NYS Music 20​18

Category: Rock

  • Formula 5, Swimmer Team Up for Birthday Bash at The Hollow

    Downtown Albany celebrated in style on Saturday, September 29, with two birthdays and a first-time performance at The Hollow Bar + Kitchen. Formula 5 hosted the night, as the Upstate NY group helped close out one member’s birthday while ringing in another during an appropriate hometown throwdown. Warming things up for the night ahead was a new-to-Albany band, Swimmer.

    Founded in the depths of rickety Plymouth State University basements in 2013, the funky, improvisational quartet has grown with the seasons and emerged on the scene as quite a contender in their genre. The Burlington, VT musicians have been able to corral flocks of fans from their shared bills with top tier performers like Dopapod and Pigeons Playing Ping Pong. Adding Formula 5 to the mix, it only made sense that Albany and it’s strapping live music scene was their next destination to become acquainted with.

    Formula 5 SwimmerAiming to set themselves apart from every other jam-band to emerge from the hippy depths of Vermont, Cotter Ellis (drums), Matt Dolliver (keys/sax), Joe Agnello (guitar) and Jack Vignone (bass) tapped into their truly zany nature, showing off their musical chops and refreshing individuality. It was their tasty covers of Frank Zappa’s “Son of Orange County” >”Trouble Every Day” that found all patrons swiveled in their barstools and cheering on foot, asking their neighbors what band was playing.

    Ready to bring the high-energy festivities to the stage, birthday boy Matt Richards (keys) along with Joe David (guitar) and James Woods (bass) brought their “Widespread’s Dead” covers to their NY fans. Their latest tour boasts an assortment of tracks from the well-loved artists Widespread Panic and Grateful Dead, with Formula 5 originals interwoven throughout the set.

    Richards kicked off the night manning the mic for F5’s own “Bird Song” before tossing in an array of anticipated covers. Although Grateful Dead cover bands certainly aren’t lacking, you can’t help but smile and sing along whenever a Dead tune begins. Once Davis sang the opening notes of the Dead’s “Tennessee Jed,” there was nothing left for anyone to do but smile, smile, smile. Widespread Panic’s “Coconuts” acted as the fan-favorite pinnacle of the night as it was sandwiched between “Tennessee Jed” and a soothing take on “Terrapin Station.”

    Normally celebrating the day after Thanksgiving at The Hollow, Formula 5 took the time to address the crowd for an announcement that their Black Friday gig would make the jump over to The Palace Theatre. On Friday, November 23 the quarter will support the Disco Biscuits during their two-night Albany run.

    Swimmer Setlist: Murphy’s Law, Do it Myself > Son of Orange County* > Trouble Every Day*Jig -> Hyperbole, Curious Spaniard, Cornwallis *zappa cover

    Formula 5 Setlist: Bird Song^-> Blue-> Bird Song^, Greta~-> Booher’s Pass, Tennessee Jed^ Coconuts~ Terrapin Station^ Nu-Gen*-> In The Sand-> Gettin’ Tough Again, Hot Box, Love Tractor~

    ^ Grateful Dead
    ~ Widespread Panic
    * Unfinished

  • Documentary Being Produced About Legendary Long Island Nightclub My Father’s Place

    It was Memorial Day weekend in 1971 when Michael “Eppy” Epstein opened a nightclub in the sleepy town of Rosalyn. “My Father’s Place” hosted some of the hottest up-and-coming acts of the era, including The Ramones, The Police, Blondie, and Talking Heads.

    The legendary hot spot closed in 1987, but is now re-opening. To honor the legacy of the club, a documentary entitled “Names are Bullsh*t” is being produced using vintage footage and archival documents. The Kickstarter campaign which runs through today offers Migliori Crypto Metaverso investors the opportunity to get exclusive perks such as t-shirts and their names in the credits of the film. Follow the film on Facebook for updates.

    https://youtu.be/f7XQpFcdE_Q

  • Hearing Aide: The Upstart Crows ‘The Upstart Crows’

    The Upstart CrowsMoving out from a small college town music scene into one of the world’s largest and most diverse arts cities is daunting. For The Upstart Crows, fitting in means being different. So, when they moved from a small college town in New Hampshire into the Big Apple, they were able to settle right in. Late in August the band released their first album; a combination of punk, honkey tonk, and a vaudeville styled theatrical influence. The self-titled album, The Upstart Crows, is a grab bag of these various influences that the band draws from. The two piece group, comprised of Jon Adams (vocals/guitar) and Forest DeCoste (drums/bass), recorded at Proper Pop Studios in Brooklyn, NY. The band seized the opportunity to layer on elements that their two-member setup has handcuffed them from doing; the band plays as a guitar and drum duo typically. The addition of bass and some other backing instruments gives every song more dimension and enabled the group to hash out the ideas a bit more. Despite this, the album does feel a little meandering, focusing on the lyrical theme of sadness but not staying true in terms of genre and flow. The album remains an interesting listen despite the scattershot and shows how well the duo can formulate a song with consistently catchy melodies and tight performances.

    The album opens a little heavier with “Bad Medicine”, the first single The Upstart Crows put out in anticipation of the album. The song feels similar to an early 2000’s era emo tune, without the over-saturated production. The bass line fits well with the drum beat and provides a solid foundation for the rich guitar chords to lay out the progressions. The guitar ultimately leads the bass, with both instruments locking together in such a way you’d expect to hear in a song written by a smaller crew of people. The song is fun, heavy, and not overbearing. Adam’s vocals immediately stand out as theatrical and exciting. A few songs follow this formula of heavier instrumentals and grittier vocals. One vocal performance, from “Lying and Crying”, has Adam’s singing with a distortion on his vocals. This works really well with his higher tenor voice, commanding the listener’s attention. The end of this song also has an octave-matched guitar solo that adds some meat and more development to the melody.

    While the heavier songs provide good energy to the album, The Upstart Crows do really well in their more pop-oriented songs. Adam’s vocals shine in track 7, “Heart to California”. A more bubbly song with an indie/alt vibe, the band takes a catchy hook and layers on a lot of fun percussive parts and some group vocal refrains. Similar to a song you’d hear from The Dear Hunter, this offers a view of the band that would be interesting to hear more of. “What Did I Say” gives a similar vibe, keeping the song fresh with catchy hooks and a honkey-tonk feel. Adam’s vocals float above the instrumental like Ben Folds or Tom Chaplin (Keane). The mix gives the song a heavier feel without pumping the distortion of muddying the vocals. Like a few other songs on the album, this one had a seamless transition from the previous track. The band makes portions of the album feel like they were recorded one after the other without break, which yields a cool effect.

    From the heavy distorted wash of instruments, to a more jangly and organic songs, this album does not get boring. While the rocky flow and genre mixing can be a drawback at points, the ability to write consistently catchy hooks and execute performances that are tight make this album fun to listen to. The Upstart Crows cover a wide spectrum of genres in this album, and it’d be interesting to hear an album (or two) that focus on a steadier narrative and true genre. With this first release, the band has started to establish a theatrical alt-rock sound that can be refined to great effect. Check out the album, and if you’re in the NYC area don’t hesitate to catch a live set! You’ll get something a little different than the album, and that’s a great reason to catch a live set.

    Key Tracks: Heart to California, What Did I Say, Bad Medicine

    https://soundcloud.com/user-362945912/bad-medicine

  • Hearing Aide: The Lionfish ‘You Won’t Keep Me Down’

    Fairfield University bred rockers, The Lionfish, sting. Their second studio release, You Won’t Keep Me Down, is as colorful as the marine fish itself. It’s packed stout with driving rock, intimate blues-ballads and sounds that delineate genres. The Lionfish cannot be defined, nor contained. You Won’t Keep Me Down sounds more like a greatest-hits rock party than anything else.

    the lionfish

    The Lionfish will be debuting You Won’t Keep Me Down Friday September 28 at Peaches Southern Pub & Juke Joint from 9:30 pm to 12:30 pm. The beauty and purity of the record will be preserved, performed in its entirety, amidst a non-stop three-hour set.

    “Our origins are not based on a pop single,” said frontman, Robby Schwartz. “We are all raised and influenced on the idea of an album as a whole.”

    The album’s title track “You Won’t Keep Me Down” is a full-fledged swamp tune. Heavy drums hold the band steady, as screaming guitar licks respond to Schwartz’s vocal chants. Each instrument speaks; arpeggiated keys, guitar and bass all crash into the bridge. Their energy is sharp and venom-like. Your feet won’t have a choice. Go ahead and try.

    “The album speaks to a voice in favor of loving your neighbor, instead of building walls. ‘You Won’t Keep Me Down’ was one of the first songs written. It is anthemic in its own way,” said Schwartz.

    “Dogs of Quito” is a more poetic take on rock n’ roll. Schwartz had been writing most of the songs while in Ecuador, volunteer teaching, as “a release from the normal working world.” Inspired by authentic Quito graffiti,  the tune has a recurring theme of Without Love Nothing. The desolate streets can be heard in Schwartz’s distinct ‘howls’ throughout the driving chorus.

    The dogs of Quito are howling / In a fight like there’s no tomorrow / The rest of the world is watching / In a trance of pain and sorrow.

    The Lionfish get intimate with “She Lifts Me Up.” The track is jazzy and soulful, opening with finger-snaps and backed by powerful female harmonies. Schwartz’s keys take off. The dynamic change reveals the subtle articulation of each instrument. “She Lifts Me Up” was also featured as  a NPR fan favorite, submitted as a Tiny Desk entry.

    Acoustic guitar sets the mood for “The Last Town,” with a southern air that makes the listener sway with the breeze. “The first five tunes are my favorite,” said Schwartz. “There were times on the record when I was writing from an outsider perspective.” However, “Some of the tracks date as far back as high school.”

    Other tracks stand out, such as “The Wall,” which features Schwartz on solo piano. “Love (Sin Amor, Nada),” becomes otherworldly, with clave ostinatos and a variety of percussion. “Untitled Blues,” concludes the twelve-track record, with a nine minute anthem of nonstop soul.

    “I think this show at Peaches will be a great opportunity for us to show off how proud we are. We are playing the album in its entirety, along with a bunch of covers. It will be interesting to play it live as a four-piece,” featuring core band members Chris Finelli (guitar), Mark Schwartz (bass/guitar/vocals), Robby Schwartz (keys/bass/trombone/vocals) and DJ Horstmann (drums).

    Key Tracks: You Won’t Keep Me Down, Dogs of Quito, Untitled Blues.

  • USPS remembers Beatles legend John Lennon with new stamp

    Preceding the ceremony to unveil the new John Lennon stamp, his late-Beatles wife expressed gratitude for the throngs of fans who gathered at the Naumburg Bandshel in New York City’s Central Park for the event.

    “Even if it was five or ten people, I would have appreciated it,” said Ono, with their son Sean at her side. “But, look at this. This is beautiful.”

    Instead, hundreds of fans gathered to pay tribute to a complex man who first stirred teenage girls into a frenzy and later helped lend a voice to a rebellious generation against war. John has been dead for nearly as long as he was alive, assassinated outside of his home in December 1980, at the age of 40. Earlier this month, the U.S. Postal Service honored the singer and songwriter with a stamp.

    John Lennon Stamp

    “It’s a privilege to commemorate the life of John Lennon – one of the most celebrated musicians and iconic personalities of the 20th century,” said Postmaster General and CEO Megan J. Brennan. “The world was influenced by John Lennon’s music and his commitment to the ideals of peace and unity. We continue to be inspired by his memory.”

    John joins Elvis Presley, Ray Charles and Sarah Vaughan as artists immortalized by the USPS in its Music Icons stamp series. The commemorative stamp features a photo taken by noted rock ’n’ roll photographer Bob Gruen in August 1974. It shows the musician on the rooftop of his Manhattan apartment taken for the 1974 album Walls and Bridges. The original black-and-white image was treated in gradations of color to create the artwork for the stamp, which is now available for purchase.

    John Lennon Stamp

    Gordon Thompson has yet to purchase the stamp. The Skidmore College professor is considered the local expert on all things Beatles. He is the music department chair for Skidmore. He said he remembers the Ed Sullivan broadcast that introduced his generation to the Mersey Sound. Thompson is a ethnomusicologist, or one who studies the relationship between music and culture. He’s taught classes on how The Beatles influenced culture from the 1960s to today. Though he is a fan of John and the Fab Four, he said he does not collect memorabilia.

    “Unless books and recordings are memorabilia,” said Thompson, “in which case I’m guilty.”

    Ono’s perplexing admission that she was concerned few people would attend the day’s ceremony contrasts against her late husband’s iconic status. He was, of course, a founding member of the Beatles. The Beatles still hold records for a string of hits released from 1962 to 1970, including “All You Need is Love,” which later served as an anthem for John’s humanitarian endeavors. John also was a successful solo artist. His last of seven studio albums, “Double Fantasy,” was released three weeks before he was killed. It includes “Beautiful Boy,” a lullaby to his son, Sean.

    Julian Lennon, John’s son from his first marriage, did not attend the ceremony. Since his father’s death, he has been candid with details describing a dismissive and abusive father. In a 1998 interview with The Telegraph, Julian called his father a “hypocrite.” As the world recalled hearing him sing “give peace a chance,” Julian recalled how that same voice could easily “tear someone up.” Julian had a distant relationship with his father, both geographically and emotionally. He didn’t know him as the doting father Sean did.

    “I think [John] Lennon offered us an example of our best and worst impulses,” said Thompson. “He was no saint, but neither was he evil; and we watched as he wrestled with his impulses on a very public stage.”

    Thompson referenced a line from The Beatles’ 1967 hit “Getting Better.”

    “I used to be cruel to my woman, I beat her and kept her apart from the things that she loved.”

    It was an innoxious statement fans seldom thought to analyze when it was released on “Sgt. Pepper’s Lonley Hearts Club Band.” John, however, would later admit to Playboy magazine, quoting from his own song, that he was an abuser.

    “I was a hitter,” John told Playboy. “I couldn’t express myself and I hit. I fought men and I hit women. That is why I am always on about peace.” He added that he did not curb his volatile behavior until he met Ono. Soon afterwards, the world would see Lennon as an advocate for peace, a champion for women’s rights and a critical voice against organized religion.

    “He questioned the role of religion in society and the righteousness of those who present themselves as religious,” said Thompson. “He recognized the hypocrisy inherent in religious practice and spoke out about it. And for that, he was assassinated. His killer had harbored resentment over the comments about the relative popularity of Jesus and brought these with him to New York.”

    John Lennon was shot dead on Dec. 8, 1980, in the archway of the Dakota Apartments by Mark David Chapman. He was posthumously inducted into the Songwriters Hall of Fame in 1987 and twice inducted into the Rock and Roll Hall of Fame: as a member of the Beatles in 1988 and as a solo artist in 1994.

    Julian was left out of his father’s will. Though a trust was established to benefit all of John’s children, Julian sued to obtain his share of his father’s estate. Julian told The Telegraph that he continues to reach out to his brother, Sean, but that the relationship is distant.

    The USPS designed the John Lennon stamp pane to resemble a vintage 45-rpm record sleeve. One side of the pane includes the stamps and brief text about John Lennon’s legacy. A black-and-white photograph of him seated at his white piano appears on the reverse.

    “Not to be too cliched, but I think Lennon’s death symbolized for us the official passing of an era,” said Thompson. The Beatles expert was absorbed in the music and culture of India when Lennon was killed. The young ethnomusicologists had “moved on.”

    “Lennon and the Beatles had shaped a major part of our lives, he said, “but we, and they, had moved on. We had abandoned a phase in life when we had ignored the consequences for our actions. We had become adults. John Lennon had once been Peter Pan, lured into the world of mortals. Now, we recognized that we had lost something special.”

    This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Hearing Aide: PEAK ‘Electric Bouquet’

    PEAK Electric BouquetPEAK combine the characteristic flair that a weathered live band brings to the table, along with the instrumental prowess and focus needed to capitalize on recording a studio album with an all-star engineer. Produced by Dave Brandwein (Turkuaz), this thirteen-track epic is aptly named Electric Bouquet for its variety of styles and poetic narrative arc. Vocalist and guitarist Jeremy Hilliard weaves a tale of existential breakdown and regrowth of a relatable narrator. Packaged along with a stellar instrumental backdrop, this album checks the necessary boxes for a song cycle washed in arresting psychedelic musings and jams. The band consists of singer-songwriter and guitarist Jeremy Hilliard, percussionist Dale Paddyfote, bass player Eric Thachuk, and organ/keys player Otis Williams. This album offers a staple sound that PEAK can use to differentiate themselves from an ever-growing list of funk/rock bands.

    Electric Bouquet highlights many aspects of the band’s dynamic approach to songwriting; from the poetic use of narrative to the transitions between songs that create the flow and feel of the album as a whole. From funk, to psychedelia, to folk, Hilliard is deft in his writing and grouping of the songs. The first track, “Barometric Pressure (Here Comes The Rain)” starts off with a heavy hand alongside a drum and bass groove akin to Bowie’s “Let’s Dance.” PEAK wears their funk influence on their sleeve for much of this album, showcasing the ability of the band to lock in on a groove and develop its melodic nuances until the song “peaks” (no pun intended), often with a grand guitar solo. Many of the tracks are built around a bit of a blank canvas that the group paints with aesthetic guitar layering, big Bonham-like drums, and new interesting rhythmic features (like the congas in track 11 “Nothing New Under the Sun”). Thachuk (bass) and Paddyfote (drums) have great chemistry throughout, matching the bass and drum parts to give each song a strong backbone while organist Williams brings color and flavor to the instrumentals, yielding room for Hilliard’s full-toned guitar solos to blast through the mix.

    As the album progresses, there’s a feeling of resolve in the lyrics with an emphasis on coming to grips with the predictable yet arduous nature of life and growing up. It feels like a coming of age story, referencing passing time and transitions from night to day, while simultaneously showing present growth of the narrator. Thematically, the album stays interesting. Instrumentally, the album not only conserves its appeal throughout while taking the listener on a psychedelic funk rock adventure, but also develops and changes as the songs roll on. There’s a gradual departure from the darker and heavier type of psychedelia early on (“Win Some, Lose Some”, “On the Grind”), to a more Grateful Dead or The Band folk rock/Americana feel (“Ballad of Wiley Jones”, “Mama’s Got A Lot of Love”). I would absolutely recommend giving this album a listen. From the production, to the actual performance of each song, it was a treat to look at each one of these baker’s dozens of tunes.

    Stream PEAK’s music here!

    Key Tracks: Barometric Pressure (Here Comes The Rain), Ride Through the Night, Feel Like Moving

    https://www.youtube.com/watch?v=s_WUa7wZXLI

  • Dickey Betts to Undergo Surgery After Traumatic Injury Places Him in Critical Condition

    Dickey Betts, the 74-year-old former member of the Allman Brothers, was hospitalized once again after surgery, having suffered another medical issue at his Florida home this week. While playing outside with his dog, Betts suffered a blow to the head as he slipped and fell. The full extent of the injury remains to be seen as he is currently in critical condition but will be undergoing brain surgery to relieve the swelling on Friday. Betts has been accompanied by his wife Donna and their children through this worrisome event and sent out a word to the fans stating: “The family appreciates all of your thoughts and prayers during this very trying time…Dickey is a notorious fighter and he is displaying that now.”

    Following his recovery from a sudden stroke last month, this wound has become another obstacle for upcoming tour dates. There were regular health updates about Betts from his longtime friend and manager David Spero who recently tweeted on Sept. 14: “Dickey Betts is raring to go. His recovery from his minor stroke is ahead of schedule and he has already started playing his guitar again.”

    However alarming this struggle may be, this has not deterred Betts’ family, friends and bandmates on focusing their attention to Betts once again regaining his health. The tour will understandably be facing cancellation of certain dates but in another assuring statement released by Spero: “It was just a few days ago that Dickey was telling me how excited he was to get back in front of the fans on Nov. 1…It is very unfortunate, for all involved, that we need to cancel those shows. Please add Dickey into your thoughts and prayers. I’ll keep everyone updated on his expected progress.”

    Based on his past determination to provide for his fans and will to persevere, Dickey Betts will continue on his journey to better health that all of us wish for him.

  • Lark Fest to Pack a Punch this Weekend in Albany

    When Adrian Lewis takes the stage at Lark Fest this Saturday, Sept. 22, he will complete an unofficial Triple Crown here in the Capital District.

    Better known as The Age, Lewis played Rockin’ on the River and Alive at Five this year. He and his band will headline upstate New York’s largest one-day street festival this Saturday.

    “I’m super excited about Lark Fest,” said Lewis. “I’ve wanted to be a part of it for a few years now and it’s kind of mind blowing that we are going to be a headlining act this year.”

    To place his excitement into perspective, he opened for the B.B. King Blues Band featuring Tito Jackson at Alive at Five this June.

    The Age is one of two headlining acts which also includes Stellar Young. Saturday’s performance will be Stellar Young’s third at Lark Fest.

    “We’re so humbled to be a part of such an awesome event,” said lead vocalist John Glenn. He added that the band will be selling sunglasses to fund its third release “And Turned to Ash.”

    The lineup to this year’s festival, the 37th for Lark Street, is worth taking note.

    The music starts with Becoming a Ghost at 11 a.m. Becoming a Ghost most recently played at WEQX’s Battle of the Bands at Jupiter Hall. It put on a high energy, interactive performance that moved the crowd. The band could have just as easily won the competition to open last week’s Pearlpalooza.

    The lineup continues with the Ryan Leddick Trio, Onlyness, Bendt, Greens, Mirk, Apostrophe S, Kimono Dragons, Useless Cans, and JB & Victory Soul Orchestra. Stellar Young takes the stage at 3:45 and The Age follows at 4:20 p.m.

    The all-day event expects to attract 50,000 people with live music, local vendors, food trucks and more. Start walking at 10:30 a.m. and finish the day at 5:30 p.m.

    This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

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

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

    Root Shock opened up the night for Funktional Flow

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

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

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

  • State Fair Closes Out with Record Attendance

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

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

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

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

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

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

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

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

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

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

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

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    Set Lists

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

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

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

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

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