Phish fired on all cylinders at North Charleston Coliseum, making their seventh visit to the South Carolina venue deliciously-memorable for the sold-out crowd. Bust-out covers, banter, and barely played original tunes elevated the already enticing jam tapestry that this band is known for.
Page McConnell, Jon Fishman and Trey Anastasio sing “Carolina”
The band began the three night run with an acapella “Carolina,” which was last played on 12/30/2016 at Madison Square Garden. “Carolina” was followed by the crowd hyping Phish original, “Party Time.” The bust-outs continued with “Strawberry Letter 23” by Shuggie Otis, marking the fourth time that the band has played this beloved cover. During the second set, the audience was treated to Led Zeppelin’s “No Quarter,” last played 12/29/2018 at Madison Square Garden.
Trey Anastasio was all smiles at North Charleston Coliseum
“I Been Around,” last played at MGM Grand on 11/1/2018, made an appearance, complete with humorous lead in pun. Trey said: “Hey Page, I’ve been wondering. Where have you been anyways?” Page cleverly replied “I’ve been around,” which lead into the song.
Two barely played original tunes graced the set list, including “Destiny Unbound,” last played on 2/23/2019. The encore included an even more rare “Bittersweet Motel,” last played on 7/6/2016.
Phish certainly gave their dedicated fans a reason to travel to the Palmetto State. They are back in action the next two nights at North Charleston Coliseum. Both nights are understandably sold out, however Phish is offering a live webcast of the event. Visit Live Phish to prevent further FOMO on this already legendary run.
Set One: Carolina, Party Time, Strawberry Letter 23 > Undermind, I Been Around > Divided Sky, The Sloth, Destiny Unbound, We Are Come to Outlive Our Brains > My Friend, My Friend[1] > About to Run, The Horse > Silent in the Morning, David Bowie
Set Two: Axilla > Scents and Subtle Sounds > No Quarter > Your Pet Cat, Mercury > Saw It Again > Limb By Limb[2] > The Lizards, Suzy Greenberg
Encore: Bittersweet Motel[3] > Death Don’t Hurt Very Long > Loving Cup
[1] No “Myfe” ending. [2] Unfinished. [3] Lyrics changed to “halfway from Charleston to Pittsburgh.”
Page McConnell got funky at North Charleston Coliseum
Saturday, December 7
Set One: Fluffhead > Ocelot, Nellie Kane > The Dogs > Reba, Halfway to the Moon > Train Song > Guyute, Strange Design, Moonage Daydream
Set Two: The Connection, Mr. Completely > Crosseyed and Painless > Dirt, Cool Amber and Mercury > Split Open and Melt > Crosseyed and Painless > Split Open and Melt, A Life Beyond The Dream > Wilson > The Squirming Coil
Jason Aldean played Saratoga Performing Arts Center on Thursday, September 5th to a solid crowd of country lovers of all ages. His return to upstate NY was greeted enthusiastically by fans who loved his top pop-country song of the summer “Rearview Town.”
Openers Carly Pearce and Kane Brown set the scene for a fun and energized night of popular country music. Kane’s opening was stylistically a mix that was unique for country, complete with a visual set that replicates more pop and rap music than the traditional country look. Pearce sounded amazing and is a major up-and-comer in the country scene. Watch for her to be one of the new top female artists in the industry.
Photo by Claude Sawyer
Aldean entered the stage in jeans, a black Motley Crue T-shirt, and a cowboy hat with his guitar slung over his shoulder. The words “Ride All Night Tour” shone in bright letters as Aldean’s shadow crossed behind the stage when he arrived, welcoming fans with a giant “What’s Up, New York!”
Aldean gave the fans what they wanted: his most popular hits. While some country stars use concerts to promote new music, Aldean played familiar and loved hits from throughout his career, not just his recent releases.
Every year, Aldean plays “Dirt Road Anthem,” a different song from his others in that it includes some rap elements. The crowd sang along to the song that emphasized the importance of enjoying your friends and being a good person.
Aldean bucked the tradition of waiting for fans to cheer for an encore. Instead, announcing he would stay on the stage and give more music to fans. He then sang a longer than usual end of the concert with upbeat fan favorites that became sing-alongs. Aldean truly can ride all night. Here’s to wishing he performed at SPAC more than once a year.
With three of the most prolific rock guitarists in the world, GE Smith (Hall & Oates, Bob Dylan & SNL band), Jim Weider (The Band & Levon Helm Band), and Duke Levine (Peter Wolf, Rosanne Cash), this is sure to be a historic night of roots rock n’ roll. Playing tunes from Roy Buchanan, Little Richard, Neil Young, Jimmy Reed, Steve Winwood, Sam Cooke and more, the Masters of the Telecaster promises to be a full night of quality music. Opening for the show will be Nate Gross Band followed by Sly Fox.
Jim Weider, a master of classic telecaster guitar, is renowned for his rock and a blues-based signature sound. He is among a select group of musicians with an endorsement from Fender, and for the past three decades, he’s earned enormous respect from fellow musicians and music fans throughout the world.
Born and raised in the famed arts colony of Woodstock, NY, Jim received great acclaim during his long tenure (1985-2000) as lead guitarist (replacing Robbie Robertson) for Rock ‘n Roll Hall of Fame inductees, The Band. During 15 years of international touring with original members Levon Helm, Garth Hudson, and Rick Danko, Jim was featured on numerous albums, films, videos, and television appearances. Highlights included a 1990 performance with The Band and Ronnie Hawkins at The Berlin Wall concert, produced by Roger Waters of Pink Floyd, and several cable TV specials including “The Bob Dylan Tribute” at Madison Square Garden, “The Road,” and “This Country’s Rocking.” Jim performed and recorded at the “Unofficial Blue Jean Bash” for President Clinton’s 1993 Inaugural Ball, with special guests Bob Dylan, Steven Stills and Dr. John, was on a 1994 pay-per-view concert telecast from the Woodstock ’94 Festival, and a 1995 appearance on the A&E Biography documentary “The Authorized Video Biography The Band” for cable TV and video, released by ABC Video.
Jim furthered his reputation as a versatile and talented guitarist in performances and recordings with Scotty Moore, Keith Richards, Los Lobos, Graham Parker, Taj Mahal, Mavis Staples, Hot Tuna, Bob Weir/Rat Dog, Johnny Paycheck, James Talley, Kim Wilson, Paul Butterfield and Robbie Dupree, among many others.
G.E. Smith was Music Director and led the Saturday Night Live (SNL) band for 10 years. During this time he also toured with Bob Dylan for four years. He also helped Mike Myers write a song for Aerosmith for when they performed on SNL. G.E. Smith was sought out by major recording artists like Jagger, who, shortly after Live Aid, called Smith to work with him on his first solo album, She’s the Boss. During this period Smith also did a few one-off recordings and concerts with David Bowie and Peter Wolfe. He just finished a three year run with Roger Water’s WALL LIVE worldwide tour.
Guitarist Robert “Duke” Levine was born and raised in Worcester, MA. He moved to Boston to study music and graduated from the New England Conservatory. In addition to releasing five records of instrumental guitar music, Duke Levine divides his time between the studio and the road. He has recorded and/or performed live with Peter Wolf, Mary Chapin Carpenter, Rosanne Cash, Lee Ann Womack, The J. Geils Band, Robbie Fulks, Slaid Cleaves, Aimee Mann, Jonathan Brooke, The Del Fuegos, Otis Rush, and many others.
TV appearances include The Late Show w/ David Letterman, The Tonight Show, Late Show w/Conan O’Brien, Late Night w/ Jimmy Fallon, Austin City Limits, and Soundstage. You can hear his playing on film scores such as “Lone Star,” “The Opposite Of Sex,” “Passion Fish,” “Honeydripper” and “Music Of The Heart.” Duke’s work has been recognized by the Boston Music Awards (“Unsung Hero” of 2006, “Outstanding Instrumentalist” of 1995). He is featured in the book: The Fender Telecaster: The Life And Times Of The Electric Guitar That Changed The World, by Dave Hunter.
The Band of Rustlers gave listeners goosebumps on September 5 at the Cock ‘n Bull Restaurant in Galway, New York with their iconic sound and perfect pitch harmonies. Singing a tribute to the Sons of the Pioneers’ songs, the trio brought alive the traditional country-western sounds of Roy Rogers, Bob Nolan, and Tim Spencer.
Band of Rustlers features three incredible musicians: JP Biondi (Cabinet) and brothers Roy and Kevin Williams. JP demonstrated tremendous range with his sweet tenor voice and had a fun whistle to add to the traditional cowboy songs. Roy, a frequent performer this summer at the Cock ‘n Bull, delighted with his fast-paced and technical guitar playing, as well as his fun bass range voice that he used both to sing and speak with through the archetypal western tunes. Brother Kevin Williams on bass was consistent, playful and a well-rounded third to complement the other two.
The trio joked with one another like brothers and shared a familiar ease that fit in well with their show. JP pointed out that the songs romanticized the cowboy lifestyle, and chuckled as he reflected on how challenging that lifestyle really was to live. The songs drew on nature metaphors to idealize love, friendship, and even the isolation of American cowboy culture.
As usual, the Cock ‘n Bull provided a perfect setting, providing acoustics that offered ideal circumstances for listening to such exact harmonies and precise playing. The men’s voices combined like honey and tea, melding to soothe and bring smiles around the room.
Rick Sleeper, the restaurant’s owner, took the stage to proudly introduce the band. Welcoming the audience or “buckaroos,” Sleeper maintained the western theme with the kitchen’s offering of a cowboy special. The plate included BBQ ribs, beef brisket, baked calico beans, and a lovely corn muffin spiced with jalapeno. The fun dessert stayed with the theme, offering a S’mores brownie complete with graham cracker crust and toasted marshmallow topping.
For folks unfamiliar with the Sons of the Pioneers, the music was still instantly recognizable as these songs have been a staple of American country-western music since the 1930s. For those who love the Sons’ music, this concert was a delightful and goosebump-raising event that almost perfectly replicated the quintessential and iconic sound.
The Band of Rustlers have created an experience for audiences that echoes memories in their exemplary performance. Next time they mosey through town, make sure you catch their show.
Legendary guitarist Carlos Santana and his band delighted fans at Saratoga Performing Arts Center (SPAC) on Friday, August 23 on part of his Supernatural Now Tour.
Coinciding with the anniversary of Santana’s 50th anniversary at Woodstock, the Supernatural Now Tour initially felt like a substitute for the long-promised (and repeatedly canceled) Woodstock concert.
Playing after the Doobie Brothers, who got the crowd on their feet dancing and singing along for a solid hour before the main event, Santana came out at 8:45 pm after showing a montage of Woodstock photos accompanied by some sultry, jazzy guitar, trumpet and keys. The photos started with a hand-painted sign from the 1969 concert stating “War is not healthy for children and other living things.”
Not only did the photos serve as a reminder that the then 19-year-old Santana shocked the world with his talent on the guitar at Woodstock, but that he has spent the last 50 years impressing crowds – and is still impressing them – with his passionate commitment to using music to empower others to do right by the earth. To top it off, the montage was accompanied by the music of one of Santana’s influences, Miles Davis.
Opening with one of Carlos’s earliest compositions, “Soul Sacrifice,” Santana and the band began the night with a heavy emphasis on jazz fusion with elements of rock. Santana’s soulful signature sound came through immediately as he shared the stage with other incredibly inspiring musicians. His wife Cindy Blackman Santana, a creative percussionist and legend in her own right, was captured by overhead cameras demonstrating precision and strength on drums that was inspiring. Ray Green and Andy Vargas were on vocals, Benny Rietveld, perhaps best known for his touring with Miles Davis, was on bass, and David Mathews was demonstrating how keyboards can lend swing to the melody. Rounding out with Karl Perazzo and Paoli Mejias, also on percussion, and Tommy Anthony on guitar, the Supernatural Now Tour appeared unnaturally gifted with musical genius.
While better known for a few of his popular hits in the 1990s, Santana is powerful in his intuitive fusion of rock, Latin and jazz. He’s expanded interest to African music, recently releasing Africa Speaks. The combination of styles was the right formula to get the crowd dancing, and to show off the creative aptitude of the band. Their performance of “Jin-go-bo-la,” accompanied by a video of African men and women dancing in traditional garb, intensified the high energy of the crowd. Smoothing into “Evil Ways” right afterwards, the vocalists shone while demonstrating flexibility in pitch, style and presentation.
The diversity of music styles kept fans guessing about what would happen next. From hosting the Doobie Brothers back on stage for “Some Kind of Wonderful” to instrumentals featuring Carlos Santana’s ever-evolving but still consistent signature sound, the concert was constantly shifting, expanding musical styles and blowing through boundaries.
Of course, the crowd went wild for “Oye Como Va,” a popular favorite. Dancing in their seats, fans were inspired by the powerful drumming and compelling vocal performances.
And then there was Santana on guitar, vital and creative as ever. The 69-year-old was spry as he moved across the stage, still curious about music, still passionate about sound and movement.
The musicians used bongos, whistles, maracas, tambourines, trombones and, of course, their voices, drum sets and guitars to really shake up the sounds. It was more like attending a world music concert than a pop or rock concert, which is just what Santana wants. Honoring Coltrane and Davis, he reflected on his love of jazz but also moved to include some Latin and African roots music too.
Carlos Santana is passionate about peace, children and saving rainforests. He was proud to have his family on stage with him, and his smile and brief words reflected a man who has found his place in the world. He’s passionate about music and expanding boundaries. And from listening to the songs from his new work, Santana’s passion is keeping him as vital and youthful as ever.
Rob Thomas’ Chip Tooth Tour rolled into Saratoga Springs on Wednesday, July 24, complete with some great opening acts, messages of gratitude and music celebrating both past and present. Although there was a smaller crowd for the venue, fans filled in to hear singer/songwriter Chris Trapper and the thunderously joyful Abby Anderson before Thomas took the stage at 9pm.
Rob Thomas of Matchbox Twenty. Photo by Jim Gilbert.
Rob Thomas is the lead singer of Matchbox Twenty, and he brought the rock star spirit in his dramatic entrance on stage. With lights flashing in time with the drum set, punctuating his presence, Thomas strode on stage, ceasing movement with generous pauses in light, sound and movement. The fierce guitar lick danced with Thomas, who ran backward high kneeing across stage. And in a moment it was clear: he’s a rock star – with or without his famous band.
Thomas welcomed the crowd after his second song, saying hello to Saratoga with a large grin. He added, ‘Here’s the thing. We’ll do this show tomorrow night, and we played it last night. But nothing is more special than this show tonight.’ And so started the message of the evening to be present and enjoy the moment. Thomas would reiterate this both in lyrics and words, chatting with the crowd throughout the evening – celebrating life’s every day moments in song and story.
From “Her Diamonds,” which acknowledges with brutal honesty loving someone with chronic pain, to the more folksy “The Great Unknown,” a song about death, Thomas’ desire to communicate his message resounded with authenticity. He invited Chris Trapp back up to sing Trapp’s original song about death, which was mashed up with Thomas’ “happy little song about death” in a joyful and honest moment on stage.
During “Streetcar Symphony,” Thomas expressed gratitude to his opening acts and fellow musicians on stage with him. He was clear in using his talent and velvety voice to share his wisdom to celebrate life in all its moments. Thomas talked about a time with his dogs on tour when he wrote “Little Wonders” for a movie soundtrack that made him recognize the joy in life through his animals.
Thomas covered David Bowie’s “Let’s Dance,” getting the crowd dancing in their aisles. After a full set of 17 songs, his fans called him back for an encore performance of “…Something to Be,” followed by loved Matchbox Twenty song “Unwell” and Santana’s “Smooth.” He was visibly having a great time, dancing and moving like the rock star he has become, without the rock star attitude. Instead he demonstrated generous gratitude, sharing the applause and calling his opening acts back to perform with him.
Thomas lives his message. He was present in the moment, and loving every minute of it.
Setlist: I Love It, Real World ’09, Lonely No More, Her Diamonds, If You’re Gone (Matchbox Twenty song), Can’t Help Me Now, The Great Unknown, Streetcorner Symphony, One Less Day (Dying Young), Little Wonders, Fire On the Mountain, Let’s Dance (David Bowie cover), 3 A.M., Ever the Same, Someday, I am an Illusion.
Encore: …Something to Be, Unwell, Smooth (Santana Cover), This is How a Heart Breaks.
John Mayer chose Albany to open his 2019 tour at the Times Union Center, and a sold-out crowd was there to greet him. Playing two full sets that each could have been stand-alone concerts, Mayer required no opening band for his fans, some of whom held up signs with recommended setlists.
Photo by Jim Gilbert
Mayer casually strode across the neon backlit stage after band members set up, picked up his guitar, and gave the room chills during this heatwave with his easy, bluesy playing. They would play two full songs before Mayer greeted the crowd with a gentle “Good Evening,” and he swapped out his electric guitar for his acoustic one. The stage was bathed in purple light as Mayer responded to a fan holding up requested songs, “You’re going to get your way, well at least half of your requests” he smiled. The crowd was entranced.
There was a mix of old and new songs, songs from Mayer’s earlier career as well as hits from the present. The crowd sang along as he played “Who Says You Can’t Get Stoned” like they were away at a summer camp, except the volume of the singalong was higher.
Photo by Jim Gilbert
Mayer and his band took a few longer breaks between songs, leading one to wonder if this first night together performing brought up some unexpected moments they needed to problem solve. But no problems came through to the crowd; Mayer’s relaxed performance, joined by his very joyful band of 8 musicians, seemed like it was simply a continuation of a longer standing tour.
Mayer announced mid-first set “Hey we’re back everybody” with a big grin and was very chatty with the crowd. He struggled to let go of the fan’s request list, even sharing he has “low-grade guilt” thinking of a fan holding a sign and getting disappointed during his performance. He presented as a giant sweetheart, seeking to please others and humble about his own musical talent. He even gently shifted his setlist to include a fan’s request, stating, “So I did some thinking,” and added “Age of Worry” to the second set to please her.
Photo by Jim Gilbert
Mayer is talented, too, possibly beyond what most folks who listen to him on the radio will realize. He started in Boston’s Berklee School of Music but left the conservatory to begin performing before completing his degree. Mayer pulls melodies out of the guitar like magic; his fingers look incredibly loose as he moves them over the strings, and somehow he brings a great groove line out of the instrument. It looks effortless, but as anyone who has ever played guitar knows, that reflects years of practice.
His lyrics, too, often reflect aching and longing that the timbre of the guitar matches perfectly. Sometimes sounding like bluegrass, other times like pop, and again changing to blues, Mayer’s versatility is constantly pronounced.
Photo by Jim Gilbert
By set two, the laser cut backdrop had added some trees and sun, and some fun (if not irrelevant) visuals played behind the band as they performed “Still Feel Like Your Man.” The dancing panda was completely adorable on the video, bringing a lighter vibe out. He shifted back to blues quickly with “Love is a Verb,” where he stayed for a few more songs.
Mayer can really do anything, and the crowd at the Times Union was swaying with him, mesmerized by not only his talent but the clear talent of fellow guitar player Isiah Sharkey. Sharkey has emerged as a guitar giant in his own right, and many fans were screaming out his name in recognition of his also stunningly riffs on the guitar.
Photo by Jim Gilbert
For many fans, the best song of the night was the raw and brutally honest “In the Blood,” a recent hit by Mayer that asks if we can escape our family of origin or if we are forever slaves to repeat earlier generations’ mistakes. The crowd was clapping and singing along with the lyrics, highlights of which were on the screen overhead. This is a brutal song, if really listened to, and was a truly intense and authentic experience to watch Mayer take so many in the audience on this honest line of inquiry.
Mayer followed with a more upbeat but similarly honest “Waiting on the World to Change.” He thanked the crowd for keeping the songs alive, stating “We only play these songs because you’ve made these great songs.” He spoke about how each song brought him back to earlier days, and noted that songs hold memories for all of us, allowing us to go back and visit our earlier selves.
Photo by Jim Gilbert
Mayer is a thinker, an artist who attempts to reach for joy but isn’t afraid to grind into anxiety, sadness, lost love and the depths of despair. His writing and playing reflect that with integrity, and this resonates with fans who see themselves in that very human and raw experience.
By the close of the concert, Mayer had performed 27 songs, some of which included long jam sessions showcasing the guitar talent he shares with band members. And he never missed a beat.
Photo by Jim Gilbert
Set One: Belief, Love on the Weekend, Who Says, Helpless, Moving On and Getting Over, Something Like Olivia, Edge of Desire, Vultures, Wildfire, I Guess I Just Feel Like
Set Two: The Age of Worry(Acoustic), Emoji of a Wave(Acoustic), Daughters(Acoustic), Something’s Missing(Acoustic)(First verse only), In Your Atmosphere(Acoustic)(First part only), Still Feel Like Your Man, Love Is a Verb, Why Georgia, The Beautiful Ones(Prince cover) (David Ryan Harris solo), Slow Dancing in a Burning Room, Rosie, If I Ever Get Around to Living, In the Blood, Waiting on the World to Change, Gravity
Formula 5 has made a name for themselves in the past 7 years, performing at a rally for Bernie Sanders, with shows in more than 20 states, festival appearances across the Northeast and Mid-Atlantic, their own Ben & Jerry’s shake, as well as three studio albums, two live albums and their own festival, Rock the Dock, taking place this Friday in Lake George, in what will be their final performance for Formula 5.
Then, that will be it for Formula 5. The band announced in March that they would go on indefinite hiatus following their Rock the Dock festival on Friday, July 12. The Magic Beans, Eastbound Jesus, Swimmer, West End Blend, Mike Powell, and JT Maple will also perform ahead of their final performance.
We asked fans and former band members for their favorite memories of the band, whose short tenure left an indelible mark on the jam scene in the Northeast.
Larry Shippee
Since that first Tumbledown weekend (2016) when a bottle of acid laced whiskey led to great friends and a love for Formula 5, to almost year later finding out that said bottle of acid whiskey was the catalyst to “Figure Out A Feeling,” to raging in costumes at Horror Camp, to late nights after Nectar’s, to pen rips on stage at ADK Fest, to deer hits, it’s been a WILD RIDE.
Tasha Mase
It was at Putnam Den and Formula 5, Mister F and the Other Brothers were playing. It was the first live music I had seen since moving to the 518. I didn’t know anyone, but it didn’t matter, all that mattered was the music and it was everything you wanted it to be.
Gyasi Owens
My favorite Formula 5 show was the 2016 Halloween show up at King Neptune’s in Lake George. They set up a projector and did a jam over a major battle scene from Lord of the Rings. It was epic. Doing an improv rhyme during a cissy strut jam at Dino BBQ in Troy was also dope!
Sue Davis
I remember talking with all of the guys in the band over the years while they grabbed a bite to eat at the house on their way to their next local gig. They were excited to share their music as they hit the road and cultivated more F5 fans across the country. The Halloween & Ugly Christmas sweater shows were so much fun. I have great memories of the sounds of the crowds as they yelled and applauded at the end of many of their jams. It was always so great to see all their friends who came out to the shows. They always made sure to shake our hands or give us a hug and tell us how great they sounded and how proud they were of the band. It’s been a wild and wonderful ride and I enjoyed my nights out until 3am!
Jared Lindquist
When I was a junior in high school, I skipped my prom to go see my first F5 show at the Stone Church in Newmarket, NH. I really shouldn’t have even been in that club, but after meeting the band for the first time and getting a few songs in, I knew I made the right choice. I believe that show had the debut of “Blue,” it was so new that Matt had to read the lyrics off of a sheet. It became one of my favorite songs of theirs and is always sticks out in my mind as making missing prom worth it.
Mike and Maria Kane
Disc Jam 2015: The Relix tent acoustic set they played a cover of one of my favorite bands songs which was awesome but I think they did a “Catch Me” that day too which might have been the last time I saw mike perform it
King Neptune’s after ADK Fest 2017: This was the first time I saw them really in the heart of their own turf, which I kind of always thought was Albany but was really enthused by the Lake George vibe surrounding the guys
Eastbound Throwdown, September 2017: When F5 stared their set opening up the weekend, it was raining good but Mikey and I didn’t give a fuck and raged the hell out of their set. As the weather broke, so did a lot of others.
The Hollow, April 28, 2018: this was the last time I saw F5 and the last night I partied before I found out I was having our baby.
Rock the Dock 2018: Mike and I shared with all the guys that we’d be having a baby. Matt Richards dedicated the set to us – not on the mic, but to our faces, which was even cooler to me. We have loved this journey. It is sad to see it end but we will treasure the memories, the music, and the people forever.
Jaclyn Osterhout
My favorite moment with Formula 5 is when I was in Colorado and they were creating a song called “Blue.” I listened to them play the same four notes in our Airbnb about 20 times. It was so annoyed until the song came to fruition and now it’s my favorite and how cool that I got to be a part of that.
Alyssa Ladzinski
Watching Formula 5 open up for The Disco Biscuits in Albany was so exciting, seeing how they perfectly hand-crafted their setlist to fit the music and style of that night. And more of a personal memory, ANY time they played “Excalibur,” no matter where I was at a festival or show, you bet I’d find my way over to the stage.
Mike McDonald (former keyboardist)
When asked to write about my favorite moment in Formula 5, I very quickly realized it would be much more difficult to choose than I first expected. Having been a part of it from the beginning and experienced the highs and lows, I can imagine mine (or any member) may differ significantly from what others might think. So I decided to pick 3 from my time with Formula 5: StrangeCreek 2012 – Joe had been in the band roughly 6 months and we had begun to turn a few heads in the jam scene, albeit mostly local to Upstate N.Y. Thanks to some help from Greg Bell, we were able to land a Friday afternoon slot at the very sought after annual festival StrangeCreek in Western Masschusetts. We were incredibly nervous for this show as many bigger bands on the jam scene who we looked up to were on the bill, and it was our first slot at a major regional festival. We started our set on the Vernville stage to a mostly empty field but it very quickly turned into one of the largest crowds we will have ever played. I vividly remember the energy and fun of that set, in part thanks to it being captured by a Wormtown taper. Check out the “Movin On” > “Jam”> “Trampled Underfoot” from this show.
Brooklyn Bowl with Natalie Cressman and Elise Testone, March 2015: Things had been having an upward trajectory in most of late 2014-2015 and we were stoked to have an opportunity to play this legendary venue in Brooklyn. We had the pleasure of having Natalie Cressman of Trey Anastasio Band on trombone and American Idol finalist Elise Testone on vocals as well as playing to a great crowd in Brooklyn.
2015 Garrison Beer Blast – This was one of my last shows with the band and really a homecoming of sorts for the band in Lake George as 2015 proved to be our biggest year of growth so far. We headlined a great one day festival with some awesome bands and some of our best friends and fans in attendance. I particularly felt this was some of our best playing to date and we had an amazing recording of the entire performance along with some videos.
Ed Kulseng
As I sit here and reflect on all my memories with Formula 5 I can’t help but feel remorseful. It feels as though I’m writing a eulogy. A dear friend who always had a magical gift for bringing my favorite people together is no more; it’s really like writing dozens of eulogies. Everywhere I go to this day, I’m stopped by people I’ve met as a direct result of F5. My life and that of my friends is forever different. This is one of the hardest things I’ve had to do. Instead of burying a friend, I’m burying six of my best friends dreams.
If you would asked me seven months ago, I would’ve told you that F5 would be gracing the stages of Madison Square Garden, SPAC, Red Rocks, or just about every other major concert venue around the country but instead I’m here struggling to come to terms with the fact that they may never play again. When I spoke before of F5, I used them as a conduit of inspiration for my musician friends who looked up to them and what they had – tight and blissful improvisions and their ability to draw crowds that would pack The Hollow so tight.
F5 was more than a jam band, and more than my friends. These guys are notorious for doing everything in their power to share whatever spotlight they could harness with other musicians and artists. So many places I’ve been I can say I wouldn’t have gone without them cramming me and Kevin in the van, making room for me at the last minute. The amount of times that F5 stuck their neck out for me or carried me back to the van, propped me up and got me home safe made me feel like a piece of shit. Of every memory I’ve made and every story I’ve told, the good ones always start with “this one time at Formula 5” so I guess I’m just having trouble coming to terms with the fact that no more memories are going to start like that and I might not have as many stories to tell moving forward.
The first time I drink in a bar, F5 was playing The Black Oak in Oneonta. Bill (Shattuck, original bassist) convinced the bouncer to let my underage friend Eric in. The first time I skied, F5 played Hunter Mountain – James gave me my first and only set of skis and Joe taught me. My 21st birthday was F5 at The Monopole. I drove to Hampton for a Phish show and Greg took me in and let me crash. I always hoped they’d play at my wedding and maybe even my funeral. Every time I walked into an F5 show, people knew my name, people knew who I was and welcomed me with a hug. These guys are my brothers and their fans are my family.
For the first time it’s hard to put my F5 hat on, because now I have no more shows to sell, no more merch to push, and now I worry about the condition it’s in. Now that hat is an artifact, a relic of my youth, one I have to preserve. I love this band, they carried me on their backs to adulthood and gave me too much to list. Joe, Greg, James, Matt, Mike and Bill what you have built will never be forgotten, thank you for everything!
Formula 5 Rocks the Dock in Lake George on Friday, July 12th. Other bands include The Magic Beans, Eastbound Jesus, Swimmer, West End Blend, Mike Powell, and JT Maple. Get tickets online or at the box office.
Grenadian-Canadian banjo singer and vocalist, Kaia Kater, returned to Caffe Lena on Thursday, June 6 to promote her folk album, Grenades. The 2018 album highlights Kater’s lush, tenor voice to tell the story of her father’s immigration from Grenada after the US invasion in 1983. The talented Kater, whose velvety voice and traditional use of folk tells a story of social injustice, inspired a small group of fans to leave their home sofas. They sat on Lena’s comfy couches for the night to hear songs laced with themes exposing racism and ethnocentrism, told with raw honesty and soothing sound.
Accompanied by Dan Riccione on electric guitar and vocals, and Andrew Ryan on upright bass and vocals, Kater informally took the stage at the historic Caffe Lena with a brief “hi” before launching into her song “St. Elizabeth.” The small crowd of approximately 40 audience members quieted quickly as she plucked her banjo, creating a soul soothing sound. And just like that, Kater had the house’s full attention.
The 25-year-old Kater demonstrated wit and dry humor when speaking of herself as “much older and wiser now,” when contrasted to her tour approximately three years ago that brought her to Saratoga. Her current tour was intended to showcase the new album Grenada, an album she envisioned would help her move forward “by looking at the past.” But first, she revisited “The Heavenly Track,” an earlier piece that used vocal harmonies to raise the audience’s spirit and sense of hope
Kater played newsreels and interviews with her father sporadically in between the songs inspired by his immigration story, starting with the excitement of her father Dino’s memory of the peaceful revolution that brought Maurice Bishop to power in 1979. Her responsive songs captured the hopeful energy of a time with major chords and somewhat naïve lyrics representing a time in Grenadian history, that shifted despair to hope for many. “Meridian Ground” and “Canyon Land” both paired faster moving sections of the songs with slower, drawn out choruses, emphasizing both the uncertainty and the hope of the era.
Kater returned to a previous favorite next with “Nine Pin,” juxtaposing satisfying harmonies once again with desperate lyrics about loss of self. Shortly after, as if reading the audience’s emotional state, Kater returned to the Grenada theme, playing a news reel about how the National Women’s Organization in the early 1980s were providing education and social service support to the young. The trio, accompanied only by the bass, sang a folk-esque song in French, sounding like children’s voices. Kater smiled, admitting she liked singing that song. The audience had too, resting back a bit more, and breathing easier.
“Starry Day” and “New Colossus” finished the first set. Kater, just like those in folk before her, had a reason to tell her stories and was pleased to share them with the focused audience. She shared that “New Colossus” was inspired by the famed Emma Lazarus poem printed on the Statue of Liberty. “I always loved the Statue of Liberty. Here’s this huge woman, holding a torch, taking up space.” She suggested the statue was a reminder of how “bad-ass” women can be, and her song: a reminder to women to take up the life long work to be bigger and take up space. The inclusion of the statue, often a sign of hope for immigrants, brought the audience back to the reminder that the overarching story of the night belonged truly to immigration.
After a longer break of thirty minutes, the trio returned for a second set. “Everything is free” was her opener, a song by Gillian Welch and David Rollings. Featuring both guitar and bass solos, the group’s energy seemed to crescendo into the second song, “Little Sorrow,” written by Kater’s aunt, Julia Kater. The bass’ long and slow bow strokes, combined with Kater’s authentically sorrowful voice, translated the meaning of the song sung in French, even for non-French speakers.
And from there, the group transitioned back to Grenada with perhaps one of the most powerful pieces of the night: “Grenade.” Ronald Reagan sent a war to Grenada in 1983 with over 18,000 troops landing on the small island. Punished for their successful use of African culture and social-economic successes based in community efforts, supporters of Maurice Bishop on the island found themselves with nowhere to hide. The Reagan recording expressed Grenada’s successes were a threat somehow to Americans; he demanded its citizens to “act like the hemisphere” in which they live rather than embrace African cultures or face invasion. And with that, the US brought war to Grenada.
The song’s minor key shadowed the sadness felt in all that was lost, including Dino’s dreams of serving his community as a lawyer. The song described the dogs of war marching into the small island and the sense of powerlessness felt by the citizens there: “You can shout at the mountain / but they’ve already crowned him.”
It reflected that there was little resistance to the US’s government of choice for Grenada. “We always seem to get played” was a heart -breaking reminder of how America’s ethnocentric policies were more than rhetoric; implemented in developing countries around the world to enforce American values. These policies stole the very hopes and dreams of entire countries, and led us to our current crisis within the world as well.
Kater didn’t let the audience stay with this heartbreak, though. She told a light -hearted story about a Swedish vampire movie that inspired the next song, “The Right One.” Watching the bass player look at Kater, it wasn’t hard to imagine that he believed she is absolutely his right one. Gazing at her in a trance, the musician’s admiration for his colleague was tremendously moving and joyful. Riccione and Ryan playfully made ‘scary movie’ music as she tried to playfully explain her song, and even Kater started to laugh at their antics.
The ensemble’s friendship is a part of its charm. From there, they ran through a number of other songs, bouncing between moods, like a rapidly cycling manic-depressive. “Everly” reflected on falling apart, while “Little Pink” was a traditional song from West Virginia ,demonstrating Kater’s vocal range.
Kater humbly thanked the audience repeatedly, and expressed enjoyment in playing at the historic Lena. She finished the night with her father’s story of resiliency. He was able to escape Grenada through a student program chosen to tour Quebec to raise empathy and awareness of the plight of those in developing countries. Encouraged by his grandmother, Kater’s father let go of his dream to work in the public sector in Grenada and pursue his new life in Canada. “Poets be buried” was a moving testimony to his struggles and courage.
Kater generously returned for an encore performance of “Trouble in Mind,” a bluesy folk song with a heavy bass line and smooth guitar. She let go of her banjo and crooned about the ups and downs of life. “Sometimes I feel like living, sometimes I feel like dying,” she sang.
Kater began the night by sharing her belief that she had to look at her past in order to move forward, and her album Grenade looks at Grenada’s past with honesty that is painful at times. It is also inspiring, hopeful, and at the end of the concert, mindful, that being human includes sorrow alongside joy. Kater certainly appears ready now to move forward, fully aware of her family’s past and using the tradition of folk’s raw honesty to remind listeners that ugliness juxtaposed with great beauty offers hope.
Rising to increased popularity with her recent Grammy win, Brandi Carlile has been selling out acoustic shows up and down the east coast this spring. Saturday’s show at the Shelburne Museum in Vermont was no exception. Hundreds of fans filled the open-air amphitheater, ignoring the forecasted weather warnings of lightning storms and surrounding the stage as the technicians brushed sheets of water off the rubber stage.
Photo by Jim Gilbert
Brandi and the twins would inevitably have to cancel this concert after performing a mere three acoustic songs due to safety concerns. But frankly, their performance, while uplifting and inspiring as always, was only half of this concert experience. The mood of the fans, drenched in rain and mud, huddled in the cold for hours, was brighter than any sunshine hiding behind the clouds. Strangers at 6 pm when the gates opened, the fans quickly bonded, sharing ponchos with strangers, supporting children so they had space to dance, and even covering our concert photographer with an umbrella to protect his gear.
Brandy Clark, the sultry country opener who crooned about divorce, breaking stereotypes of “good girls,” and even smoking weed, was a well thought out choice for the Brandi Carlile fans. Ms. Clark’s real-speak poetry and sexy voice quieted the shivering fans, her music temporarily distracting them from their discomfort. She appeared completely unmoved by the rains that came in sideways toward her while singing. Her voice was a balance between graceful beauty and gritty truths, leading this writer to check her out immediately after on Spotify to hear more.
Between sets, fans began to worry about the weather. It appeared to be worsening, and while the concert was advertised “rain or shine,” there was awareness that the electrical equipment on stage was drenched by the soaking deluge.
Photo by Jim Gilbert
But Brandi and the twins didn’t disappoint. They took the stage with acoustic guitars and stomped wooden boxes for percussion, as plastic covering protected the drums. Starting with “Follow,” Brandi thanked the fans for staying in the pouring cold rain. She remarked, “This is simply amazing to see everyone here.”
And everyone did seem to be there. The fans were overflowing the venue, filling every open grassy area (and the muddy ones too). The trio shifted the song list to accommodate their acoustic sound, bringing great joy to fans who are familiar with older Brandi Carlile albums.
But sadly after the third song, Brandi announced lightning strikes were too close, and the concert would have to be cancelled. The stage was quickly cleared, and fans ran out through hurricane like rains and winds to safely evacuate the space.
Photo by Jim Gilbert
Shorter than expected, but as authentically Brandi Carlile an experience as one might hope for, Shelburne Museum offered a perfect setting for kindness, acoustic music, poetry, and even some dancing in a hurricane. Brandi Carlile concerts – even when cut short – are worth braving any storm.
Note: Higher Ground Music announced that ticket holders will receive refunds. Tickets purchased online through Ticketfly will be refunded automatically; otherwise, fans need to visit their point of purchase for the refund.
