On Oct. 20, 90s alt-rockers Garbage made their debut at The Capitol Theatre in Port Chester to a house packed with loyal fans, celebrating 20 years since the release of their album Version 2.0.
Garbage treated The Cap to the entirety of Version 2.0, but changed it up a bit playing it out of order and mixing in tracks from their other albums including covers of The Seeds’ “Can’t Seem To Make You Mine” and Big Star’s “Thirteen.”
The colorful Shirley Manson, whose image mimicked the cover of the Version 2.0 album, gave an expressive performance through the whole show with an amount of animation in concert with the aura of each song. Just before starting the encore, she gave an extended thank you to the fans for their support with some emotional pauses which only seemed to garner more applause from the crowd.
Though the band has its roots in Wisconsin and singer Shirley Manson is from Edinburgh, the show was a homecoming for co-founder/guitarist Steve Marker, a Westchester native who spent some time working at the theatre years ago.
The bottom line of Garbage’s show at The Cap is one of genuineness – between the band and audience the room felt like a close-knit family pouring their hearts out to one another.
Setlist:
Afterglow, Deadwood, Temptation Waits, Wicked Ways, Special, The World Is Not Enough, 13x Forever, Get Busy With the Fizzy, Hammering in My Head, Medication, Thirteen, Can’t Seem to Make You Mine, I Think I’m Paranoid, Sleep Together, Dumb, Soldier Through This, Lick the Pavement, Push It, When I Grow Up, You Look So Fine
Encore: The Trick Is to Keep Breathing, No Horses, Cherry Lips
Nils Lofgren took over the Paramount Hudson Valley Theater on Sunday September 23. Joining Nils on stage was multi-instrumentalist Greg Varlotta. Lofgren shared stories from his 50 year musical career: collaborating with Neil Young & Bruce Springsteen, being an award wining accordion player, and inspirations for his songs. Nils moved from acoustic to electric guitar, harp (yes harp), keyboards, and accordion throughout the night. His set included songs from his original band Grin, solo work including “Keith Don’t Go”, and songs that influenced his musical development.
Sunday, October 14 marked the fifth time Umphrey’s Mcgee has stopped off at Port Chester, New York’s Capitol Theater. It was also the band’s first Sunday show at the historic New York State venue, and if you haven’t heard it yet (or maybe you have and just aren’t listening) “never miss a Sunday show.” Umphrey’s Mcgee ran the gauntlet of their repertoire with a mix of songs both new and old. They also invited Tierinii Jackson and Ori Naftaly, of their supporting act Southern Avenue, on stage to close out the first set with a version of The Beatles’ “Come Together,” a song they haven’t played since 2007, making it the first time played in 1,240 shows. The second set featured another cover we haven’t heard the boys play in some time as well. ZZ Top’s La Grange made its first appearance since 2013. Although we only got one verse, it hasn’t been done in 532 shows. They found their way in and out of teases from Fleetwood Mac, The Verve and Jake even found himself behind Joel’s keys during the band’s original “Plunger.” As it goes with these guys, don’t blink, you just might miss something great. Especially on a Sunday night in New York.
Set List
Set 1: The Floor, Draconian > Mulche’s Odyssey, The Pequod, You & You Alone, Bridgeless -> Hajimemashite, Come Together[1]
Set 2: The Triple Wide[2], Seasons, Plunger[3], What We Could Get, I Ran, Resolution[4] -> La Grange[5] > Ocean Billy[6]
Encore: Kula > Bridgeless
Notes:
[1] with Tierinii Jackson on vocals and Ori Naftaly on guitar (Southern Avenue)
[2] with Rhiannon (Fleetwood Mac) tease in intro
[3] with Jake on keys
[4] with Norwegian Wood (The Beatles) jam
[5] one verse
[6] with Bitter Sweet Symphony (The Verve) tease
A virtuoso stacked super jam featuring Warren Haynes, John Medeski, George Porter Jr. & Joe Russo was held at The Capitol Theatre to benefit the worst disease you’ve never heard of. The venue was packed with support for both the music and the cause of Debra of America.
Spirits were high and the boys were excited to deliver an impressive performance. Classics such as “It Aint No Use”, “Hey Joe”, and “Soulshine” were weaved into two impressive sets filled with masterful improvisation.
Ryan “ShwizZ” Liatsis is the guitarist and frontman of the power rock trio ShwizZ. A well-respected group in the scene, ShwizZ is a 3 member group who are incredible at their respective instruments, and perform a wide range of progressive rock music. Ryan uses a fairly unique rig compared to other players on the scene, using a digital modeling pedalboard rather than analog pedals, and utilizing a MIDI-trigger board to play chords for added textures during his songs. Check out ShwizZ’s performance from Disc Jam this past June, footage courtesy of mkDevo.
Photo Benny Rodriguez
Guitar: Music Man EVH Wolfgang Special
Amp Head: Mesa/Boogie Express 5:50 Plus Cab: Mesa/Boogie Widebody 1×12 Pedalboard HeadRush Pedalboard w/ Boss Expression Pedal Keith McMillan Instruments SoftStep 2
Keyboard Korg Krome Music Workstation w/ sustain pedal
Jared Lindquist: Why do you put your amp head under your cabinet?
Ryan Liatsis: This just made the most logical sense when I got the amp, though I do like to think of it as my signature move! I like when the speaker is as close to ear level as possible so you can hear what is actually being captured by the mic and therefore EQ better for the stage. That and for my particular amp (Mesa Express 5:50) the head was heavier than the cab, so it just felt right to put the heavier piece on the bottom.
JL: When did you make the switch to the modeling pedalboard?
RL: Very recently! It’s been about 2 months with the modeler and I’m a big fan. I’m currently using the Headrush FX pedalboard. I am completely happy with the tone of the overdrives and distortions as that is extremely important to me. The switch over to the modeler has just made life easy on stage with being able to switch patches with one button and digital storage. Having a gate on the input and EQ section on the master output is extremely helpful too. The best method I’ve found is to get rid of all the speaker cabinet models on your patches. I just use the FX and occasionally the amp head models right in to the front of my amp. I haven’t tried it using the xlr outs to a PA speaker, though I imagine that’s where the speaker cabs would come in handy. This past year has seen a huge leap with amp modeler technology and I wouldn’t be surprised to see more and more pro players using them.
JL: Did you model the effects after your analog pedals?
RL: I tried as best as I could, though I wasn’t exactly going for that. I think that every piece of gear just has its own flavor and you should put that to use. So instead of trying to recreate my boutique analog pedals, I decided to just see if I could get tones I like and was comfortable with out of the Headrush. Which, much to my surprise, I did! It seems about every 2-3 years I decide I want to change my tone to better fit my needs. I’m sure some new product will catch my eye a few years from now and I’ll adapt to what it has to offer. It’s a lifelong quest and I don’t think there’s an end, just a journey of different sounds and tones. Tone has a lot to do with creating your signature, but more importantly it’s your fingers and note choices. And as I mentioned I’m just a big fan of having different tones for different songs. The good thing about this current amp modeler I’m using is it has an fx loop, so I can insert any of my analog pedals in to the chain of each patch if I really wanted to.
JL: What are some of your favorite pedal combinations?
RL: Well, I am all about mixing overdrives and distortions…and now amp models. I use delay, but not much unless the song calls for it. I barely use modulation like phaser and chorus and also rarely use reverb unless for some ethereal washy effects. On my analog board I had 6 different overdrives, just for different flavors. I found I was getting bored of just having 2 overdrive sounds. One of my favorite combos is the Vox Trike Fuzz and the T-Rex Tone Bug. Putting the Fuzz first gives it quite a quality. You can hear what I mean on the guitar solo of the ShwizZ track “Hog Thai.”
JL: What’s going through your mind when you’re deciding which effects to use?
RL: Well, the options are limitless with effects these days. So just like with writing, deciding on a tone is really about what sparks your emotion and hits your ear in that special way. But to give you a theoretical answer, a big part of my decision is the type of tune we’re playing. If it’s agreed we’re going for a certain vibe or sound, I’ll cater to that style. Such as if we say this part of the tune should be like a 70’s disco feel, I’ll probably be using some phaser with a clean Fender-ish type sound. Overall, I don’t go crazy on the effects, I find the simpler the better most of the time.
JL: Who are some of your inspirations as a player?
RL: Too many to name! So I’m going to go with my top 5. Frank Zappa – need I say more? Chick Corea – I was introduced to Chick’s music at a young age and it inspired me to learn jazz and fusion. Specifically, the later electric band stuff always blew me away. He was always one of those music god’s to me who could just play whatever line came in to his head at that moment with no hesitation. Sill on a quest for that level like the rest of us. Frank Gambale – My drummer buddy introduced me to Gambale when I was about 20 and my mouth hit the floor. How can somebody get away with playing bebop lines that fast with sweep picking and overdrive!! Steve Khan – I studied with Steve for 2 years. He’s probably one of the most underrated and unknown guitarists on the planet and he’s played with all the greats and been on tons of studio recordings. His chordal work puts most to shame which struck something in me. I love the chordal movement aspect of guitar and keyboard and it’s something I don’t see enough of unfortunately in today’s music. Slash – Yes it’s true, I was obsessed with Slash from age 16-18! I just wanted to be him, the playing, the image, he was the whole package. I transcribed a lot of his solos when I was younger, my favorite of all time being the ending solo on Paradise City, complete shreddage!
JL: Who are some of your favorite contemporaries on the scene?
RL: Kung Fu is my all time favorite of our scene, if you can call the rest of us contemporaries because they basically blow everyone out of the water! Dopapod, Mungion, The Southern Belle’s and The Fritz. My ears always tend to get caught by those bands who have their own unique style. There’s so many bands out there, great bands even, but some bands just have their own sound and you know it’s them playing instantly, which is the most important thing to me.
JL: You’re one of the only guitarists I’ve seen that uses a MIDI-trigger board to play chord samples live, what inspired you to start doing that?
RL: Well, necessity really. A power trio can be a thing of beauty. BUT, I’m very much in to chordal structure and movement and I always thought drums, bass, guitar and keys was the perfect instrumentation for my tastes. The thing about ShwizZ is that I play loud and sometimes very heavily distorted guitar sounds, so playing chord melody doesn’t quite give the effect desired. After our keys player and second guitarist left I said…well just how the hell am I gonna do this?! I didn’t want to play to a click or with backing tracks, so I thought, what if I can just do what some organ players and even bass players do with their feet using pedals, except polyphonic. It took a bit of cash and a lot of experimentation with different pedals and pieces of gear until I came across a handy dandy app that could do it all and be controlled by a simple trigger pedal that connected with a USB cable. I would simply record each chord I needed for that particular part or song and could save each song file as their own entity. It adds a little more switching of sounds between songs but it’s worth it to have the phantom 4th member laying down that bed of chords. Below is a link to a video I made that goes in to a bit more depth on how the system works.
Lettuce and The Motet finished up their two-night stand at The Capitol Theater in Port Chester, NY on Saturday, March 24. The Motet’s high power, high energy brand of in-your-face-funk started the night off on the right foot. They were joined on stage by percussionist extraordinaire Nate Werth (Snarky Puppy, Ghost Note), adding an extra layer of rhythm to their already robust sound. Lettuce and The Motet capped the run off with a set of deep funk jams and crowd hyping beats. They came complete with a few musical twists and turns including a quick version of Biggie’s “Juicy” and encoring with Rick Jame’s “Mary Jane”.
Set List
Moetet:
Own It, Damn, Supernova, Fountain, Keep On, Conatagious, Handcuffs, Get It Right
Lettuce:
Mt Crushmore, Lobbiest, Blaze, Prince SMZ, Purple Cabbage, S.L.A.P., Lettsanity, Gogo (Juicy), Gang Ten, 116th, Chief It Up, Moksha, Trap
Consider the Source has announced a Spring Tour, spanning the entire country coast to coast over 31 shows across March, April and May. The first two shows of the tour find the trio opening for Pink Talking Fish at The Capitol Theatre on Feb. 10, and supporting funk/soul legends Soulive at Ardmore Music Hall on March 2. The next night the band then heads into Brooklyn to perform at House of Yes with You Bred Raptors? before taking a few weeks off prior to a cross country tour.
Consider the Source were recently guests on Adult Swim’s Fishcenter Live. If you missed the episode, stream it here.
Feb. 10 – The Capitol Theatre – Port Chester, NY*
March 2 – Ardmore Music Hall – Ardmore, PA# March 3 – House of Yes – Brooklyn, NY%
March 30 – Chameleon Club – Lancaster, PA% April 4 – Buffalo Iron Works – Buffalo, NY
April 5 – Woodlands Tavern – Columbus, OH
April 6 – Reggies Music Joint – Chicago, IL
April 7 – Source Public House – Menasha, WI
April 8 – The Frequency – Madson, WI
April 12 – The Black Sheep – Colorado Springs, CO
April 13 – Lost Lake – Denver, CO
April 14 – The Fox Theatre – Boulder, CO@
April 18 – Filling Station – Bozeman, MT
April 19 – Red Room Lounge – Spokane, WA
April 20 – High Dive – Seattle, WA
April 21 – Analog Cafe – Portland, OR
April 22 – HiFi Music Hall – Eugene, OR
April 25 – The Dip – Redding, CA
April 26 – Humboldt Brews – Arcata, CA
April 27 – Alibi Ale Works – Truckee, CA
April 28 – Bottom of the Hill – San Francisco, CA
May 2 – Mohawk – Austin, TX
May 3 – Gas Monkey – Dallas, TX
May 4 – The Abbey Underground – Denton, TX
May 5 – The Shrine – Tulsa, OK
May 9 – Zydeco – Birmingham, AL
May 10 – High Rock Outfitters – Lexington, NC
May 11 – Bright Box – Winchester, VA
May 18 – King’s Rook Club – Erie, PA
May 19 – Hookahville – Bellefontaine, OH May 26 – StrangeCreek Campout – Greenfield, MA
After a 7-month break due to bass player Rob Derhak’s battle with cancer, Buffalo rockers moe returned to the Capitol Theatre in Port Chester, New York to deliver two sold out shows on February 2nd and 3rd. Their first shows with the full lineup since July featured a variety of fan favorites as well as four brand new songs from four of the five band members. The first night featured an opening act, with the high-energy funk outfit Kung Fu properly warming up the crowd for the main event.
After a brief word of thanks from a very emotional Rob, the band wasted little time diving into the flagship “Rebubula,” Rob’s anthemic ode to his wife, Rebecca. They quickly transitioned into the funky “Akimbo” which featured a slap-happy bass interlude that made the hungry crowd explode. This was followed by the twangy, energetic “32 Things” and then a brand new song titled “What Can I Say,” written by guitarist Al Schnier. “What Can I Say” was originally debuted earlier in the week during the band’s pre-show webcast, though this was the first time the song had been played in a live setting. Fans then belted out the opening lines to the fan-favorite “Spine of a Dog” which was followed immediately by “Plane Crash,” which felt particularly deserved, with Rob screaming the words “I don’t wanna die” at the end of the final chorus at the top of his lungs.
Set 2 started off with a bang with the Pink Floyd-inspired “Silver Sun” and then Rob was able to showcase his brand new tune, “LL3” which he wrote in transit to his chemotherapy treatments. “LL3” already shows great potential as a jam vehicle, and will probably appear on the new album that the band is cooking up. The rest of Set 2 was a continuous battery of rock and roll as they interweaved “Moth,” “Captain America,” the instrumental “Hector’s Pillow,” the legendary “meat.” and finally closed with the end of “Moth,” completing a sandwich that took up the majority of the second half of the show. Guitarist Chuck Garvey then led the band in an encore rendition of “Wind it Up,” that had the entire audience collectively singing the lines “Be on my side, I’ll be on your side” with the band.
A veritable army of excitable moe.rons showed back up to the scenic Capitol Theatre for Round 2 on Saturday, for a performance that was somehow even better than the previous night, this time with no supporting act. It was a night of pure moe. and once again the crowd was deafening when a happy and healthy looking Rob Derhak took the stage.
The band opened with the crowd-pleasing “Okayalright,” which segued smoothly into “Not Coming Down,” once again showcasing Rob’s bass skills. This was followed by the entrancing instrumental “Wormwood,” which then seemlessly transitioned into the slide guitar-heavy intro to “St. Augustine.” Next, percussionist and multi-instrumentalist debuted his new song, the dark and moody “I Can Never Remember,” which he sang with his signature rasp. This was followed by the short and pleasant Chuck Garvey tune “All Roads Lead to Home.” After “All Roads” came “Opium,” and Rob showed how well his voice has healed, demonstrating his impressive vocal range. The first set closed out with a monstrous version of the jam beast, “Recreational Chemistry” before they took a short set break.
Set 2 started with a powerful rendition of “Brent Black” which featured not one or two, but three bass solos from a smiling, enthusiastic Rob as well as a fearsome drum-off between Jim Loughlin and drummer Vinnie Amico. Afterwards, Al Schnier led the band in a spirited version of “Mexico,” telling the story of his tumultuous 21st birthday. This was followed by “Timmy Tucker,” once again proving that Rob still has his vocal chops. Chuck Garvey then debuted his newest song, “New Hope for the New Year,” which definitely shows great promise for future shows and the new album in the works. The rest of the set was vintage, heavy, dark, creepy, spacey moe. as they played “Yodelittle” into the high energy protest song “George,” back into “Yodelittle” and then into the sing-a-long “Buster,” every moe.ron’s favorite song about a flying pig. They encored with “Nebraska,” complete with a ripping talk-box solo from Garvey, and finally the hard-hitting “Annihilation Blues” to cap off the back-to-back performances.
moe. proved this past weekend that they are far from done, and after Rob’s recent cancer scare and recovery, he is clearly eager to please his fans and write new music. The historic Capitol Theatre projected a series of images of Rob from different stages of his career throughout the shows, and moe. brought an anxious crowd to their knees. Once again, it’s so good to have you back Rob. We hope for many, many more years of music and laughter from you.
February 2 Setlist
Set 1: Rebubula > Akimbo, 32 Things, What Can I Say (FTP), Spine of a Dog > Plane Crash.
Set 2: Silver Sun, LL3 (FTP), Moth > Captain America > Hector’s Pillow > Moth > meat. > Moth
Encore: Wind it Up
February 3 Setlist
Set 1: Okayalright > Not Coming Down > Wormwood > St. Augustine, I Can Never Remember (FTP), All Roads Lead To Home, Opium, Recreational Chemistry
Set 2: Brent Black, Mexico, Timmy Tucker, New Hope for the New Year (FTP), Yodelittle > George > Yodelittle > Buster
Buffalo jam legends moe. return to The Capitol Theatre in Port Chester, New York for two sold-out shows after a 7-month hiatus. The band took a break from touring starting early last summer in light of bassist Rob Derhak’s cancer diagnosis, but has recently announced their triumphant return to the stage. With Rob out of commission for several months with oropharyngeal cancer, the other members pursued various side projects including performances with Mike Dillon and Everyone Orchestra, but will finally reunite to perform two nights at the historic Cap. He is now cancer-free and ready to return for a 6-show tour, Summer Camp Music Festival, and Peach Fest.
moe.’s last show at the Capitol Theatre was a special holiday performance in December of 2016, and they managed to fill the room despite only giving fans a little over a month’s notice. This show featured several cuts from their Christmas album, as well as a Kinks cover, and a whopping three debuts of new moe. songs. They also sold out a smaller acoustic performance, in the attached bar, Garcia’s. In previous years, they have performed at the Cap with Nate Wilson on keys, and played a moe. and Friends show in honor of the anniversary of the Wetlands closing. moe. has historically delivered powerhouse performances at the Capitol, and a very eager fan-base has been waiting months for Rob’s return to health, and of course, moe.’s return to the spotlight. Listen to the December 2016 show on Archive.
Fans should also be sure to check out renowned photographer Jay Blakesberg’s work at Garcia’s, where he will be exhibiting and selling his merch. Night One will also feature opening act Kung Fu, one of the world’s premier touring funk bands, which will hopefully lead to some sit-in action with moe. and a high-energy dance party, and perhaps the lucky moe.rons in attendance will get to hear some brand new moe. material. Welcome back, Rob. You have been sorely missed.
Since their subtle debut at Fare Thee Well and their official debut at 2016’s Lockn Festival, Circles Around the Sun has been delighting crowds across the country. The band finished their 2018 January tour in Port Chester on Saturday, January 20 after a sold-out show at the Brooklyn Bowl the night before. The band’s third visit to the Brooklyn venue featured ‘Hola!’ as an opener and the Stella Blue Band, a Capitol Theater favorite, opening Saturday’s show with special guest drummer, Josh Dates from the Reflections.
Photo by Matthew Mendenhall courtesy of Circles Around The Sun’s press release.
The quartet began their first ever Capitol Theater show with the first two songs from their 2015 album, Interludes For The Dead. The crowd gathered close as the band dove into ’Gilbert’s Groove’ and ‘Hallucinate A Solution’ before launching into their new song, ‘Chuck.’ This new track starts with a laid-back groove and plenty of blissful keys from keyboardist, Adam MacDougall. He and guitarist Neal Casal play off of each other while bassist Dan Horne leads them through each melodic key change in this fantastic new material.
They continued the set with ‘Scarlotta’s Magnolias’ and ‘Saturday’s Children’ before ending with crowd-favorite, ‘Farewell Franklins.’ This closer had everyone smiling as much as drummer Mark Levy, who happily kept beat and grinned all night long. Neal and the boys ended the night and the tour with ‘Ginger Says’ and thanked everyone who came out before taking off. This may be the end of their first run of 2018, but the band has already said they will have more dates for us soon.
Consider the Source were recently guests on Adult Swim’s Fishcenter Live. If you missed the episode, stream it 
