NYS Music 20​18

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  • Premiere: Animal Sounds debut ‘Antelope’ off upcoming album “Ennui”

    Indie psych rockers Animal Sounds from Rochester, NY will release their debut LP Ennui on Friday, October 26th and today premiere with NYS Music “Antelope.”

    animal sounds antelope

    Guitarist Shawn Brogan had this to say about the track: “Dating in the millennial age is confusing and the lack of communication often results in one person wanting completely different things than the other. “Antelope” was written about witnessing a friends-with-benefits situation turn ugly and the emotional turmoil that came with it.”

    Animal Sounds upcoming LP Ennui showcases a variety of songwriting capabilities and progressive song structures, with influences such as of melodic guitar riffs from Minus The Bear, psych groove’s of Tame Impala, and the rock n roll energy of Cage the Elephant found throughout the LP. Follow Animal Sounds on Soundcloud, Bandcamp and Instagram.

  • Aqueous Shares 2018 Halloween Concert Theme

    Buffalo-based, rock-quartet Aqueous is celebrating the launch of their latest LP, Color Wheel, with one of their most extensive tours to date starting on October 24th in Hamden, CT. This year Aqueous will be bringing their notorious improvisational style to the legendary Knitting Factory in Brooklyn for Halloween 2018. “We take Halloween pretty seriously over at camp AQ. In previous years we’ve done some wild themes where we’ll incorporate all the music and the whole vibe of whatever the theme is,” shares Aqueous guitarist, Mike Gantzer. Previous Halloween themes have included Wizard of Oz, Back To The Future and Super Mario Brothers.

    Attendees of this year’s Halloween special can expect a one-of-a-kind, Nicktoons influenced performance from the group backed with support from Chicago-based band Mungion (pronounced mung-yin). Gantzer spoke further regarding the excitement and motivation behind their upcoming event by stating,

    We wanted to pay tribute to a golden era of cartoon history: Nicktoons! We all grew up loving shows like Doug, Rocko’s Modern Life, Rugrats, Ren and Stimpy, Hey Arnold, Spongebob Squarepants, and the list goes on and on. The music from a lot of these shows is so awesome, and it’s gonna be a blast diving down this rabbit hole of nostalgia and blending the whole Nickelodeon vibe within the AQ sound. Add Mungion as support to the mix, and you’ve got a pretty bombastic show going down for Halloween this year.

    Limited tickets remain for Aqueous’ Halloween hi-jinks at the Knitting Factory. All other upcoming tour dates for the Color Wheel tour can be purchased via Aqueous’ website.

  • Older, Wiser and Sexier in Albany: Timberlake Brings Man of the Woods to Upstate

    Justin Timberlake kept step with his reputation for fast-paced, almost dizzying energy at his “Man of the Woods” tour on Saturday, October 20th at the Times Union Center. Timberlake and The Tennessee Kids infiltrated hip-hop music with some country vibe with a good outcome to an arena of mostly screaming, gyrating women of varying ages.

    In a dramatic entry, complete with laser show and smoke, Timberlake danced in with the same high energy he had as a teen performer in his boy band, NSYNC, but with the sexy confidence of a much wiser, older performer. He appeared to be having a great time, singing and dancing to “Filthy,” and reminding the audience repeatedly that he knew where he was, calling out to Albany during choruses.

    Timberlake looked to be broadening his style a bit, showing a music video by the TN Kids covering “Thank God I’m a Country Boy” before coming on stage. But after crooning out the John Denver song, the words, “If you love this country, you’re a country boy” scrolled across the screen, literally reminding fans to be inclusive in their thoughts about what to expect from Timberlake.

    Timberlake was dressed in a denim jacket adorned with a pine tree, black denim, and a white T underneath. His white sneakers shone in the light as he moved his feet with grace, appearing effortless as he danced in perfect time with his dancers and fellow musicians.

    Timberlake Man of the Woods

    He sang songs from his new album, “Midnight Summer Jam,” clapping along and highlighting musicianship in his band as much as his dancing. He appeared re-made, in some ways, to highlight a more folksy persona. His songs touched on the topic of love for his famous wife, Jessica Beil, and his young son Sam.

    Even so, the athletic performer didn’t shy away from old tunes. He jumped and danced to “Sexy Back,” reaching back to his fans from his first solo releases in the early 2000s. Indeed, some of the fans seemed to love him since his days on the Mickey Mouse Club, singing along with “Cry Me a River” and “Mirrors.” He invited Albany to “shake your upstate ass” as he himself shook his with the vivacity of a much younger hip-hop artist.

    Timberlake’s singing and dancing are only part of the show that makes it so much fun, though. He interacted with the crowd, talking with fans and revealing an audience member’s baby’s gender (it was a girl, or as Timberlake stated, “A little princess”) and pointing to audience members who seemed genuinely engaged. The sound at the TU was well balanced, making each syllable accessible to the crowd so that they could participate. Often, Timberlake dropped his microphone and let the audience sing along entire verses with glee.

    Timberlake Man of the Woods

    The screens that dropped from the ceiling, reflecting with videos, added to the visual appeal of the night. This show was different than most pop concerts brought to Albany; it was unexpected and clearly reaching for some creative messages. There were sets that changed: a campfire for a transition portion of the concert that featured the TN Kids’ vocalists, grasses and trees to generate a natural feel, and a background video about accepting all love added to the uniqueness of the experience. And then there were the laser shows, almost never used in our community for concerts.

    This was an arena performance.

    Most rockers from the 1990s return to Albany to play just their old stuff and stand in one place; Timberlake introduced some new music woven in with older songs, danced like he’s still 16, and helped fans forget they were in the warehouse of the TU for two hours.

    Timberlake Man of the Woods

    After the campfire sub-story, which quite possibly highlighted some of the sweetest voices by TN Kids’ singing Fleetwood Mac, Laryn Hill, Beatles, and John Denver’s covers, Timberlake played a tender “What Goes Around…Comes Around” before transitioning back to his current album. Returning to the main stage for “Say Something,” Timberlake’s recent hit with Chris Stapleton, the energy skyrocketed through the last seven songs.

    The high energy performer had fun, and so did his fans who were exhausted just watching him run, dance, jump and sing with his beautiful, velvet tenor voice. There were no bad seats in the house, as Timberlake played to the whole house, moving around so much between stages and on a walkway. For over two hours, Timberlake and the TN Kids tirelessly celebrated on stage.

    While it appears Timberlake is reaching for a new branding of sorts, he also appears to know the formula to keep fans blissfully engaged. By expanding to country music a bit, the wise Timberlake is making a nod to his birthplace, Tennessee, that is exploding bluegrass sound at present, while also staying engaged with the hip-hop fan base that grew his popularity the past 20+ years.

    Timberlake Man of the Woods

    His new songs, beautiful personal love songs to his wife and child, certainly show a more grown, mature performer who has the wisdom not to forget the past in search of the future. And his fans are learning from his wisdom: they too, regardless of age, appear to love Timberlake as much today as they did yesterday, if not more.

    Justin Timberlake certainly brought sexy back to Albany: an older, wiser, more mature sexy than years past, a sexy that was way more enjoyable than expected.

    Setlist: Filthy, Midnight Summer Jam, LoveStoned, SexyBack, Man of the Woods, Higher Higher, Señorita, Suit & Tie, My Love, Cry Me a River, Mirrors, Drink You Away, Until the End of Time(acoustic), Dreams (Fleetwood Mac cover), Ex-Factor (Lauryn Hill cover) Come Together (The Beatles cover), Thank God I’m a Country Boy (John Denver cover), Morning Light, What Goes Around… Comes Around, (acoustic)Say Something, Montana, Summer Love, Rock Your Body, Supplies, Like I Love You, Can’t Stop the Feeling!

  • Hearing Aide: Sister Sparrow ‘Gold’

    “As an artist, we have to evolve. If we stay the same, then we’re going backwards.” It came straight from the ‘bird’s’ mouth – bands need to evolve to stay on top, and that’s what Sister Sparrow and the Dirty Birds have done in their latest album, Gold. It’s their first studio album since 2015 and it’s a smash hit. Long time fans and new ones alike will find something to enjoy, which is no easy feat. Arleigh Kincheloe disclosed in an interview with NYS Music that she and producer Carter Matschullat worked together to create a collection of songs that shed some light into Kincheloe’s life experiences and creative thought process. The result is something spectacular and different from the group’s three prior studio albums.

    Each track has been placed carefully within the album in an obvious effort to ease people into Sparrow’s new direction. Gold kicks off with the ‘Birds’ immaculate horn line and Kincheloe’s blissful, soulful powerhouse pipes. It’s classic Sparrow but with hints of contemporary beats and hooks. Kincheloe speaks about her love life and how she’s a woman with “gold” love. The track is digestible and an earworm listeners will happily have stuck in their heads all day.

    “Leave Here With Me” gets a bit more experimental. The production value is phenomenal thanks to Matschullat. It breathes a new life into the group that will absolutely help propel them into a new genre. Listeners get hints of that hard-hitting horn line and Kincheloe’s soulful voice but all with a very mid 70’s soul, love song vibe. It’s a pretty gutsy move considering they’ve rooted themselves in a very jam-ish genre, but they nailed the formula.

    “Ghost” is the most poppy song on the album which Kincheloe confirmed in our interview with her. It consists of a four on the floor beat, prominent bass and lyrics about tough times with unstable men. It’s hit or miss for long time fans but it shows how versatile the group and Kincheloe can be. Over all, it’s a dancey, radio ready hit with great production value and a wide range of experimentation that may not hit home with long time fans but will definitely rake in some new ones.  

    When we spoke with Kincheloe, she revealed some of her biggest influences for the album which really shine through on “Can’t Get You off My Mind”. they include: The Staples, Aretha Franklin, The Pointer Sisters, Bill Withers, Paul Simon and Joe Cocker. Listeners get a little taste of her brother’s, Jackson Kincheloe, harmonica skills followed by a classic 70’s blues and soul feel. Imagine a Bill Withers back beat with the passion of Aretha Franklin. Listeners can find a similar sound in “Frankie” and “Plastic Paradise”, although “Plastic Paradise” definitely has more modern influences, mainly found in the lyrical aspect of the track.

    The album is tied up in a bow with a dance ready, four on the floor track called “You’re My Party”. Listeners can analyze each layer and find something delicious to soak up. There is a lack of power and edge that would have been the icing on the cake, asserting that Sister Sparrow hasn’t completely lost their roots. The only trace of their distinctive horn line is on the final arc of the track which leaves a good taste in the mouth but definitely doesn’t feel like dessert, but more like an after dinner salad.

    All in all, this was a fantastic effort by Sister Sparrow and friends. They put a lot on the line with this collection and obviously gave it their all. After looking at social media responses to the album, it’s fair to say that it was a polarizing move but fans still presented a monumental amount of support for the group. Long time fans should consider this: there’s a time and a place for all music. Sister Sparrow has simply created a different sound  for a different environment. The group was thoughtful enough to remember their loyal fans and put in a tremendous amount of effort to find a middle ground. Give each song a few listens instead of a one and done. This was an unexpected move for us as well, but after analyzing the songs and speaking with Arleigh Kincheloe, their intentions became clear. And that’s something worth supporting them over.

    Sister Sparrow will be touring with this album for a few more months. They’ll make appearances in NYC at The Egg on November 10 and Irving Plaza on December 1. If you miss those shows, find them in CT at the Infinity Music Hall in Hartford on November 8 and in Fairfield at Fairfield Theatre Company for an NYE show.

    Key Tracks: Gold, Leave Here with Me, Can’t Get You off My Mind

  • Brian Fallon Gives His Fans a Wonderful Life

    Two of the best things in life are music and laughter, and at Brian Fallon‘s tour stop at the Keswick Theater on October 6, Fallon gave fans the best of both worlds. This stop in Glenside, PA on Fallon’s current Songs for the Hymnal Tour, gave fans songs from his solo and other projects (The Gaslight Anthem, Molly and the Zombies) with a mixture of storytelling about what he was thinking as he wrote some of his songs.

    Brian Fallon

    Fallon made a comment about not being good at sharing his feelings like opener Craig Finn, but his sense of humor throughout the show still gave fans a sense of who he is outside of his musical talents. The atmosphere was topped off by the uniquely designed backdrop from a view of the moon and stars from a city rooftop.

    Even being heckled by some of his fans didn’t make Fallon skip a beat. His witty sarcastic replies to the hecklers made the audience burst out into laughter like at a comedy club.

    Fallon may be a sarcastic jokester, but as soon as he started singing he poured his heart out into his performance. Playing mostly acoustic guitar mixed with a few songs on the keyboard, there is no denying the raw talent Fallon possesses as an artist and singer.

    Experiencing intimate acoustic shows with your favorite artist offers a closer look into how they are in real life. It’s an experience a true fan will cherish for a lifetime. Artists like Fallon create amazing moments at his shows leaving his fans wanting “a life on fire, going mad with desire and wanting a wonderful life.”

    Setlist: Forget Me Not, Painkillers, American Slang (The Gaslight Anthem song), Red Lights (Molly and The Zombies song), My Name Is the Night (Color Me Black), She Loves You (The Gaslight Anthem song), Wherefore Art Thou, Elvis? (The Gaslight Anthem song), Smoke (Molly and The Zombies song), National Anthem (The Gaslight Anthem song), A Wonderful Life, Handwritten (The Gaslight Anthem song), Steve McQueen, If Your Prayers Don’t Get To Heaven, 1930 (The Gaslight Anthem song), Rosemary, Etta James

  • What the Music Modernization Act Could Mean for Your Favorite Artists

    Think to yourself how the standards of your daily life have evolved throughout the years. Phones were once dull, heavy blocks of metal that could hardly get a signal. Now they are extravagant, shiny devices that give you access to thousands of convenient applications. Cars simply provided you with a way to get from one place to another and although they still do so, you get to do it in style with sleek black leather, air conditioning, and a powerful sound system.

    Now it may seem difficult to realize how drastic these changes may be considering that humans live at a painfully accelerated pace and rarely savor the present. So take a moment and process this particular one. As the Music Modernization Act was signed into law last week, artists around the world rejoiced for the largest legislative musical milestone in 20 years.

    With technology constantly advancing, it has prompted businesses to adapt to rising expectations and reform traditional operations. In this case, music streaming has become massively popular for its convenience but financially complex due to the intricacies of copyright. By no means is it a simple process and there has been a notable display of frustration from musicians not receiving proper compensation for their content. Shockingly, certain laws concerning royalty payments abide by concepts going as far back as 1909.

    The most major event was Spotify’s devastating $1.6 billion payment to Wixen Music Publishing for unauthorized usage of copyrighted songs. It seems to almost go without saying that if someone provides a service to a wide group of people, they should be compensated based on the success of that particular service. In fact, there should be safeguards in place to ensure that the process not only runs efficiently but defends the interests of the provider. That is precisely the battle these musicians have tirelessly pursued to protect their own stability and the MMA is finally the flag at the top of the hill.

    So what does this ultimately mean? Well for starters, songwriters can reap the benefits of their streaming popularity even more with higher royalties. Their music is protected and not subject to the strong arm tactics that Apple Music or Spotify are capable of. Finally, it simplifies the difficulty of acquiring copyright licenses by utilizing a musical database instead. For the average person, this modernization isn’t too impactful but consider the perspective of an artist.

    An Intellectual Property lawyer and drummer of the band Blotto, Paul Rapp offered his voice on the passing of the Music Modernization Act as he broke down its purpose and what it truly offers. Rapp began:

    “The Music Modernization Act is a 186-page beast that gets to the heart of some of the more pressing disconnects between copyright law and the digital world of music we live in now… The law establishes a collective, run by publishers and songwriters, to maintain a transparent and public database matching songs to songwriters and publishers. Kind of like what SoundExchange does with digital master rights…It even grants rights to owners of pre-1972 master recordings to get finally paid for digital transmissions (like Sirius and Spotify). This is what Flo & Eddie have been suing about for the last bunch of years.”

    He ended his statements by taking a passionate stance on Congress’ inattentive attitude but his hopefulness for progress by stating:

    “What’s quite remarkable about the law is the level of bipartisanship that led to its passage. Most of the drama was between different segments of the industry, with Congress being all like “once you guys agree on something let us know and we’ll pass it.” There’s a ton more that needs to be done to fix copyright, but this is a good start.”

    Musicians offer a beautiful craft that consumers and the industry at times can take for granted. They work tirelessly between recording and touring that it’s unjust to be burdened by payment not proportionate to their success. Finally, the passing of this Act demonstrates the direction artists wish to pursue and that is taking a stand for the recognition they deserve.

  • Greensky Bluegrass Brings Out The Musical Dead At The Capitol Theatre

    In a legendary place like The Capitol Theatre, the most memorable acts performing there today channel the ghosts of its musical past, like Frank Zappa, Janis Joplin and The Grateful Dead. Acts that will be remembered, years from now, alongside giant names like those are the ones that manage to echo those nearly unfathomable experiences from the earlier years of this concert palace. When the five-piece Americana jam sensation Greensky Bluegrass kicked off their show last weekend with their aptly-named original song “Bring Out Your Dead,” they did exactly this. For this reviewer, the vibrant myth of Pink Floyd performances here in this theatre glowed within the Cap’s interior, vibrating invisibly at the tips of this epic and harrowing modern song. This Capitol Theatre show might have served as a great benchmark showing just how far Greensky Bluegrass has evolved, from a new string band outfit several years ago into the epic rock concert performers they are today.

    But the band then showed their range fast, as the next several tunes were some of their much more feel good stuff. “Wings for Wheels” and then “Handle With Care” carried the room from the shadows of that cool opening to a sunny bluegrass beach in paradise. Complimenting this portion of the evening was a roving solo picking, with members trading off in typically swift style. The Lil’ Smokies, the dynamic newcomer five member string band that had opened up for the night with their own highly received set, are set to tour with Greensky for much of the latter’s upcoming tour. So, it should be no surprise that many nights will feature either members of The Smokies, or the entire group, up to collaborate. At The Cap, Greensky invited the Smokies dobro player Andy Dunnigan and fiddle player Jake Simpson up for some fun.

    First up was “Second That Emotion,” and not the most epic version you’ve ever heard but still no doubt a much-appreciated nod to one of The Cap’s late musical presiders, Jerry Garcia. But it was the “Worried About The Weather” that closed out set one that was the real kicker, perhaps the standout performance of the entire night. Dunnigan and Simpson never lagged behind or shied away, but instead showed their confidence beside the members of Greensky and made the dramatic tune into an explosive performance.

    Set two brought the deeper cuts, with miles of space and focused improvisation, which seemed to see the band toying around with all the funky effects tech at their disposal. After starting out with some more smile-makers in “Fixing to Ruin” and Steam Powered Aeroplane,” Greensky laid down a huge “Ground Hog” and “Wheel Hoss” pairing, and the musical territory traversed here was as mystifying as it was funky and rhythm-inducing. The improv-loaded segue helped to reinforce the claim that Greensky Bluegrass is the headiest of all progressive grass groups out there right now.

    This was followed up by another cool pairing in “Tarpology” and, perhaps another Garcia nod, “Ain’t No Bread In The “Breadbox,” with this latter tune being a real stand out on its own. While it hit the usual rolling groove Greensky puts into it, on this night the band pushed even harder to truly dig on it for several minutes. This one must have been an extra-special version in all the versions played.

  • Phish Break a Record and Kick off Fall Tour in Albany

    Two nights into their Fall Tour kick off, Phish is already breaking records to make up for their harsh Curveball fallout. Ousting Billy Joel with all time attendance at Times Union Center, a brand-new, celebratory banner welcomed the deep grooves and thoughtfully selected set lists to come from the Albany double-header.

    Moma Dancin’ their way back into the NY state capital after nine lingering years, a delicious take on the The Story of the Ghost tune got the packed party underway as Kuroda quickly proved his light show came to steal part of the opening show. “Tube” followed next as phans waited to see what territories the experimental track would wander into. It’s foundation was uprooted in its entirety and before you could predict it, the quartet threw you right back into familiar grounds. While all four members rode the high-energy wave of the tour opener, Page kicked it into high gear, grabbing the reigns throughout the course of the jam and foreshadowing his exuberant and demanding presence throughout the night.

    “Theme From the Bottom” emerged to ignite smiles as the crowd recited lyrics near and dear to their hearts. “Keep what’s important and know who’s your friend,” chimed throughout the TUCenter and hit home for many of the North Easterners who suppressed low spirits following the demise of Curveball. At its pinnacle of a capella entertainment, a quick segue picked the crowd up and placed them a the light-hearted “Free.” Kuroda offered up some tricks and treats with new patterns and Pac-Man looking motion lights. The rigs swirled above like rolling waves, at times mesmerizing the sold-out dance party over the action on stage.

    Short and to the point, “Halley’s Comet” made a fleeting appearance before finding its way into summer tour favorite “Everything’s Right.” Gordon took the opportunity to bask in the glory of psychedelia among his moments in the spotlight, bold slaps and bassy vocals. An appropriate rendition of the Talking Heads’ “Cities” rang through the pulsating downtown venue, making locals pretty happy that Albany’s the city they’ve found themselves living in. A heavy hitting “Walls of the Cave” closed out an exemplary start to fall tour to an approving arena.

    Appealing to the October chill in the air and Halloween peaking around the corner, “Ghost” corralled the crowd for set two before leading into pleasantly welcomed Big Boat number, “No Man in No Man’s Land.” The duo opened up the set with high energy that continued with “Piper.” Wandering down a evil tunnel, a gritty “Twenty Years Later” welcomed three rounds of raging applause and earnest praise. The metal leaning performance conjured devil horns proudly raised in the stagnant, smoky air. After a brief “Show of Life” interlude, Phish came out guns blazin’ again with a classic “2001” -> “Character Zero” close to the set, the latter a frequent set closer in Albany going back to 1997. A favored “Harry Hood” encore sealed the deal on a wild fall tour opener, notching a high-bar for Wednesday night’s gig to follow.

    Setlist via Phish.net
    Set 1: The Moma Dance, Tube, Theme From the Bottom > Free, Army of One, Halley’s Comet > Everything’s Right -> Cities > Walls of the Cave

    Set 2: Ghost > No Men In No Man’s Land > Piper > Twenty Years Later > Show of Life > Also Sprach Zarathustra > Character Zero

    Encore: Harry Hood

    Night 2 offered up a second helping of Phish, with fans filling into the arena earlier this evening due to the on and off wind and rain that peppered downtown Albany. The first set opened with “Crowd Control,” which was hardly an issue at the Times Union Center this run, as compared to past Phish shows where maneuvering around the sold out crowd can be harrowing.

    The first set was the highlight of the night, with a 16-minute version of “Chalkdust Torture” leading the way for Jam of the Run honors in the same spot where “Tube” shone the night before. “Wolfman’s Brother,” “Steam,” and a set closing “Bathtub Gin” each took a lengthy spin, with energetic numbers found in between with “Scent of a Mule,” “NICU,” and “Gumbo.” Throw in a few minutes of Jon Fishman on the electrolux vacuum for “I Didn’t Know” and you have a throwback to the “Bathtub Gin” jam on 9/8/00 where Fishman led us in an ambient vacuum-laden jam.

    Set 2 kicked off with the new “Set Your Soul Free,” which has already found its place as a set opening jam vehicle in only five appearances. A rusty “Birds of a Feather” followed, along with the misplaced “Mercury,” which has its moments in the middle improv section but otherwise fell flat as the set tried to pick up steam. It did just that with a 11-minute “Light” but “The Wedge” failed to capitalize on that energy, and by the time “Wading in the Velvet Sea” started, not even “Wilson”->”Slave to the Traffic Light” could find the initial energy from the set’s beginning.

    As always, “Julius” got the crowd up and dancing for the encore, and then Trey took a moment to remark that these shows in Albany were like hometown shows, and with that, the band threw in “Rocky Top,” a song of home-sweet-home, to close it out.

    Phish heads to Hampton, Nashville, Chicago and Las Vegas for the rest of their tour. Stay tuned to NYSMusic for updates!

    Setlist via Phish.net
    Set 1: Crowd Control, Chalk Dust Torture, All of These Dreams > Wolfman’s Brother > Scent of a Mule, NICU > Gumbo, Steam > I Didn’t Know, Bathtub Gin

    Set 2: Set Your Soul Free > Birds of a Feather, Mercury > Light, The Wedge, Wading in the Velvet Sea, Wilson > Slave to the Traffic Light

    Encore: Julius > Rocky Top

  • An Evening with Nils Lofgren

    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.

    G

  • Younger Then Performs to Hometown Crowd for Album Release

    Younger Than perform in Hometown at Buffalo Iron Works

    Autumn has finally put summer to rest in Buffalo. The trees are a muted mixture of red, orange, and yellow and the air is crisp as you walk into Buffalo Iron Works. A crowd of excited attendees awaited Buffalo local indie-rock group Younger Then to take the stage in the wake of the release of their most recent album, Bad Life. Younger Then traveled out to Nashville to record at Blackbird Studio, a world-class establishment with a reputation for recording some of the world’s best rock groups. It had been a long time coming, and fans were prepped and ready to go, with about half the house already filled by 8pm to catch the opening acts.

    Buffalo has such a deep collection of indie bands. Supporting the night were Cooler and Feverbox. Cooler has been making noise lately as they continue to play their monthly Wednesday night residency at Mr. Goodbar in Buffalo. Feverbox has been frequenting regional festivals and running the gamut of local venues. Both bands put on exciting sets, with music totally in line with what the crowd had come for. The bill was crafted to great effect, giving the entire flow of performances a nice consistency. Cooler’s emo stylings pull from the early pop-emo greats from the 2000’s, while also hearkening to the kind of alt-driven Midwestern emo that offers a bit more grit. Feverbox checked all the boxes for an on-the-rise indie rock group. The band had good stage presence and original tunes, putting on the kind of set one would expect to see at a SXSW showcase.

    The support set the scene for veteran group Younger Then to take the stage. The venue was packed in, with people opting to stay indoors for the entire set as opposed to standing on the patio- an effect of the brisk fall temperatures. Iron Works was on-point with the light shows as always. The mix of subtle fog painted by combinations of colors set the scene for the band to walk onstage to a big welcome cheer from their supporters. While the cold was effective in forcing people inside, Younger Then’s performance was more than encapsulating to keep people inside. The group played selections from their older discography, and mixed them in with live versions of tunes from their new release, Bad Life.

    The group had great stage presence, only amplified by the playfulness of the lights. Guitarist Austin Dorr was a ham on the stage, stepping up to meet fans near the stage barrier as he walked up in front of the stage monitors during his solo parts. Zack Dupuis voiced his and the band’s gratitude for the support, and eventually organized the crowd to sing the chorus of one of their new songs. The audience responded in kind, singing full voiced back to the band. Drums and bass were on point, with a tight sync between the two accentuated by the thick live mix at the venue. Michael Wirth held down rhythm guitar, playing around with timbre to liven or darken the mood of a given song.

    Younger Than performs‘Bad Life’ itself was a very pristine listen (review here), while the live performance was a lot grittier. As a result of the mix, Younger Then’s music had a slightly harder edge live than the recordings. The raw feel of the performance was a good contrast and comparison to their studio work. The group provides two different feeling experiences with the recorded album compared to their live set. The group also had a good feel for what the audience was hearing, each member laying back or coming forward appropriately for the best live-sound effect. No one overshadowed or stole the show. Younger Then had great chemistry between the members and the audience. In a successful night, Younger Then released their newest album, Bad Life and put on a great show for music fans in Buffalo.

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