RATT’s In Your Direction Tour made its eighth stop of the 17-show tour at the dazzling new Skyloft in Albany, NY on Friday, July 5 and did not disappoint. Rumors were swirling, claiming the show might be canceled due to poor ticket sales, but there was no evidence of that. The Skyloft, the new venue at Crossgates Mall in Albany, NY was packed with cheering fans. The volume was loud, and the vibe was energetic.
The crowd was pumped when the first notes of the opening song “In Your Direction” rang out. Without a break, the band then went into and wailed on “Wanted Man.” The show came to a close with the wildly anticipated “Round and Round.” See the complete setlist below.
Stephen Pearcy of RATT
Perhaps the band is falling into place with the new members, now that they have played half of their tour. Things will only get better so check their website for upcoming shows and cities.
Setlist: In Your Direction, Wanted Man, Dangerous But Worth the Risk, You Think You’re Tough, Walkin’ the Dog, Way Cool Jr., I’m Insane, Lack of Communication, Lay it Down, You’re In Love, Lovin’ You’s a Dirty Job, Slip of the Lip, Nobody Rides for Free, Body Talk, Back for More, and closed out with the fans wildly anticipated Round and Round
Ratt consists of lead vocalist Stephen Pearcy, bassist Juan Croucier and “new breed” members — drummer Pete Holmes (Black ‘N Blue), and guitarists Jordan Ziff (Razer) and Chris Sanders (Britny Fox, Knight Fury)
Chris Sanders Jordan Ziff Stephen Pearcy Juan Croucier Pete Homes Pete Homes
Shira Yevin, better known as Shiragirl, upset The Vans Warped Tour atop her pink tour bus in 2004, so much that the following year she was given her own SHIRAGIRL stage to curate the amazing female talent in the industry. Since, she has been drawing fans with her edge and overwhelming personality – full of energy. So infectious that she has shared the stage with Joan Jett, NOFX, and Rancid, whom she is currently working on her upcoming album with.
“I’m Stoked to be playing the Warped 25th Anniversary in AC. I lived in Brooklyn for a long time, but I am originally a Jersey Girl, little known fact, so it’s pretty cool to be here.
Shiragirl. Photograph by Lisa Johnson – Rock Photographer. All Rights Reserved.
I’ve played in a lot of awesome, fun Jersey shows and obviously all the Warped Tours over the years. In Jersey we would do a lot of basement shows and in New York it’s about the clubs. I love New York City, it’s my favorite city in the world.”
Shiragirl just released a new single on Tuesday, July 2, called “Nothing to Loose” off their upcoming EP, Andi Underground. Produced by Rancid’s Tim Armsrong, the album weaves a mysterious concept loosely inspired by Alison in Wonderland. “It’s a dystopian tail where black mirror meets the runaways,” said Shiragirl. The album was recorded at The Boat studio, mixed by Cameron Webb and mastered by Andrew Alekel. Shiragirl features co-performers Raine Palladino and Leanne Bowes.
Finally, Andi’s crew hacks the system and takes down the filter software, and all that it upholds: social control, apathy and compliance. Now the people are free to see reality how it really is, rise up, empower themselves, and most importantly, do as they please.
Depicting “Creepin” – Andi Underground (To Be Released July 19).
“Nothing To Loose” when Andi follows Rabbit down a dark hole to an underground world.
“This is the character Andi Underground,” as she pulled a pair of anime-esque stickers out of her bag and showed me. “It’s about this girl that runs away from home and falls into an underground world and decides she needs to save everyone. I’ve always loved Alice in Wonderland. There’s a lot of different ways you can spin it; a lot of metaphors.”
The record is also inspired by our current political climate. “I feel that as much as we escape into TV and movies talking about futures, it is here already. Technology controls our lives, there’s a lot of things happening in the news where one could say we’re already in borderline dictatorship. There’s a lot of scary things happening so the record is an artistic way to make a statement about what I think, or dangers of the cultural norms that grow from being so technology based.”
“I think its hard in the social media day and age you have to put everything out there, you have to be on it – on it- on it. It’s hard to live in the moment with that, but constantly sharing content, music, videos and sharing, speaking to the fans and being connected to the fans. It is so cool to meet people after the show, just to feel like we made their day better is a great feeling.”
“It’s amazing to see how the tour has grown and affected so many people,” said Brooklyn’s Shiragirl. “To be apart of this is a huge honor – there are so many amazing bands. We are super stoked to be apart of the final chapter. Last year we were lucky enough to bring back the stage for the final full cross country tour. I just have nothing but great things to say about Kevin Lymann. I wanna be like him when I grow up.”
Each new day is carved under the shadow of yesterday in the light of our hope for tomorrow. Our environment, society, and culture are forged and shaped by memories, some more recent than others. In 1969, I lifted a single snapshot out of the photo album of time, one that depicts a critical juncture in the world’s recent past.
Sea Gudinski
Music is a medium that transcends time, culture and the stories kept – then transformed into song. The crossroads of 1969, music, pop-culture and the political climate grew into a timeless entity for millions – in particular Woodstock. A lifetime spent obsessing over every minute detail of the era would still not prepare you for what author, Sea Gudinski has done with her first novel, 1969: A Brief and Beautiful Trip Back. The high school graduate opted out of college, and in result, this book appears inevitable from her birth.
Both Gudinski’s parents lived through the 1960’s; her father was a veteran, musician and immersed in the counterculture of that time. In fact, the 1969 Woodstock experience was “an event that he felt dramatically influenced his life,” said Gudinski in an article by Susan Murphy (seagudinski.com). But how can a young author depict events decades before her time? Perhaps, her parents and surroundings sparked the flame, but six years of calculated, and frankly impressive, research led to all 569 pages appearing in print. It is something your high school curriculum of Jack Kerouac’s On The Road, or Tom Wolfe’s The Electric Kool-Aid Acid Test could not prepare you for. Gudinski was lost in an era, between the pages, and soon, you will be too.
1969: A Brief and Beautiful Trip Back begins behind the eyes of the naïve Rhiannon Karlson, a female drummer, dreamer and typical-teenager. In the first few pages Karlson lost herself in a dream amongst the Fresno heat. My daydreams always begin with a drumbeat: slow, concise–like a heartbeat manifesting the imagery I conjure up into the realm of reality. At first, that is all I hear–my drumbeat–and then quickly, quietly, the rest of the band begins to fade in.
Gudinski overloads the readers stimulus with the precise details and feelings of each object, and character. Tangents on the soup-like air, introspective assumptions of her friends thoughts, and the powder-blue bubble letters on her band’s flyer seem unnecessary or irrelevant. However, the reader soon will lose sight of the words and become lost, dead-center of Karlson’s world. These details paint a tapestry of emotion as they reel on vividly in your mind – the key that will soon unlock Karlson’s world, and yours.
Desperate to land a record deal with her band, The Descendants, Karlson is a music-junkie through-and -through, that is, when she is not bickering with her mother. The clash drives Karlson to take a magical crystal substance out of a pink baggie. A silver pipe ‘intricately decorated with motifs that had been rubbed smooth from use,’ sparks Karlson’s imagination as to who used it before her; and where it had taken them. Rightfully so, she is swept up in a dream. For the reader it is hard to differentiate between Karlson’s daydream, a trip or reality. Gudinski does a beautiful job creating a fervor in the hearts of each reader for what is to come. And down the rabbithole we go.
A specially curated playlist highlighting the music of Gudinski’s novel.
For NYS Music fans, and musicians alike, 1969: A Brief and Beautiful Trip Back delves into the greats: Janis Joplin, Hendrix, the Grateful Dead, The Beatles, Clapton and more. Hints of Karlson’s musical quest mirrors that of the musicians she idolized and tastefully sounds an era that undeniably shaped the industry for the better.
Gudinski is passionate and unyielding in her quest to turn ever pebble in the sea of 1969. Nothing goes unnoticed and is explored through a kaleidoscope, ever-changing and beautiful. This book is great for anyone curious – a young teenager, aspiring musician or someone who wants to relive their formative years in the 60’s. It is relatable and enjoyable to the masses.
Although, it would be interesting to debate the thoughts of those who shaped the 1960’s counterculture against Gudinski’s work. All of which would seamlessly collide.
Not only did the popular books on 1960’s counterculture and beat movement shape Gudinski’s novel, but also films: Michael Wadleigh’s 1970 documentary, Woodstock; Easy Rider (1969); Twilight Zone; and Authors: William Brautigian, Michael McClure, Horatio Alger and more. Remarkably, 1969 hinges on the personal encounters and stories of Gudinski’s loved ones and peers – which makes each page so addictive.
Although this is Gudinski’s first published work, she has written a total of six books. An impressive debut novel only begs the question: what will Gudinski reach for next? When? Looking up at the stars, limits simply do not exist for the creative mind of Sea Gudinski.
Dead and Company returned to play a mainstay of their tours, Citi Field, on June 23 for an all-around solid show with a seemingly near capacity crowd in tow and The Wolf
Perfect weather ushered in the first set, filled with mellow jams and easy grooves. Since the band’s inaugural shows in 2015 at the Times Union Center in Albany and Madison Square Garden in Manhattan, fans have seen a partial core group of Grateful Dead members with a few guests grow into the new touring force in the wake of the Grateful Dead. John Mayer’s increasing share in vocals and frontman duties alongside Bob Weir manifested from the first refrain in the opening song “St. Stephen.” In a surprise to fans, Jerry Garcia’s famed Wolf guitar was played by Mayer for the entire show, which added a subtle accent to his imitation of Garcia’s style.
The second set resembled the construction of a late 1970s Grateful Dead set anchored by two giant ballads, “Terrapin Station” to start the set and a post-Drums/Space “Morning Dew.” In contrast with these two more-scripted songs, the rest of the set took to a rather lengthy jam with “Truckin’” expanded well beyond its original form, teased upon in the outro of Space, including a few doodles from Mayer which briefly echoed a bit of David Gilmour’s guitar style. The set concluded after a rather short encore break and a melodious “Breakdown Palace” (the show was possibly running into a venue or local curfew).
Set 1: St. Stephen -> Cold Rain and Snow, Samson and Delilah, High Time, They Love Each Other, Ramble On Rose, Sugaree, Jack Straw.
Set 2: Terrapin Station, Althea, Scarlet Begonias -> Fire on the Mountain -> Drums -> Space -> The Wheel -> The Other One -> Morning Dew.
The sun was hot, quickly rolling into sets, swimming and hanging at the beach with friends. The pressure of squeezing so many good bands into a single Sunday of Vans Warped Tour grew daunting, but others vibed out. Nearly every band was packed – both Full Sail and Blackcraft stages shared adjoining beach and in the end, the mass of people merged as if they were one.
California’s Atreyu took Van’s “Off The Wall” mainstage at doors. Over the past 15 years the band, who has preserved a near original lineup, pulled out all the stops from favorites “Becoming The Bull” and their cover of Bon Jovi’s “You Give Love a Bad Name,” with a metal twist, of course.
Guitarist Travis Miguel in his comfort zone. Photo by Chuck DeFilippo.
Guitarist, Travis Miguel, was hyped on the gig. “It’s not every day that you literally get to play on the beach. Usually when you’re at a big festival like this, nine times out of ten it’s in the middle of nowhere in some field. It’s nice to see the Atlantic Ocean from the stage.” This energy and consciousness allowed longtime brotherhood to shine though in the delivery of their material from intense oldies like “Blow” or the more cinematic “House Of Gold,” from their latest album, In Our Wake.
“Vans Warped Tour is pretty surreal; I remember my first Warped Tour was 1998 and Deftones played, CIV and Rancid. Incubus played on this little flatbed-truck-stage before anyone knew who they were. It was a long day, I remember getting sunburnt and the Deftones went on – everyone lost their minds in a dirt field in Orange County. It was gross, pulling dirt buggers out for two days and beign sunstruck… but with that being said I had the fucking time of my life,” said Miguel.
“I’ve gone to Warped Tours since then, but in 2005 we actually played and that was surreal because not long before that – I was the kid going to Warped Tour having the time of my life. To be asked to play the 25th Anniversary is cool because it is like bringing back old memories: seeing crew people, friends I haven’t seen in years, and you pick up right where you left off. It’s sensory overload because there’s so much going around: press, a half pipe out there, a human cannonball, music everywhere – it’s a fun day for sure.”
Travis Miguel, Atreyu.
“Now that I’m older, looking back, it’s safe to say that everybody in the band’s view is: we’re extremely lucky to be doing this. We don’t take it for granted. There’s a lot of bands we came up with back in the day that are long gone and the fact that we still get to do this, essentially the same five members for 15 years…I’m definitely proud of that.”
Atreyu embodies the morals of Warped, fans and crew alike. “We’ve all seen each other at our best and our worst. It’s very much a brotherly relationship between the five of us: we get on each others nerves just as much as actual brothers would, I’ve been in two of their weddings and we’ve been apart of each other’s big life moments. It’s definitely a family vibe,” said Miguuel.
Sunday kicked in, full force from the start, making it difficult to navigate through all the great bands playing. The beaches were packed – a sea of people relaxing or constantly shifting from stage to stage. Mid-afternoon highlights included Circa Survive frontman, Anthony Green, crowd-surfing his way from the mainstage into the Atlantic.
Punk-rockers, Keep Flying, dominated the Monster Energy stage early on in the day with their addictive horn lines and heart-racing tempos. The sextet blew up at last years Warped Tour, and if you didn’t know any better, you would think they had been there from the start. They controlled the crowd with showstopper “I Always Knew,” both visually and musically overstimulating. Not to mention the electrifying horn section, intricate harmony and energy from each member.
Keep Flying, dominating the Monster stage with furious drums, punk-horns and electricity.
The day carried on with Worcester, MA veterans, Four Year Strong. Contrasted by their laid back vibe and over-familiarity with Vans Warped Tour, the four piece pulled out all the stops. Opening with “Heroes Get Remembered, Legends Never Die,” FYS set the bar with signature double-bass, dueling-guitar and dueling-vocal exchanges. The crowd was absolutely insane.
There was just too much to digest: Big D and the Kids Table, Dirty Heads, The Used and Bowling For Soup – but the day rolled on. The Skatalites changed the pace on The Blackcraft Stage with authentic reggae flare. As the sun set and punk-rockers grew tired, a solid crowd swayed for Kingston, Jamaica’s finest. Atlantic City was blessed by none other than “The Queen of Ska,” Doreen Shaffer, who soulfully harmonized with the band. Born in the 1940’s, Shaffer filled the crowd with a youthful energy, and soul.
Cusped between electronic, pop and rock genres, Andy Black turned heads for unfamiliar listeners, drawing them to the Monster Energy stage as they passed on the beach. His most explicit example, the album titled track “Ghost Of Ohio” fuses these elements into something obscure and refreshing. Fans of any taste can harmonize with his energy and showmanship.
Taking Back Sunday warmed up the main stage for Warped closers’ Blink-182 with driving tracks like “What It Feels Like To Be A Ghost,” while lead Adam Lazzara strut the entire length of the stage, twirling his microphone like a noose. Later in the evening, ska legends, Reel Big Fish, drew attention from the Full Sail stage as the crowd shifted angles to The Blackcraft stage for an epic RBF Set. Kicking of the set with “Asshole,” turning backstage into a skank-inspired dance party.
Vans Warped Tour did an amazing job attending to sparse incidents in the pits or those who needed medical attention. Surrounded in a mosh-pit or relaxing by the beach was one in the same, because everyone truly had each other’s backs. The mass of Vans Warped Tour cannot be defeated, as we all plead for another year.
Reel Big Fish skank-party as the sun set on the Atlantic.
Interviews with Atreyu, Matt Butler, Kaleido and Shiragirl spoke on behalf of the festival as a whole: its status, impact, family vibe and overall positivity. Regardless of why you were there, who you were with and who you saw, Vans Warped Tour’s 25th Anniversary Tour was the necessary cap to years past.
“It’s amazing to see how the tour has grown and affected so many people,” said Brooklyn’s Shiragirl. “To be apart of this is a huge honor – there are so many amazing bands. We are super stoked to be apart of the final chapter. Last year we were lucky enough to bring back the stage for the final full cross country tour. I just have nothing but great things to say about Kevin Lymann. I wanna be like him when I grow up.”
Stay Tuned for the full Post Warped Tour interview with Shiragirl.
Reminisce with highlights from the bands of Vans 25th Anniversary Warped Tour.
For those of us 25 or younger, Vans Warped Tour has spanned our entire existence – an accumulation of memories, music and friendships interlocked like puzzle pieces from across the country. Each individual has intertwined their story – that admits them into the Warped family. A place where most narratives overlap: growing up listening to pop-punk and rock or aspiring to be on the big stage, old attendees now take the main stage, influenced by the masses before them. Fans threw down, attacking their most inspirational bands with vigor in the pits, belting lyrics verbatim spewing with good vibes, and sand.
Last weekend marked the second final Vans Warped Tour for a 25th Anniversary bash, after curator, Kevin Lyman announced the ‘last’ run in 2018. The tour was on its East Coast stop in Atlantic City, New Jersey for a jam packed weekend of music on the beach. Nearly 60,000 people crowded the beach to send off the tour in natural rockstar fashion. Promptly at noon the boardwalk was lined for miles with distinctly Vans Warped veterans, band t-shirts and friends to see their favorite headliners from Blink-182, A Day To Remember, Simple Plan, Good Charlotte, 311, CKY, Taking Back Sunday, Andrew W.K. and so much more.
The sun was blistering overhead Saturday afternoon as Manhattan’s own, Matt Butler took an early set on the Monster Energy Stage. The folky, singer-songwriter gave a refreshing outsider’s perspective that pushed Warped fans outside of their comfort zone. Butler has gathered the sounds and stories of the road, shaped in ‘Warped’ roots; he grew up playing in punk and rock bands at CBGB’s and Arleen’s on the lower East Side. “My Favorite bands in high school were Nirvana and Fugazi… my favorite album was Ten by Pearl Jam,” said Butler. “I got more into folk and songwriting because of a band called The Replacements and Bruce Springsteen [laughing]. That’s always the bridge – as we say that in Boardwalk Hall, very appropriate.”
Butler’s contrasting genres is something that stacks his arsenal, using it to his advantage. “Our presentation is so different than everybody else’s that it has its own draw. I played on Warped Tour all last summer solo – me and an acoustic guitar only. For the 25th anniversary show I wanted to bring a full band, but we were never going to try and compete with some of the other groups here, so we kept it as intentionally stripped down as possible… And I figure im the only harmonica player on the tour at the moment [laughs]. Ya Know.”
Manhattan’s Matt Butler, Chuck DeFilippo (NYS Music) and Tour Manager Mario Diurno
“I was drawn to music for as long as I can remember, but music seemed very difficult and inaccessible. As a kid I was pretty insecure and wanted to do things where I was confident I could do it well. I felt like it was this equation: 49% terrified and 51 % desperate, enough to where I have to try this. You have to risk being rejected and judged. That’s part of the plan, that it’s so scary. I think that whatever you’re scared of doing most, that’s probably what it is that you’re supposed to be doing – on an evolutionary level.”
His story is unique, capturing the heart of Vans Warped Tour evolution. As Butler is on the brink of studying music, learning jazz and notation, he taps into the vividness of creating something new. “I tell ya what man, anytime you make something new for yourself again you always remember how exciting it can be and why you live it.”
“I haven’t played with a band in a while, so playing here today I felt pretty pumped.” Backed by Astoria’s Holy Vulture siblings, Misia and Dante Vessio, the world drum and bass duo allowed Butler to become vulnerable to punk fans. This kick off was the start of a reunion; for Butler he was looking forward to seeing old friends, one playing drums for Tatiana DeMaria and another playing bass for Glassjaw. “It’s funny because the three of us actually played Warped together a couple years ago at Jones Beach. It’s an honor. It’s such an institution of a tour and Kevin is someone to idolize on some level, he’s just a great guy.”
Butler’s set featured numerous tracks recorded this past March, but not yet released including soon-to-be single, “Tell Lucy That I Love Her.” Butler wrote the tune inspired by a tour of state prisons, and at this point he has played around 200 jails in the past 16 months. The idea quickly boomed from a fan-funded endeavour to Butler securing his 501(c)(3) non-profit, to officially bring curated arts programs to jails and underserved institutions – a heart-wrenching inspiration and driver for his music. At certain times it can be as little as four people in a room where they collectively share stories, experiences and music. “It’s a way to see the country, I’ll tell you that. This new song (Lucy) comes from the perspective of someone incarcerated.”
“I can talk about the storytelling component forever. What we’ve done, and what I see it as – we just travel the country with an acoustic guitar telling stories. I think if you do that long enough and you’re open to it enough you can tap into collective consciousness and that’s where stories and songs get channeled from – and hopefully it resonates and connects with people.”
Bad Religion takes “Off The Wall” MainStage.
The day saw Less Than Jake, Travie McCoy, Bad Religion, CKY and many more. Fans crowded each stage, big or small and shifted with the tide between the well crafted set changes. Each band drew their most loyal fans in, while the tides washed curious listeners in, late into their sets. The day was hectic with freestyle motocross over head and an arching half-pipe backdropped by the Atlantic Ocean. Afternoon sets from Shiragirl and Kaleido, who NYS got to speak with, kept the anticipation high.
Kaleido 2019: Cody Morales, Christina Chriss, Joey Fava. Photo by Steve Sergent. Courtesy of NP!M PR and Marketing
As the day started to settle in, a dark cloud loomed over the beach. Detrioit rock band, Kaleido, anxiously awaited a pre-set storm as frontwoman Christina Chriss yearned for the stage. “We were one of the last bands that got to play Saturday due to weather and we were just freaking out. This big grey/black cloud was coming ever closer And I thought: this is gonna start right when we go on, like are you kidding me?” It didn’t.
“We’ve played random dates and cities on the warped tour since 2013,” said Chriss. “So it’s really, really, special to be apart of the 25th anniversary; Kevin just knocked it out of the park like he always does. This lineup is just insane. I have been jokingly saying: it’s woodstock for scene bands – straight up. It is s just fucking amazing, so were really honored to be apart of it. A bunch of bands that were huge influences of ours have a big hand in influencing all those things that you collect, and it comes out [in Kaleido’s music]. A lot of these bands are apart of that.”
Kaleido’s set was no different, a band that draws on so many diverse forms of art. They’re heavy pop, emotion and life wrapped into an ever-changing tube. Their newest single, “Pretending,” was released two weeks ago – a heavy-driving tune that you’ll be sure to throw down to, and swept fans at Warped. The rest of the EP will be out July 19 and is the truest, purest form of what Kaleido really is; Chriss affirmed.
“Inside of the kaleidoscope are a bunch of different pieces: the different colors, the different shapes – they all come together to make one beautiful image, that as you shift can change. I feel like I am that as a human with all of those influences and all of that music.
Christina Chriss, Kaleido
” I am a chameleon type of person. I like lots of different things. I’m not in just one lane,” intensley weaving her hand through the air, her palm set to kill. “So I take all of those things and internalize that, and then let it out the other way with the creativity of writing songs. All audio and video come together to create my art,” inflecting hints of passion through her midwest accent. “I am the human kaleidoscope.”
Front-woman Christin Chriss. Photo by Steve Sergent – Courtesy of NP!M PR and Marketing
Chriss touches on basic human emotions and songs that people easily relate to. Kaleido’s high energy shows become intense, as if the dawn of a storm, piercing fans like lightning. “I like to connect with people from the stage and enter their souls with my eyes. Come get some,” said Chriss as she broke into an evil-type laugh.
As the rain broke, lightning bridged the sky and boardwalk. What about A Day To Rember? What About 311? What about Wage War? Are They Gonna Play? I wanna wach ‘em! – Chriss thought aloud during our interview with excitement and color.
Jeremy McKinnon, A Day To Remember.
After a two hour delay the desolate beach grew new life as everyone recovered. It was a timid storm in the wake of Saturday’s headliner, A Day To Remember. The beach went dark with silhouettes spanning the entire boardwalk. ADTR showed no mercy kicking things off with “2nd Sucks.” Vocalist Jeremy McKinnon, announced “Sticks & Bricks” was named from the security guards of the Vans Warped Tour, a song not originally printed on the setlit. Security had a signal alerting that the crowd was going to be insane, foreshadowing the moments to come as the band let loose into a storm warning.
A Day To Remember has a unique ability to contrast intense breakdowns with driving lyrics and melody, blending worlds of warped. The set list showed little rest as people toppled over each other and McKinnon enticed ‘crowd-surfing a crowd-surfer.’ Driving through “All I Want,” “I’m Made of Wax, Larry, What Are You Made Of?” and “The Plot to Bomb the Panhandle” bodies passed overhead and we were lost in this ocean of people, only to letup for the sentimental acoustic “If It Means A Lot To You.”
Suddenly a harmonious beach began to sway, with lighters overhead. Par for the course would be closer, “The Downfall Of Us All” – a fitting end to the day. New and old fans alike created a community in and outside of the pit. A Marshmello character emerged with a t-shirt cannon celebrating the band’s most recent single and collaboration with the EDM star. It was just nuts. In the short 40-minute set we left dripping sweat and covered in sand as nearly 60,000 people slowly evacuated the beach, yet again.
Slowing down for “If It Means A Lot To You,” fans lit the sky of Atlantic City beach for ADTR.
After 25 long years the famed Vans Warped Tour has decided to discontinue its summer tradition. But not without one last party! Three final festival dates announces in each section of the country, last weekend it was the east coasts turn and what better way than to close it out with a two-day party on the beach in Atlantic City, New Jersey. An amazing lineup that included: Blink 182, Taking Back Sunday, Bad Religion, The Offspring, 311, The Used, A Day To Remember, and a lot more of Vans Warped Tour long list of alumni. Fans of the Pop Punk genre showed up in the thousands for one last time to get warped.
SPAC’s jam-packed July schedule kicked off Monday night with Blink-182 and Lil Wayne coming into town. The contrasting styles of the iconic pop-punk band and hip-hop legend, Lil Wayne, made the night all the more interesting, bringing in thousands of fans from each performer. Blink-182 is celebrating the 20 year anniversary of their most notorious album, Enema of the State.
The night kicked off with Welsh punk band Neck Deep. After their brief, eight song set, there was a 15 minute turn-around before Lil Wayne emerged from the giant Young Money logo at the center of the stage accompanied by a 4-piece rock band. The set was filled with impressive raps with a voice that is identifiable to only as Lil Wayne, solos you wouldn’t see at most hip-hop shows and an audience that was shouting out every bar through the hour long set. However, Lil Wayne never made the night about himself, constantly shouting out his band, fellow rappers and showing love to his loyal fans.
The intermission between Lil Wayne and Blink-182 was cut off when all the house lights came down and the voice of Jules Winnfield (Samuel L. Jackson) came over the speakers reciting the now iconic Ezekiel 25:17 from Pulp Fiction. The moment at the end of the passage when the gunshot a fired, the lights shot on and Blink-182 began playing “Dumpweed,” the first song from Enema of the State. The band played the album straight through, as they have at each show throughout this tour. The album is one of the genre’s greatest, including hits such as “All The Small Things,” “What’s My Age Again?,” and “Adam’s Song.” After playing the record in its entirety, Mark Hoppus (bass) came out into the crowd and played a brief acoustic set. Following this, the band paid tribute to Nipsey Hussle, a rapper who tragically passed away earlier this year.
Travis Barker and his drum set were encapsulated by a spherical cage. Barker proceeded to play a two-minute solo and began spinning and flipping in the sphere, accompanied by a mini light show. Blink-182 finished off the night with a few more of their hits, including “I Miss You” and “The Rock Show, before finally closing the show with “Dammit.” Blink-182 brought the same energy they’ve been showcasing for over 25 years, the same energy their fans have come to know and love.
The 39th annual Old Songs Festival was held in picturesque Altamont, New York, nestled just below the towering Helderberg escarpment. Thousands of fans gathered for the weekend celebration of folk music, instruments, and friendship. Campers braved the, at times, heavy rain to hear more than 40 performers over the 3-day festival.
Intimate performances were held on three main stages, spread between the outdoor amphitheater and inside the fairground’s buildings. Musicians and festival goers gathered for more than 100 workshops over the weekend on topics ranging from dancing, open tuning, the bodhran (an Irish frame drum), and clawhammer banjo playing.
The festival drew performers from across New York State, as well as the world, including Canada, Ireland, Scotland, Italy, and South Africa. It was impossible to hear every performance, but the days were packed with great music. The artists were masters of their instruments, and wove together song and storytelling that made a performance in a barn in front of hundreds of people feel like sitting in a friend’s living room, listening to a jam session.
The entire festival had a feel of a family reunion. Several kids could be seen riding bikes in the infield, as well as taking advantage of the numerous kid’s music and activities. As Sunday’s performances drew to a close, attendees could be heard asking, if not reassuring each other that that they would see one another next year.
With a summer tour progressing steadily along, and each subsequent venue seemingly raising the bar higher at each stop, expectations for the upcoming set of Phish shows at Saratoga Performing Arts Center were at a fever pitch. The band never seems to disappoint at this classic Upstate NY shed, showing us this is what SPAC sounds like when the boys from Vermont come to town. Coming off of three stellar shows in Camden, marked with a notably missing “Tweezer Reprise” from the final night, expectations about the SPAC opener (and rest of the show) were rampant and lofty.
In vintage Phish fashion, the band bypassed the “Tweezer Reprise” opener many expected to happen as a nod to the unfinished business in Camden and replaced it with a first-time-played cover of The Everly Brothers’ “Cathy’s Clown,” leading to a confusing and somewhat mellow start. Afterwards, the expected “Reprise” was delivered in full force which fired up the crowd instantly and began a long stretch of high energy rock anthems, including “Carini,” a song that’s already opened two previous shows this tour. A silky smooth transition of funk from “AC/DC Bag” to “The Moma Dance” then followed before a mid set “Theme From the Bottom” that served as a respite of sorts. A rare performance of “Home” was a welcome surprise in the first set and set the waves in motion for the powerful “Bathtub Gin” that followed. That would have been more than sufficient for a complete first set, but Phish had other ideas and tacked on the perennial “Walls of the Cave” set closer in typical high octane, raucous fashion.
After a brief “Cool Amber and Mercury” to open Set 2, Mike Gordon provided the opening bass slaps to “Down with Disease” and with that we were off and running with a 21 minute gem of a jam. This instant classic found its way into the full “Scents and Subtle Sounds,” complete with intro which was soundchecked earlier that night, then dipped into “Twist” to continue a set of deep exploration. From there, the energy was sustained with “Wilson” > “Scent of a Mule” and “Fuck Your Face,” before a mild breather in the form of “Halley’s Comet.” The set closed out with a “Harry Hood” that closed out yet another Phish set that sustained the all killer/no filler trend that has been steady since Camden.
For the encore, much discussion led to Fishman tapping the kick drum to signal the start of “Fee,” which found Trey having megaphone issues but still pushed through with the help of the audience. “A Life Beyond a Dream” from Ghosts of the Forest, built up towards a pleasant landing ground, and after slight discussion, Phish wrapped up their second 3-song encore in a row with “First Tube.” Trey ran around the and marched from stage left to stage right hamming it up with the fans as he burned through the pinnacle show closer.
