NYS Music 20​18

Category: NYC Metro

  • 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

  • Brooklyn Comes Alive: ‘My Life Before, Then Forever After’ with Karina Rykman

    Multi-instrumentalist Marco Benevento entrusted his iconic top hat upon Karina Rykman, a fill-in bassist in her early 20’s, at the Music Hall of Williamsburg. Rykman’s mouth agape, Marco’s stare tracked dead in her eyes, sealed shut in the moment. She was in disbelief, but this three-day stint would soon end. It didn’t.

    Benevento, in addition to Ween bassist Dave Dreiwitz, played instrumental roles in shaping Rykman-on-the-rise. She dove head first into a towering repertoire of Benevento tunes,  learning them backwards and forwards, day-in and day-out, Rykman recalls.

    “That first run with Marco was one of the most spectacular moments of my life. I thought that was my last show with them ever,” said Rykman, increasing with excitement. “It was the best time, then scaling the walls (of the Music Hall Of Williamsburg green room post set) throwing ice, tequila and limes.” The room was packed with Karina’s friends, family and teachers. Karina was home.

    “Marco is committed to the vibe and always goes the extra mile,” said Rykman, as she reminisced about the pop-up record player and miles of christmas lights that decorate their oasis backstage. Night after night, the ‘Green Room Road Case’ lives on as Karina’s enthusiasm parallels her sheer musical talent.

    The New York Native has a pure starvation and aestheticism for all things music. It predates her Benevento/Dreiwitz days. It is infectious, inspiring all those around her. In eighth grade, two years after quitting piano lessons, a friend placed a guitar in her lap and taught her The White Stripes’ “Seven Nation Army.”

    “I remember my life before [that moment], then, forever after,” said Rykman. “I was fixated on playing all the time. That was my vibe.”

    Two years after joining Benevento’s band full time, Rykman comes full circle, hosting the second set of The Jam Room at Brooklyn Comes Alive on Saturday, September 29 at Music Hall of Williamsburg. Rykman will play host, alongside Turkuaz guitarist Craig Brodhead, to an undisclosed list of phenomenal musicians and guests. The set will start at 1:45 am, merely 15-minutes after Grammy Lifetime Achievement Award winner and The Meters’ bassist George Porter Jr. ends the first installment of this unique collaboration.

    The Jam will consist of 100-percent improvised music. “How do you prepare for that?,” asked Rykman. “Simply put, you don’t.” Take all the music you’ve learned, scales you’ve studied or harmonies you’ve practiced and “throw them all out the window! It is a crazy exercise of staying focused and in the moment,” added Rykman.

    “I’ve played with people 20-plus years older than me; musicians who have committed themselves longer than I have been alive. It’s really humbling. I’m always absorbing because they have been there. I am just delighted to be accepted.” 

    The female bassist will also be playing with her new project, The Karina Rykman Experiment, at BCA at Rough Trade from 5 to 6 pm. Rykman’s Trio consist of NYU friends, Chris Corsico on drums and Adam November on guitar. “The guys in my band are slaying. Crushing it onstage and off. November is a loop-master and creates a whole world of soundscapes, so there is a lot going on.”

    Three is the magic number. Karina first performed in a trio with Benevento and has taken matters into her own hands. “Harmonically it’s just me and Marco, which makes me deeply, deeply focused on what he is doing. I play a lot of lead and fuzz bass too, which almost acts like a guitar sonically.” Expect no less when The Karina Rykman Experiment takes the stage.

    New Yorkers, beware. Rykman deems Brooklyn Comes Alive “not for the weak of heart.” Whether she is serving as a proving ground with her own ensemble, backing Marco in pure bliss, or sneaking off to see as much new music as she can, BCA will be another one for the books.

    “There’s this scene where people come out to see great improvisers improvise. It’s not for everyone, but there is something to be said to observe those who have toured their asses off and have played music for so many years.” Especially, in the Jam Room. “A collaboration brews with people that don’t perform together often, or ever!,” explains Karina. “To see someone who has put in their 10,000 hours create on the spot, is something to behold.”

    Nobody knows what to expect. As the Jam Room takes flight, the motion will be from “recreational to medical, if you know what I’m saying,” said Rykman [laughs].

    karina rykmanInspired by the vibrant musical communities of Brooklyn and New Orleans, the event brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes and collaborate in never-before-seen formations. Each attendee will receive a wristband that grants access to every venue and makes hopping from set to set a breeze, recreating and paying homage to the atmosphere of Jazz Fest by night, which initially inspired the festival’s concept.

    Past editions of Brooklyn Comes Alive have seen unforgettable cross-collaborations amongst legends and favorites like George Porter Jr., John Scofield, Johnny Vidacovich, John Medeski, Bernard Purdie, Henry Butler, Oteil Burbridge, Cyril Neville, Eric Krasno, Jon Cleary, Joe Russo, Skerik, and Marco Benevento, plus members of Umphrey’s McGee, moe., The Disco Biscuits, The String Cheese Incident, Trey Anastasio Band, Lotus, Snarky Puppy, Lettuce, Soulive, The Motet, The New Mastersounds, Break Science and more. Tributes to Herbie Hancock, Earth Wind & Fire, The Allman Brothers, Jamiroquai, and Green Day comprise just a few of the many highlights over the last three years.

  • Beauty in the Machine release Stunning Animated Video for “13 Days”

    Brooklyn based electro-pop/rock group Beauty in the Machine recently released a mesmerizing animated video for their latest single “13 Days.” With dazzling vocals from Jennifer Cella, former lead vocalist of the Trans-Siberian Orchestra, and production by Monikkr, the monochromatic animation is a brilliant juxtaposition of sight and sound playing to the track’s effervescent theme.

    Beauty in the Machine is Jennifer Cella and producer/DJ Monikkr, combining elements from progressive rock and bass-driven house music for a Sub Pop feel. Live performances combine drum machines, synths, vocals and captivating visuals that bring together a seductive, futuristic and immersive experience.

    As former lead vocalist of Trans-Siberian Orchestra, Jennifer has headlined on some of the most prestigious stages in the world including beloved Madison Square Garden in New York City, as well as performed with various musical legends including Roger Daltrey of The Who, Joan Jett, Greg Lake of ELP and Jon Anderson of Yes. Monikkr, on the other hand, has DJed alongside some of the biggest names in dance music. As a former resident of legendary Webster Hall, you could find him opening for Skrillex, Dada Life, Bingo Players, Tommy Lee and many more. Before that, he was a live musician in rock bands Crash Theory and Colorblind and house music live act, Speakerbox. Together today, they’ve been compared to a modern version of Sneaker Pimps meets Portishead.

  • 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

  • Robert Walter discusses his new album ‘Spacesuit,’ performing with Mike Gordon and more

    Robert Walter takes his 20th Congress out of the box and gives his songs room to breathe on his latest album, Spacesuit, out today. The album takes on a sci-fi and psychedelic sound, with meandering compositions that leaves space for improvisation in the live setting. The album lifts off with “Spacesuit” and blasts off with the funky “Nerva and Dumbo,” named for a pair of experimental NASA rockets. Songs such as “13th Key” and “Chalk Giant” jump out with catchy rhythms and a range of influences intertwined.

    Indulging in this album will stoke the listener’s imagination, the progressive melodies capturing your attention and taking it on a journey. Walter, reflecting on the genesis of the album says “I always wanted to make the record that I wish I found going through the record stacks. I love the idea of trying to create an imaginary film or a record from 1972 that you wish you could buy.”

    Robert Walter

    Walter spoke with NYS Music ahead of a performance at Big Henry Vinyl, next to Antone’s in Austin, Texas, to discuss the influences of the album, bringing in New Orleans musicians to record on the album, and how writing and performing with Phish’s Mike Gordon has affected his songwriting.

    Pete Mason: Having been a fan going back to early music festivals this century, I have always wondered – if this is the 20th Congress, what happened to the other 19?

    Robert Walter: My wife was reading a book on Soviet Russia, and the 20th Congress is the most important in Soviet history, a turning point in the Communist Party when they called off their quest for world domination. I saw my band as a chance to break away from The Greyboy Allstars and take a different turn and bring in more effects to a soul jazz sound.

    PM: On Spacesuit it sounds like you are creating space in songs for more improvisation.

    RW: You want to give people sign posts and material to work with, but not so much that they can’t go anywhere. At times an interesting chord change or a bar or the scale can make things irregular, but you don’t want to block people in too, letting people be natural to play. Sometimes we do just play freely, but I like to have a little bit of composition in it.

    PM: How did sci-fi become an influence for the album? Was this just a shift in what you’ve been doing in the studio?

    RW: I always like El Topo and Holy Mountain by Alejandro Jodorowsky’s and sci-fi has always been an interest of mine and there are a surprising amount of effects in some of these soundtracks, more synth especially. I always liked the imaginativeness where you can create things with not a lot of rules and use your imagination on it. The songs don’t have to live by the rules. I wanted to get rid of the rules of a song – is this jazz or funk? – and tear it down and let the imagination flow.

    PM: For this album you brought in a pair of New Orleans musicians, drummer Simon Lott and guitarist Chris Alford.

    RW: I have always been sort of attracted to drummers throughout my career, having played with several drummers from New Orleans. The music can still go places but be rooted in something, especially if you’re doing something a little left of center. They have an anchor in the fundamental American rhythms, the use of clave, but I didn’t set out to hire New Orleans guys, they’re just what I liked.

    PM: How has playing and writing with Mike Gordon influenced this album?

    RW: It’s been five years since I recorded on Overstep, and I’ve been playing with him in Mike Gordon Band for three years. Being around him, you feel like you can be imaginative and inspiring. If something doesn’t work, he throws it out, and he’ll try every route to try to get to something interesting. He broke me out of a lot of preconceptions of how to write music. He’s so open and positive about creativity and indulging new ideas to see if it works or not. He’s fearless.

    Robert Walter

    PM: There is a great deal of futuristic funk and soul on the album. What influenced your writing this time around?

    RW: I have been listening to a lot of German Krautrock, a type of prog rock from the 70s. It tends to be very spare and have a lot of space in it. Kraftwerk is a big one too, and dub reggae which is kinda the same thing. I was interested in music that was subtractive, dealing with the recording and pulling things away to reveal texture. Cymande, a British funk group from the 70s, are very minimal and have simple repetitive bass lines towards this new music. I made a playlist on Spotify of music that directly influences the album.

    PM: Next up for you is a performance at Brooklyn Comes Alive on September 29 with Johnny Vidacovich and Eric ‘Benny’ Bloom. What can fans expect from your set at Rough Trade?

    RW: I am stoked for the Brooklyn Comes Alive set. It’s with Johnny Vidacovich who has been on two of my records so we have a lot of history. Johnny and I used to play as a duo when I lived in New Orleans. He played with Professor Longhair and James Booker, two of my favorite pianists.  Bloom is incredible as well and has great ears and is super fun to be around.

  • Photo Gallery: Perpetual Groove at Brooklyn Bowl

    Perpetual Groove brought their usual non-stop, southern style jams to Brooklyn Bowl on Saturday, September 15. Featuring Brock Butler (guitar, vocals), Adam Perry (bass, vocals), Matthew McDonald (keys, vocals), and Albert Suttle (drums), they reminded the packed house exactly why they skipped out on other awesome shows. One fan said before the show that he was skipping David Byrne for this show, and at intermission confirmed to that he had made the correct choice.

    Set One: Release>GreenTea>Mayday>NaiveMelody>OutHere>GreenTea>DetoxMansion>GreenTea, PaperDolls, OnlyAlways

    Set Two: AIM, Crapshoot, MOTA>Closer>RobotWaltz, StealyMan>BestOfAnything

  • West End Blend announces expansive fall 2018 tour plus ‘Live at the Waterhole’ Album Release

    The soulful funk group, West End Blend, shared this week that their impressive Fall 2018 tour will be expanding across cities in the Northeast, Southeast, and Midwest. In what Sam Horan, the band’s drummer, has described as “one of our most exciting tours to date,” eager fans can expect performances including surprises such as a Secret Location TBA for Halloweekend.

    This tour will mark the band’s next step to spread their unique sound as they claimed: “We’re visiting some brand new cities and we look forward to expanding that WEB family!” Tickets are on sale now and can be purchased via the band’s website.

    This announcement is only the first of many plans for this upcoming fall. West End Blend prides themselves on their own vibe and flair and what better way to do that than with a live album release. Horan mentioned that they have been getting so many requests for this project because “Everyone can agree that while our studio albums sound great, they just don’t quite capture the raw energy and vibe that you see from us live.” It’s the ultimate way to provide the most authentic content possible and Live at the Waterhole will be released Oct. 5.

    Recorded during a two-night long session at the Waterhole in Saranac Lake, the album sees technical contributions from GRAMMY Award-winning engineer Brendan Morawski. By building a studio-style soundboard side stage, Morawski was able to capture studio quality recordings of both evenings. This was also taken into consideration for which songs would be included on the album since the objective was to pick those which have taken on new arrangements and morphed significantly from the studio album versions. This direction the band is taking will demonstrate how they want the utmost interactive experience for the fans and how they are constantly rearranging their songs during live performances to showcase their progression as a group.

    See Tour Dates and Tracklist below:

    Live at the Waterhole Tracklist:

    1. Attitude
    2. Say Hey
    3. Get By
    4. I’m Time
    5. Too Heavy
    6. Day Dreamer
    7. Is that All you got
    8. The Scene

    West End Blend Tour Dates:

    Sept. 18 – Brooklyn Bowl – Brooklyn, NY *
    Sept. 19 – Buffalo Iron Works – Buffalo, NY *
    Sept. 20 – Funk n Waffles – Syracuse, NY *
    Sept. 29 – Brighton Music Hall – Boston, MA ^
    Oct. 5 – Toad’s Place – New Haven, CT #
    Oct. 6 – H.O.M.E. – Portland, ME
    Oct. 12 – The Hollow – Albany, NY
    Oct. 18 – Woodlands Tavern – Columbus, OH
    Oct. 19 – Emporium – Chicago, IL
    Oct. 20 – Founder’s Brewery – Grand Rapids, MI
    Oct. 27 – Halloween Horror Camp – Secret Location TBA
    Nov. 7 – Hofgarden – Richmond, VA
    Nov. 8 – The One Stop – Asheville, NC
    Nov. 16 – Pour House Music Hall – Raleigh, NC
    Nov. 17 – Heist Brewing – Charlotte, NC
    Nov. 24 – Riverwalk – Nashua, NH
    Nov. 30 – Tropicalia – Washington DC
    Dec. 7 – King’s Rook Club – Erie, PA
    Dec. 22 – The Haunt – Ithaca, NY @

    * w/ Five Alarm Funk
    ^ w/ Strange Machines
    # w/ Bella’s Bartok
    @ w/ Root Shock

  • Jamiroquai returns to NYC after 13 year absence

    The last time Jamiroquai graced NYC with its presence, they sold out the newly opened Nokia Theater Times Square for two nights back in 2005. The band was hot off the heels of their latest release, Dynamite, and it seemed like the United States could not get enough of their frontman, Jay Kay. Fast forward to 2018 and the East Coast was aching for some Jamiroquai news. After teasing 4 U.S. dates via Twitter, it was finally announced that their triumphant return to NYC would occur on September 8 at the Forest Hills Stadium in Queens.

    Saturday finally arrived and the crowd did as well to a day full of drizzle and promise. Gangstarr’s DJ Premier took the stage at 7 pm to start a massive dance party for anyone that beat the traffic. The legendary producer spun ’90s hip hop tracks for the ever-growing crowd to get down to as the sky continued to open up on everyone that arrived. He warmed up the crowd for 45 minutes before the stage was set for the main act.

    Jamiroquai NYCJust after 8 pm, the enormous screen on stage lit up and the band members began to assemble as Jay Kay ran on stage to a thunderous applause. As Jay’s helmet moved up and down while changing colors, they started things out with “Shake It On,” off of the new album, Automaton, before diving into 2001’s “Little L” off of A Funk Odyssey. The party continued with “Use The Force” and the always funky “Space Cowboy.”

    “Alright” from Traveling Without Moving kicked the crowd into fifth gear and gave everyone the opportunity to sing along with Jay during the chorus. He brought it back to 2018 with “Dr Buzz” off the new album and followed that up with the hit, “(Don’t) Give Hate a Chance.” Continuing the hop between decades, they dove into “Main Vein” as the rain started coming down a little harder. No precipitation was going to keep this crowd from enjoying their night and the classic “Runaway” was the perfect soundtrack to the weather. Jay was met with a phenomenal cheer as he sang the opening lyrics, “Can you dig it? There’s something in the air tonight”.

    Jamiroquai knows what their fans love and “Cosmic Girl” could not have come at a better time in the show. This psychedelic disco track illuminated the crowd as they continued to lose their minds before Jay slowed things down and treated everyone to the slow version of “Emergency on Planet Earth” off of their debut album. Soon enough, the sounds of Jay’s Lamborghini Diablo SE30 could be heard over the speakers as they dove into “Travelling Without Moving.”

    The crowd exploded with cheers as they started “Canned Heat” and I certainly saw at least a dozen ‘Vote for Pedro’ shirts dancing harder than anyone else. Jay allowed his bandmates to really jam out this song and the funky beat never stopped. The last song of the set was 2002’s “Love Foolosophy” and the crowd could not have been more receptive of this choice. Jay thankfully understood the strict 10 pm curfew enforced by the venue, so without leaving the stage, they dove headfirst into their most popular hit, “Virtual Insanity.” The crowd and the band gave it all they had as 10 pm approached. Amidst a roaring applause, Jay promised they would be back and we couldn’t have been happier.

  • Turkuaz Release Video for new single “If I Ever Fall Asleep”

    Brooklyn-based nine-piece Turkuaz have released the video for “If I Ever Fall Asleep”, the second single off their upcoming album Life In The City, due out in September 28. The video was filmed live at vocalist/guitarist Dave Brandwein’s Galaxy Smith Studios, and was produced by Jerry Harrison.

    “If I Ever Fall Asleep” is a powerhouse funk number, the first written by Josh Schwartz (baritone saxophone), has incredible energy as the Turkuaz signature upbeat funk channels the paranoid ramblings of an insomniac before embracing his own unraveling.

    Turkuaz is currently on the road in support of the new album, traveling across the U.S. with performances at Red Rocks in Morrison, CO on September 23 and The Capitol Theatre in Port Chester, NY on October 19 before the band closes out 2018 with a bang on New Year’s Eve at The Palladium in Worcester, MA.

    TURKUAZ 2018 TOUR DATES:

    September 14 Greenfield, MA @ Wormtown Music Festival
    September 15 Fredericton, NB, Canada @ Harvest Jazz & Blues Festival
    September 20 Steamboat Springs, CO @ Old Town Pub
    September 21 Steamboat Springs, CO @ Old Town Pub
    September 23 Morrison, CO @ Red Rocks Amphitheatre
    October 4 Syracuse, NY @ Westcott Theater*
    October 5 Buffalo, NY @ Town Ballroom*
    October 6 Saratoga Springs, NY @ Putnam Den*
    October 11 Chattanooga, TN @ Songbirds*
    October 12 Mount Vernon, KY @ The Moonshiner’s Ball
    October 14 Greensboro, NC @ The Blind Tiger*
    October 17 Northampton, MA @ Pearl Street*
    October 18 Providence, RI @ Fete Music Hall*
    October 19 Port Chester, NY @ The Capitol Theatre^
    October 24 Greenville, SC @ The Firmament*
    October 25 Nashville, TN @ Exit/In*
    October 26 Covington, KY @ Madison Theater*
    October 28 Live Oak, FL @ Suwanee Hulaween
    October 31 Asheville, NC @ Salvage Station~
    November 1 Greenville, NC @ State Theatre~
    November 2 Philadelphia, PA @ The Fillmore~
    November 3 Washington DC @ Anthem~
    November 8 Pittsburgh, PA @ The Rex Theater%
    November 9 Columbus, OH @ The Funk’n Beer Fest
    November 10 Indianapolis, IN @ The Vogue#
    November 11 Grand Rapids, MI @ Elevation#
    November 14 Omaha, NE @ The Waiting Room
    November 15 Madison, WI @ High Noon Saloon#
    November 16 Minneapolis, MN @ Fine Line Music Café+
    November 17 Chicago, IL @ Park West
    December 29 Rochester, NY @ Anthology**
    December 31 Worcester, MA @ The Palladium**
    January 15 Miami, FL @ Jam Cruise

    * with Butcher Brown
    ^ with Cory Henry & The Funk Apostles
    ~ with Lettuce
    % with Dynamo
    # with Andy Frasco & The UN
    + with Rubblebucket
    ** with Too Many Zooz

  • Photo Recap: The Magpie Salute at The Space in Westbury

    The Magpie Salute treated their fans to an intimate night of music at The Space in Westbury on September 9. The show was separated into 3 parts: full band, acoustic set with Marc Ford, Rich Robinson and John Hang, and then back to the full band. The full band consisted of Rich Robinson and Marc Ford on guitar, Sven Pipien on bass, Joe Magistro on drums, vocals by John Hagg, and Matt Slocum on keys.

    The Magpie Salute

    Before kicking off their Europe tour, The Magpie Salute will be on the east coast during the month of September. Check out their upcoming tour dates here – http://themagpiesalute.com/events

    The Magpie Salute – The Space at Westbury – Westbury, NY

    Full Band: High Water, Mary the Gypsy, Take it All, For the Win, The Killing Moon*, Everything’s Alright#, All We Need to Do Is Love$

    Acoustic: You Don’t Miss Your Water%, Sister Moon

    Full Band: Lay It All On Me&, Open Up, Walk On Water, What Is Home&, What Is and What Should Never Be^, Can You See, A Conspiracy&, (Only) Halfway to Everywhere&, Send Me an Omen

    * Echo and the Bunnymen cover

    # Rich Robinson song

    $ Marc Ford and the Neptune Blues Club cover

    % William Bell cover

    & The Black Crowes cover

    ^ Led Zeppelin cover

    The Magpie Salute The Magpie Salute