holds A Hundred Round Conscience” on iTunes and Spotify.
moe. are set to return to the State Theater in Portland Maine for their first Maine shows since 2016, and their first shows at the State since their New Year’s run in 2012. After a brief, but harrowing battle with oropharyngeal cancer, moe bass player Rob Derhak is eager to play a two-night run in his home state of Maine. If their inaugural shows back after the hiatus at Capitol Theatre were any indicator, these shows should be a dream come true for an energetic and deprived fan base. In the beginning of February, moe. returned to the stage for an absolutely blistering pair of shows, and are slated to play two more nights in Portland followed by two nights in Albany.
Bassist and vocalist Rob Derhak proved at the start of this tour that he is happy and healthy, his voice is still very much intact, and his fingers and hungry for some bass. Their last visit to his hometown featured three shows at the two venues, an intimate concert experience at Port City Music Hall, followed by two shows at the scenic Thompson’s Point, overlooking the ocean. Prior to that, they hadn’t seen any action in Maine since a one-night stand in 2014. Before that, moe. delivered a phenomenal New Year’s run in 2012 that spanned two venues across two states.
After the uncertainty of the hiatus, and Rob’s cancer victory, moe. has announced an extensive tour that only seems to be growing, as well as several festival appearances and their triumphant return to Summer Camp Music Festival in Chillicothe, Illinois. After the smashing success that was their sold-out Capitol run, the moe. fan community, with the proud moniker “moe.rons” are eagerly awaiting Rob’s return to his beautiful home state. These shows are not to be missed for any fans of Buffalo jam monsters moe.
Ghost Light, combining the musical talents of Holly Bowling, Tom Hamilton, Steve Lyons, Raina Mullen and Scotty Zwang, will tour across the country this summer, with a stop at Brooklyn Bowl on April 11.
Ghost Light, a true musical collaboration, combines five personalities, five perspectives, and five unique approaches towards one common sound. The group initially got together in a recording studio in Philadelphia, developing songs and musical communication without pre-conceived notions of their sound. Scotty Zwang explains, “It’s a unique and interesting approach we get to take…we are being patient with each other and figuring out what the song needs.”
Tom Hamilton says of the band’s formation, “Having played with everyone involved in a live setting before, I had a pretty firm grasp of what we all brought to the table and it was exciting. There is a wonderful freedom that comes with knowing that you don’t have to carry the entire load over the finish line. So when Raina and I were workshopping ideas to bring to this new band, we felt super comfortable going in any direction, knowing that with our new bandmates, the songs will get to where they needs to go. And in the live setting, that confidence is just as strong.”
The first half of 2018 will see the band playing major venues in major markets coast to coast, followed by stops at festivals including Peach Fest and Lockn’ Festival, with more to be announced. A debut studio release will be released later this year, followed by a supporting tour.
Ghost Light Tour Dates
March 20 – Winstons – San Diego, CA
March 21 – The Mint – Los Angeles, CA
March 23 – 24 – Terrapin Crossroads – San Rafael, CA
March 27 – Humboldt Brews – Arcata, CA
March 28 – HiFi Lounge – Eugene, OR
March 29 – Volcanic Theater Pub – Bend, OR
March 30 – Mission Theater – Portland, OR
March 31 – Lofi – Seattle, WA April 11 – Brooklyn Bowl – Brooklyn, NY
April 12 – Ardmore Music Hall – Ardmore, PA
April 13 – The Acoustic – Bridgeport, CT
April 14 – Thunder Road – Boston, MA
April 17 – Gypsy Sally’s – Washington, DC
April 18 – Lincoln Theater – Raleigh, NC
April 19 – 5 Points Sanctuary – Roanoke, VA
April 20 – Asheville Music Hall – Asheville, NC
May 10 – Aggie Theatre – Fort Collins, CO
May 11 – Fox Theatre – Boulder, CO
May 12 – Globe Hall – Denver, CO
May 16 – City Winery – Chicago, IL
May 17 – Founders Brewery – Grand Rapids, MI
May 18 – Blind Pig – Ann Arbor, MI
May 19 – Grog Shop – Cleveland, OH
July 19 – 22 – Peach Music Festival – Scranton, PA
August 24 – Lockn’ Festival – Arrington, VA
As described by concert goers in attendance at The Paramount, an intoxicated Manson took the stage, performed a few songs, and rambled incoherently before walking off stage early.
