The Arctic Monkeys returned to Upstate NY for the second time in their touring history fresh off of their four year hiatus, making a rare appearance at CMAC on July 25, 2018.
Fans from all over NY gathered for this special occasion, weathering heavy downpours of rain. Some stating that they’d never thought they would have the opportunity to see them in their area.
The band’s near 90 minute set had fans young and old cheering and dancing in their seats, reveling in the fact that their favorite band had finally came back to perform for them. It was clear to see that the Arctic Monkeys did their job and left the masses satisfied.
Arctic Monkeys – CMAC Performing Arts Center – Canandaigua, NY – Wednesday, July 25, 2018
Setlist: Four Out of Five, Brianstorm, Don’t Sit Down ‘Cause I’ve Moved Your Chair, Crying Lightning, Teddy Picker, 505, The Ultracheese, Do Me a Favour, Cornerstone, Why’d You Only Call Me When You’re High?, Knee Socks, Tranquility Base Hotel + Casino, One Point Perspective, Do I Wanna Know?, I Bet You Look Good on the Dancefloor, Pretty Visitors, Arabella
Encore: Star Treatment, The View From the Afternoon, R U Mine?
People from all over the world rolled into a small town called Trumansburg in upstate NY on Thursday, July 19 for the 28th annual Finger Lakes Grassroots Festival of Music and Dance. The festival works to nurture local artists while reaching around the globe to bring a world’s worth of music, introducing it to new audiences. The festival tries to do all of this while creating an environment to inspire creativity and foster community building. Some people even arrived four days early to attend the festival Culture Camp, four days of workshops on musical instruments, dance and art. The festival is known for not being like most other festivals and is joked about by locals as, “Such an ‘Ithacan’ thing,” because of its close proximity to the city of Ithaca.
Grandstand of Finger Lakes Grassroots Festival of Music and Dance.
The festival started off sunny at the stroke of noon with onsite campers rushing in to get their preferred spots with distant recorded music in the background playing greatest hits reggae until the live music started at 1:30. Like most years at Grassroots, I spent the first couple hours setting up my tentsite, right outside one of the four stages, and in the only shady area of the festival. With it being common to hit 100+ degree days, campers want all the shade they can get!
Thursday’s biggest highlight was roots reggae sensation and headliner, Toots and the Maytals, performing at the Infield stage. They put on a show no one is going to forget, starting off with their classic hit, “Pressure Drop” and by the end of their set, the large crowd was all smiles and cheers. The other big highlight of the night was The Ithaca Bottom Boys, a local favorite who transcend falling into a certain genre with their folky twang, hinting at the background of all their songs, but with this overlaying groove that one can’t help but dance to. Their song “Some Are Beavers” had the crowd going wild as most of them either knew the words or caught on very quickly and were singing their hearts out to it.
On Friday, the morning started with yoga and the instrument contest like it does every year. The Grassroots festival schedule has an air of familiar repetition to long time attendees, but one thing attendees can always count on is the array of different genres introducing artists they haven’t heard of before, but won’t soon forget. Artists like Dakha Brakha, a Ukrainian folk quartet that left the crowd speechless. Or Danielle Ponder and the Tomorrow People, rooted in classic groove and soul, but expanding into so much more. During her performance on Friday, she parted the crowd from the stage, jumped off stage, and ran up and down the created aisle, pulling people from the crowd to dance with her. It was an intimate experience you usually don’t get with a festival the size of Grassroots, which has an attendance reaching around 15,000 people. It’s not every day you get a musician like Danielle Ponder dancing just a few feet from you, tripping slightly on a backpack, losing her footing, and you get to reach out and help keep her on her feet, like I got to.
Danielle Ponder and the Tomorrow People
At this festival you not only get intimate shows, you get to see the band members walking around enjoying the festival, like members of festival fan favorite, Uma Galera, who performed on Friday night to a huge crowd. With their Latin-infused sound, high energy, and mid-performance dance moves, they were definitely one of the most anticipated and enjoyed acts at the festival. This being their third year returning, not only were people excited to see them, but knew words to their songs. They couldn’t leave the stage without at least three encores on their Friday night and their Saturday night performances. Other big names who killed it Friday night were folk music singer-songwriter Patty Griffin, and Valerie June’s unique mixture of folk, blues, gospel, soul, country, Appalachian and bluegrass, both of which brought in big crowds and devoted fans to their respective shows.
Saturday started with yoga once again and the band contest, a popular competition with a first prize being a slot at next year’s festival. The day then progressed through Grassroots classics consisting of many festival favorites like Keith Frank and The Soileau Zydeco Family Band, Sim Redmond Band, Donna the Buffalo, Uma Galera, and many more. And this is when the rain started. Now for Grassroots a little rain isn’t a problem, in fact it’s expected. Locals joke that the rain knows when the festival is happening and makes a point to make an appearance which, having attended it for over a decade, I can attest to being true. But the rain didn’t stop people from going out and dancing their socks, shoes and other possessions off late into the night with Keith Frank and The Soileau Zydeco Family Band playing until almost four in the morning.
Sunday came early and soggy to most people, with the rain not letting up, but that didn’t seem to phase many festival goers as they still got up bright and early for their yoga. As someone who has been attending this festival for over a decade, it’s hard for me to put into words how this festival is different than others I’ve attended. Luckily for me, I had a friend attend with me this year who had never gone before and he was able to pinpoint what is so different about it a little bit better than me. He said, “I was amazed at the variety of music Grassroots brought to the table, seamlessly blending reggae, rock, soul, dance and many other genres into a festival experience everyone can enjoy. Even going into the festival not knowing any of the lineup, I found that there was more than enough variety to always keep me entertained and excited for more.”
Apart from music, the festival also has the annual Happiness Parade, a variety of workshops with musicians and artist in the Workshop Tent, massages, acupuncture and meditation at the Healing Arts Tent, a kid’s area with crafts and games, and volunteers worked at the Kids Tent, the Art Barn, the Congo Square Market, and the Sustainability fair throughout the weekend. There were also lots of vendors both for food and arts, clothing, drums, etc. and even a changing station for cell phones run by solar panels.
The music was above par, the people attending are polite and generally good spirited, the food is good (even though it’s a little expensive), and the general atmosphere was just pleasant. The thing about Grassroots is, there really is something for everyone, and that can be seen by the different types of people that attend it. From seniors to children, frat boys to punks, parents to singles ready to mingle, American flag-wearing to hippy-loving non-showering-folk, the festival really had something for everyone. The festival was a great experience as it always is and I will definitely be back again next year.
Uma GaleraValerie JuneValerie June. Photo by Isabella Romeo-Hall.Grandstand view. Photo by Isabella Romeo-Hall.Onsite tent camping. Photo by Isabella Romeo-Hall.
The Devon Allman Project begins a swing through New York Tuesday, July 24, with a stop at Bearsville Theater in Woodstock. This is followed by dates in Rochester, Albany, Baldwinsville, and Pawling. The man with the legendary Allman Brothers bloodline has teamed up with another Allmans progeny, Duane Betts on a tour that has both men joining forces to display their own projects as well as pay tribute to their fathers’ legacies. NYS Music recently sat down with Allman to discuss the tour, being a father and the state of music today.
Mike Kohli: So is the band starting to gel yet?
Devon Allman: Oh yeah, we rehearsed really hard six months prior. We were doing three to five days a week rehearsal for six months. I wanted us to come out already primed.
MK: You’re working with Duane as well on this tour.
DA: Yeah, he’s got a new EP out. He was in his dad’s band for years and a band called Dawes for maybe a year or two. So this is like the first time he’s come out and done his own stuff, fronted his own band. It’s exciting. He’s great.
MK: You’re sharing a rhythm section?
DA: Yeah, it’s an eight-piece band at the end of it. It’s a brilliant thing.
MK: Doing the tour with Duane Betts, a guy you kind of grew up with. This is something you guys, in a way, dreamed of doing, correct?
DA: We were hanging out with our dads. Their band was experiencing a pretty big renaissance. But that’s where we made our first bond just from being on that tour. I don’t think when we were kids we really had dreams of playing together, but as we grew into adults and started touring and making records, we talked about it. We knew it would be special. And that’s really what it’s all about. We don’t want to go out there and be a tribute band. There’s only one Allman Brothers. But we can certainly do our part to help keep some of their music alive.
MK: What was the trigger that made you guys decide, “We need to do this together?”
DA: It was just timing. I lost both parents inside of five months. I took a year off. I didn’t have the heart to go and perform. So I kind of rallied around my family. I spent a lot of time around my siblings and my son. Duane was wrapping up with Dawes. I knew I was going back out there. And I wanted to go back out there in a bigger fashion. So it made sense to team up. Timing is everything.
MK: So you’re going to be in Syracuse soon. You make your home in St. Louis, right? That’s a big BBQ town. (Laughs). Are you a partaker of the BBQ?
DA: So they say (laughs) I mean, I go back and forth with being a carnivore and not being a carnivore. St. Louis is really a big baseball town and a good blues town. And we have our own pizza. A lot of people don’t realize there is a St. Louis-style pizza and it’s amazing.
MK: Well, if you’re in a carnivorous stage while you’re up here, be sure to check out some of our BBQ.
DA: Is that where Dinosaur is? Oh yeah, I’ve partaken.
MK: Did you always feel that pull to become a musician? You were obviously exposed to music at a young age. Did you want to become a musician right off the bat?
DA: I fell in love with music when I was four years old. My mom used to spin a lot of vinyl. I was infatuated from then on. I saw my first concert at nine. I saw Cheap Trick. When Rick Neilsen pulled out that five-neck guitar, I mean that was it. The epitome of cool. I have to get in on this immediately. I started playing guitar at 13. I had dreams of it but I really never thought I’d get to do what I do. I just thought it was an untouchable magic act to tour and make records. I got lucky and I got to do it. And I put a lot of work into it too.
MK: You’re producing too, right? Also started your own record label?
DA: Yeah, it’s gonna launch this fall. I’m excited about it. I want to give some younger artists a chance to develop a following, become bonafide recording artists. I haven’t put a record out since Ride or Die. That one came out in, I think, late ’16. I’m definitely due. I’m going in the studio this fall so I’ll have a new record out in probably January.
MK: Is that going to come out on your label or are you going to shop it around?
DA: I’ll shop it around. We’ll see.
MK: I have a son the same age as yours. Does he have any interest in music? Are you persuading, dissuading him in regards to music?
DA: I’m really letting him feel his way. He played piano for years and years and he played some guitar. I don’t know. He starts college in the fall and he may end up playing music, he may not. I’m not really sure. But I would never persuade him and I would never try to steer him away from it either. I think his love affair, his passion, his career, that’s gonna be up to him.
MK: Absolutely. This is a bit of a scary time for me. This is my first kid going to college. You just hope you did things right along the way, ya know?
DA: I mean, I’ve spent 45 years either being somebody’s son or being a father to a son. That’s all over, it’s scary new territory. It’s exciting, but it’s also sad. I’m gonna miss having my kiddo around every night.
MK: What do you listen to?
DA: I spin vinyl at home, keeping my mom’s tradition alive. I probably have 500 records. It’s everything, man. There’s Nigerian jazz to thrash metal to Miles and Coltrane. I like to listen to jazz when I’m cooking. I cook a lot. Man, there’s everything.
MK: Any new artists that have been catching your ear lately?
DA: Yeah, man, Caroline Rose. She’s a badass. She really is. She’s a gifted songwriter and storyteller and singer. She’s great. I love the new Lucero record. Always loved Lucero. They’re from Memphis, friends of mine. I love just about everything from Jason Isbell lately. I love his records. He’s a friend. There’s good new music out there. You just have to dig for it.
MK: Do you recognize a renaissance of outlaw country happening, in artists like Isbell and Sturgill?
DA: I think it’s more a renaissance of organic music in general. Doesn’t matter the flavor. I think people that really get into music are looking for something that is real. There’s so much crap out there.
MK: Do you think a lot of it has to do with the environment the country is in now?
DA: No, I think it has to do with the fact that somewhere along the way, it might have started with MTV, ya know, as soon as you could become a TV star by way of music video, I think people started wanting to get into music to become a star, not to make good music. And that’s where it really started getting shitty. If somebody grabs a guitar and wants to tell you a deep story about something they’ve been through, that’s gonna hit you a lot harder than someone who grabs a guitar because they want to be on TV. I guess, since time immemorial in music we’ve had that. There was bubblegum music in the ’50s and ’60s. So it is what it is.
MK: So you have a good stretch of Upstate NY shows coming up, hitting up Woodstock’s Bearsville Theater. Have you been to Levon Helm Studio?
DA: No, I haven’t.
MK: Well, if you ever get the chance, that’s like a church.
DA: Yeah, I know. I’m a huge freak of The Band. I just got their whole vinyl collection, every album. Amazing.
MK: Speaking of Woodstock and taking in sites, do you ever get a chance to take in the towns that you’re touring through or is it more a load in, play your show, head on to the next?
DA: I’m able to a little bit more now because we finally graduated up to a tour bus so we’re arriving to the towns, waking up around 10:00 – 11:00 on the bus, ya know have the whole day until you get called for soundcheck. I went and did a little guitar shopping in New Orleans, vinyl shopping, got to take my men out for sushi in NYC, try to make the most of it.
MK: It’s good to finally have a bit of that luxury, if you will.
MK: We’ll see you on your upcoming Upstate dates. Thanks for your time.
DA: Thanks for your time today, I appreciate you. We’ll see you up north soon.
The Devon Allman Project is currently on tour with Duane Betts. New Yorkers have several opportunities to catch this unique show. Betts opens the show, performing music from his recent EP using Allman’s rhythm section. Allman follows with a set of his own material and for the encore, all the musicians take the stage to pay tribute to the Allman Brothers.
The tour hits Baldwinsville’s Bud Light Amphitheater at Paper Mill Island on Saturday, July 28. Tickets are still available for the show through Ticketfly.
Devon Allman Project/Duane Betts Tour Dates:
July 24 – Bearsville Theater – Woodstock, NY July 26 – Party in the Park – Rochester, NY July 28 – Bud Light Amphitheater – Baldwinsville, NY July 29 – Darryl’s House – Pawling, NY
Aug. 3 – Flood City Music Fest – Johnstown, PA
Aug. 4 – Jergel’s Rhythm Grille – Warrendale, PA
Aug. 5 – Music by the Bay – Ajax, ON, Canada
Aug. 7 – Music by the Bay – Ajax, ON, Canada
Aug. 8 – Kent Stage – Kent, OH
Aug. 9 – Arcada Theater – Saint Anne Woods, IL
Aug. 11 – Riverside Park – Rushville, IN
Aug. 12 – Prairie Magic Music Festival – Valparaiso, IN
As the first note was played during the Tedeschi Trucks Band Wheels of Soul show at Artpark on July 17, it became an international endeavor. Our Canadian neighbors across the Niagara river hopefully gained a taste for the southern rock sound if they weren’t already familiar.
Although the amphitheater rests beside the bank of the river, the water is mostly hidden by trees that surround the venue, giving it a very lush sense of seclusion. The layout feels a bit jagged, as the GA lawn doesn’t directly face the stage, but is located on a slightly steep hill to the side. A large screen facing the lawn projecting the concert helps to remedy this, but it’s easy to feel slightly disconnected from the music.
This disconnect was triggered before even setting foot in the venue, as finding parking became a scramble to get a spot before missing the opening band. The Artpark signs for additional parking seemed to be leading us farther and farther from the venue, so in a panic we parked in a side yard patrolled by a middle aged man who rolled up to our window on a BMX bike, and in exchange for $5 pointed at the grassy hills in front of us exclaiming, “walk ten minutes that way and you’ll see it.” With eager anticipation and only a smidge of skepticism we hightailed it through the hills, quickly being immersed in a sea of waving yellow grasses that surrounded the path in every direction. We were soon joined on the path by flocks of other concert goers en route to the show, which combined with the beautiful scenery helped put our frantic minds at ease. Although some venues provide VIP parking for media personnel, this parking adventure definitely made for a better story.
We came through the upper entrance, where an immense flight of stairs beckoned us to descend toward the amphitheater where Marcus King Band had opened and Drive-By Truckers were now mid-set. The scene felt a little overwhelming between getting a lay of the land and navigating the throngs of humans scattered across the property. After nestling in a spot halfway up the grassy hill, it was time to go barefoot and settle in for the show.
Tedeschi Trucks Band started their set with “Bound for Glory,” an easy going but powerful tune off their first album. TTB kicked things up a notch with “Made up Mind” from their second album followed by a feathery flute intro to the lovely and triumphant “All That I Need.” Derek Trucks peppered the song with some trademark guitar work before the band quieted way down to build it back up to a full throttle jam like they do so well.
Susan Tedeschi put full force into her vocals for the ballad “Ball and Chain.” “Don’t Know What it Means” was once again concluded by a similar avant gard jam as the CMAC show, but the saxophone was definitely less abrasive this time. A powerful tidal wave guitar intro crashed into Tedeschi’s soft and sandy vocals for “Shame.” Tedeschi added a haunting echo effect to her mic that resonated through the park for a gripping end to the song. TTB brought Marcus King back to the stage for the bluesy Elmore James cover of “The Sky is Crying” where he wailed on guitar and vocals conjuring cheers from the crowd.
TTB elicited more cheers as they played the opening notes to John Prine’s “Angel from Montgomery.” More applause followed as they executed a flawless transition into Grateful Dead’s “Sugaree,” with another gorgeous solo from Trucks midway through. That familiar opening guitar riff on “Laugh About It” led the band into the uplifting and empowering song before closing out their set with “I Want More,” a bouncy tune with a lyrical backbone. The song broke down a little at the end as it devolved into a somewhat muddy jam that did not serve as a strong ending.
Luckily TTB returned with a meditative intro into “Midnight in Harlem.” They closed out the night with Patterson Hood from Drive-By Truckers assisting on the Paul McCartney and Wings cover of “Let Me Roll It.” The TTB setlist overall provided a satisfying musical journey, dismantling and rebuilding the energy in a way that makes people fall in love with the band a little more every time they perform.
Setlist: Bound for Glory, Made up Mind, All That I Need, Ball and Chain, Don’t Know What it Means, Shame, Going Down Slow, The Sky is Crying, Angel from Montgomery/Sugaree, Laugh About It, I Want More
Area fans of Rich Robinson, Marc Ford, and all of their previous musical projects, had eagerly anticipated the first Central New York appearance of their latest collaboration, The Magpie Salute at del Lago Casino in Waterloo, New York on July 19. In addition to Robinson and Ford, the band includes Sven Pipien on bass, Joe Magistro on drums, Matt Slocum on keyboards, and John Hogg on vocals, guitar, and harmonica.
Del Lago Casino’s first class, state-of-the-art, 2400-seat theater, The Vine, hosted an enthusiastic crowd with many people up and dancing, or advancing to the stage. The opening song, “Mary the Gypsy,” set the tone with Magistro’s booming, manic drums, with layers of guitars and keyboards energizing the entire room. Later in the set, the band raised the bar even higher with a full-throttle version of Jeff Beck’s “All Shook Up.” The band displayed remarkable range by switching immediately from that powerhouse high-tempo blues rock number to covering the alt-country tune “Hot Burrito #2,” a love letter of sorts from the iconic Gram Parsons and the Flying Burrito Brothers.
It was interesting to see a few of the band members smile as they recognized familiar faces in the crowd. Robinson made mention of this, stating that such continuing support of he and Ford over all the years meant a lot. He made it a point to say that this was a new venture, with new ideas, and in the face of the world being “batshit crazy these days,” it was important to focus on now, and maybe not so much on the past. That notion was reflected in the set list. Though there were a few songs from Ford and Robinson’s previous individual side projects, any fans expecting an evening of Black Crowes covers were left empty-handed on this night, which emphasized that this was indeed a new sound and a new direction.
One element from the past that did remain evident was the effortless interplay between Ford and Robinson. It can be argued that the two of them were the equal of any guitar duo of the nineties. Though they had separated for a number of reasons, and hadn’t played together for over a decade, their decision to reunite in The Magpie Salutehas found that their old magic still exists. That connection was never more evident than during “For the Wind.” This is a sweeping song that begins with a light melodic line from Robinson, and builds to a muscular crescendo with Pipien keeping the bottom end on his familiar blue Fender jazz bass while the guitars soar and seem to draw from each other. As Robinson has stated, “Marc Ford and I have this thing and it’s something you can’t put your finger on and understand, but he and I just go to these places when we play together. The older I get, the more I realize how important that is.”
Hogg, Robinson, and Ford each took turns on lead vocals, with Pipien adding backing vocals and harmonies. Most of the evening’s one hour and forty minute set was from The Magpie Salute’s upcoming release, High Water I, available August 10 via Eagle Rock, Mascot Label Group, and Sony Japan. Pre-orders are available here. The band will continue to tour in support of the album, with scheduled U.S. dates through September.
The Magpie Salute Setlist: Mary the Gypsy, Comin’ Home*, Walk On Water, I Remember, Take It All, Shalimar Dreams, All Shook Up ^, Hot Burrito #2~, Open Up, Hand In Hand, You Found Me, Goin’ Down South, For the Wind, Devil’s In the Details, I Don’t Hear the Sound of You, Colorblind, Can You See, High Water, Send Me An Omen
Phish just began their 2018 Summer Tour with a pair of shows at Lake Tahoe Outdoor Arena at Harveys in Stateline, Nevada. Unlike most tours, if you can’t get tickets it doesn’t mean you can’t see Phish perform because they are live webcasting parts of their tour.
Photo courtesy of Phish’s website.
Phish is a jam band quartet from Vermont whose tours are widely anticipated by its large fan base. Not all of their performances will be live streamed but the ones that are can be viewed via LivePhish.com. The live webcast tour begins with the band’s upcoming run at The Gorge in George, Washington, July 20 – 22. The rest of the live cast performance dates can be found below.
A discounted “I Saw It Again” Summer Webcast Pass bundle is available for pre-order now here. In addition, an option for a The Gorge three-night pass can be purchased via LivePhish.com as well as single night passes for the individual webcasts. For more information visit their website.
Webcast tour dates:
July 20 – 22 – The Gorge – George, WA
July 27 – 28 – The Forum – Inglewood, CA
Aug. 3 – 5 – Verizon Amphitheatre – Alpharetta, GA
Aug. 11 – 12 – Merriweather Post Pavilion – Columbia, MD
Aug. 17 – 19 – Curveball festival – Watkins Glen, NY
Aug. 31 – Sept. 2 – Labor Day Weekend run at Dick’s Sporting Goods Park – Commerce City, CO
Not ones to rest on their laurels, Intrepid Travelers are following up their successful Solstice Festival with the second leg of their summer tour. IT heads out to Ohio and Michigan next week, then double back to New York, hitting Jamestown, Geneva and Buffalo. Summer tour rounds out with performances at Night Lights Music Festival in Sherman on Aug. 23 and Beau Fleuve Music Festival in Buffalo on Aug. 26.
Intrepid Travelers Summer Tour 2018 Leg II:
July 25 – Woodlands Tavern – Columbus, OH **Ween Preparty & Afterparty
July 26 – The Knickerbocker – Grand Rapids, MI
July 28 – George’s – Canton, OH Aug. 3 – Mojo’s – Jamestown, NY
Aug. 4 – FLX – Geneva, NY
Aug. 7 – Larkin Square – Buffalo, NY
Aug. 23 – Night Lights Music Festival – Sherman, NY
Aug. 26 – Beau Fleuve Music Festival – Buffalo, NY
Aqueous just announced their most extensive headlining tour to date. The tour starts this September, ends in December, and will hit 27 cities.
Photo courtesy of Aqueous’s press release.
Aqueous is a Buffalo-based groove-rock quartet and has three studio albums under their belt. They have a reputation for their improvisational skills and are considered one of the most promising improvisational rock acts in the country.
During their tour Aqueous will be receiving support from the likes of Mungion, ELM, The Heavy Pets, EGI and Goose. They will be stopping in five New York cities: Buffalo, Sherman, Utica, Albany, and Brooklyn. The Buffalo, Sherman, and Utica stops are technically before the tour starts but are part of Aqueous’ already existing shows.
The band is made up of guitarist Mike Gantzer, guitarist/keyboardist David Loss, bassist Evan McPhaden, and drummer Rob Houk. Tickets are on sale this coming Friday, July 20th at 10 AM ET.
To purchase tickets or for more information on specific dates, please head to the band’s website.
Tour date listed bellow:
July 21 – The Peach Music Festival – Scranton, PA July 27 & 28 – Cobblestone Live – Buffalo, NY Aug. 23 – Night Lights Music Festival – Sherman, NY Sept. 7 – Saranac Brewery – Utica, NY **
Sept. 20 – Resonance Music and Arts Festival – Thornville, OH
Sept. 21 – Rex Theater – Pittsburgh, PA *
Oct. 24 – Space Ballroom – Hamden, CT ^
Oct. 25 – Higher Ground Showcase Lounge – South Burlington, VT ^
Oct. 26 – The Sinclair – Cambridge, MA ^ Oct. 27 – The Hollow – Albany, NY ^ Oct. 31 – Knitting Factory – Brooklyn, NY ^
Nov. 1 – Wionder Bar – Asbury Park, NJ ^
Nov. 2 – Union Stage – Washington D.C.^
Nov. 3 – The Foundry at the Fillmore – Philadelphia, PA ^
Nov. 4 – The Broadberry – Richmond, VA #
Nov. 6 – The Pour House Music Hall – Raleigh, NC #
Nov. 7 – Charleston Pour House – Charleston, SC #
Nov. 8 – The Social – Orlando, FL #
Nov. 9 – Jack Rabbits – Jacksonville, FL #
Nov. 10 – The Crowbar – Tampa, FL #
Nov. 14 – Zydeco – Birmingham, AL #
Nov. 15 – Aisle 5 – Atlanta, GA #
Nov. 16 – Asheville Music Hall – Asheville, NC #
Nov. 17 – Exit In – Nashville, TN #
Nov. 28 – Blind Pig – Ann Arbor, MI +
Nov. 29 – Chop Shop – Chicago, IL
Nov. 30 – The Miramar Theatre – Milwaukee, WI +
Dec. 5 – Hodi’s Halfnote – Ft. Collins, CO ^
Dec. 7 – Old Town Pub – Steamboat Springs, CO ^
Dec. 8 – Fox Theatre – Boulder, CO ^
Dec. 11 – The Waiting Room – Omaha, NE $
Dec. 12 – The Bootleg at Atomic Cowboy – St. Louis, MO $
Dec. 13 – The Hi-Fi – Indianapolis, IN $
** w/ moe.
* w/ ELM
^ w/ Mungion
# w/ The Heavy Pets
+ w/ EGI
$ w/ Goose
Brooklyn’s Sister Sparrow has announced the release of the new album GOLD. The album arrives at all music retailers and streaming services via Thirty Tigers on Friday, Oct. 12th.
Photo courtesy of Sister Sparrow’s website.
The album’s first single, “Ghost,” is set to release Friday, Aug. 3. In addition to this, Sister Sparrow will also be celebrating the new LP with a major U.S. tour, joined as always by her extraordinary brass-fueled combo, the Dirty Birds.
GOLD is produced and co-written in collaboration with Carter Matschullat (Chef’Special, Secret Weapons) at Brooklyn’s DØØM Studio. The LP takes the classic Dirty Birds sound and turns it into something altogether new, a soul-blasted contemporary pop approach supremely suited for Kincheloe’s immense voice.
“The GOLD Tour” begins August 30 in Athens, then travels the country through early December. The tour will include a performance with Nathaniel Rateliff and The Night Sweats on Sept. 15 at Thompson’s Point in Portland, Maine. Additional dates will be unveiled soon.
For more information please visit Sister Sparrow’s website.
The GOLD Tour:
Aug. 30 – Athens Summer Concert Series – Athens, NY
Aug. 31 – Levitt Pavilion Steelstacks – Bethlehem, PA
Sept. 1 – Blues, Views And BBQ – Westport, CT
Sept. 14 – Harvest Jazz & Blues Festival – Fredericton, NB
Sept. 15 – Thompson’s Point (w/ Nathaniel Rateliff and The Night Sweats) – Portland, ME
Sept. 16 – Grand Point North Festival – Burlington, VT Sept. 21 – Westcott Theater – Syracuse, NY Sept. 22 – Borderland Music and Arts Festival – East Aurora, NY
Oct. 31 – Lincoln Hall – Chicago, IL
Nov. 1 – Founders Brewing Co.Grand – Rapids, MI
Nov. 2 – Otus Supply – Parliament Room- Ferndale, MI
Nov. 3 – Mr. Small’s Theatre – Millvale, PA
Nov. 8 – Infinity Music Hall Hartford – Hartford, CT
Nov. 9 – Theatre Of Living Arts – Philadelphia, PA Nov. 10 – Swyer Theatre, Empire Center At The Egg – Albany, NY
Nov. 15 – Brighton Music Hall – Allston, MA
Nov. 29 – 9:30 Club – Washington DC
Dec. 1 – Irving Plaza – New York, NY
Dec. 5 – Teragram Ballroom – Los Angeles, CA
Dec. 6 – The Independent – San Francisco, CA
For the third annual “IT Fest,” Intrepid Travelers treated their fans to a new location, a new vibe, and a new name: “Solstice.” At the gate, guests received bracelets that said “Start Your Orbit,” alluding to the astronomical significance of the summer solstice connected to the Earth’s orbit and our own personal orbit. The weekend featured 5 sets of Intrepid Travelers, each with a different flavor, yet connected together with the central theme of the solstice and the symbolism intertwined in the event: a central culminating point, a turning point, a point beyond which things will be different.
Friday featured two sets, with covers alluding to the solstice/astrological symbolism such as “Ain’t Wastin Time No More” by Allman Brothers Band and a pair of Pink Floyd tunes, “Astronomy Domine,” and “Set the Controls for the Heart of the Sun.” They also gave some nods to their Cinco En Mayo residency, with Donny playing a solo piano version of the “Jurassic Park Theme” by John Williams before launching into “Randoh’s Island.” Another choice cover was a 30+ minute bust out version of “Playing in the Band” that by the time they returned to, most audience members had forgotten was the original song being played.
Saturday featured a day set lasting about two and a half hours, as well as two lengthy sets at night. The day set continued with nods to the solstice symbolism, opening with a lengthy rendition of “Here Comes Sunshine” and also featuring “Here Comes the Sun” as well as originals that allude to the symbolism such as “Funnel” and “Stand the Heat.”
After a long break waiting for the sun to start setting, the band returned for the first of 2 sets at night Saturday. Keeping things fresh, the first set featured saxophonist/flutist Ellen Pieroni of Folkfaces for the entire set. The set featured original tunes owing themselves to horns such as “Party People,” “Trek It Out,” and “Get IT to You,” but also saw the band cover a wide array of influences, from Steely Dan’s “My Old School,” Snarky Puppy’s “Grown Folks,” Lettuce’s “Relax,” an upbeat bluegrass version The Beatles’ classic “When I’m 64,” the Derek Trucks Band arrangement of “Sahib Teri Bandi/Maki Madni” – a Middle Eastern folk song originally by legendary Pakstani vocalist Nusrat Fateh Ali Khan, and Herbie Hancock’s impressively difficult jazz funk fusion tune “Actual Proof.”
The last set showed no signs of fatigue from IT, as they treated fans with a set of some of their most lengthy and ambitious compositions as well as jam vehicles. Again nodding to the solstice symbolism of the festival and their Cinco en Mayo residency in one, the band opened with their own arrangement of a “Star Wars Medley” which follows as such: “Star Wars Main Theme > The Force Theme > The Emperor Theme > Imperial March > Imperial Jam > Imperial March > Rebel Strike > Rebel Jam > Cantina Band.” After a lengthy hip-hop fusion jam at the end of one of many new originals, “Shitpost,” IT played a heartfelt cover of “I Know You Rider.” Capping off the festival the only way they could, IT gave one final nod to the solstice theme with their ambitious composition “Final Voyage,” signifying the final voyage of the band and the audience before returning back to Earth.
One festival attendee, Leah Keller, summed it up best: “Solstice aka ‘IT Fest’ was an absolute blast last weekend. Best part of the summer so far. Thanks to the band for playing super tight, the covers were also on point and having Ellen Pieroni play with them for a whole set was a cherry on top of a perfect weekend. I highly recommend more homies to attend next year. It was a retreat away from the doldrums of real life at a beautiful new venue and full of super fam/purely amazing humans. I had a blast playing and boogieing down with everyone. Oh did I mention I paid $20 for 5 sets of music and camping in paradise? See you next year!!!”
Solstice setlists:
Solstice – The “G” Lodge – Hannibal, NY
Friday, June 22 Set 1: Woolify, Mind Wander, Ain’t Wastin Time No More(1) > On the Grass, Astronomy Domine(2), Lonely Skies, Captain Jon
Set 2: Photo Booth Youth > Set the Controls for the Heart of the Sun(2) > Photo Booth Youth, Jurassic Park Theme(3) > Randoh’s Island, Maddy & Anna, Playing in the Band(4), On Inside
(1) Allman Brothers Band
(2) Pink Floyd
(3) John Williams
(4) Grateful Dead
Saturday, June 23 Set 1: Here Comes Sunshine(1), Dark Disease, Funnel, Here Comes the Sun(2), Authority > Stand the Heat
Set 2: Party People, My Old School(3) > Grown Folks(4), Relax(5), When I’m 64(2), Sahib Teri Bandi/Maki Madni(6), Actual Proof(7), Trek It Out, Get It to You (entire set with Ellen Pieroni on alto sax/flute)
Set 3: Star Wars Medley, All About It > Boomerang, Shitpost > I Know You Rider(1), Final Voyage
(1) Grateful Dead
(2) The Beatles
(3) Steely Dan
(4) Snarky Puppy
(5) Lettuce
(6) Devon Case on Guitar,
Nusrat Fateh Ali Khan (Derek Trucks Band arrangement)
(7) Herbie Hancock
Mike Kohli: So is the band starting to gel yet?
