Philadelphia indie-rock trio, Moonroof, will officially release their new music video for “Trojans,” tomorrow – Friday, November 22. The band has set their sights on conquering the music scene, recently winning Radio 104.5‘s 12th Birthday Show, sharing the stage with The Lumineers, Death Cab For Cutie and Grouplove. The 2016 Bloomsburg University inception wrote “Trojans” this past spring and debuted the single in August.
Unlike the Greek folklore, Moonroof’s release is more synonymous to a lego-horse, or one dressed in vibrant-drag. “Trojans” music video flips the famous tale inside-out, as if the trio is mocking themselves, unconcerned with its reception; they’re focused on their target.
As lead vocalist Dave Kim walks his band into a movie theater, prior to “Trojans” taking the screen, there is a clear smirk and airiness of joy across his face. After prompting the audience, it is comical that the band does not care if their video is well-received.
Guitarist, Danny Walsh, and Drummer, Dan Rendine, carry the airy-spring groove the against a white-windowed, underwhelming backdrop. How long did it take you to figure out the trio is missing a bassist? The track release, onset of winter, is ironic but refreshing. As the movie-theatre crowd moves out one by one, the band continues to groove on the pop-electronic narrative, increasing with feeling.
According to the press release, “‘Trojans’ entails a story of betrayal and heartbreak through a personal experience…the anthem that gets you hyped to finally break off that toxic relationship that’s holding you down.” However, Moonroof is onto something bigger here; Make fun of yourself when nobody else will (deliberately) – have fun – be happy – live. And most importantly – follow your dreams.
“No Place Like Home,” a new track from rapper Consequence, was released today to commemorate the birthday of the legendary A Tribe Called Quest Emcee – Phife Dawg.
Produced by Consequence and Mike Cash, the record sees Consequence rap about the nostalgia of missing his hometown of Queens, NY—something he shares with the departed rapper. In between Consequence’s verses, Phife comes in and recites some of the legendary figures that have come from Queens, while rattling off some of the more well known Queens neighborhoods, with looping vocals in the background serving as the chorus.
Having passed away in 2016 due to complications from diabetes, the record was released on what would have been the late rapper’s 49th birthday.
Kip Moore’s stop at the Kodak Center in Rochester, NY on October 25 was the second of two New York shows on the third leg of his Room to Spare Acoustic Tour.
Moore is known for his energetic and electric shows. On this tour, he switched gears with an intimate and stripped-down set. For a number of his songs it was just Moore and his guitar which was refreshing to see – and one could clearly tell he was at home on stage with no frills or thrills. The commentary he had behind the meaning of the songs he sang was among the highlights of getting to see him perform in this acoustic setting.
Moore performed for over two hours and sang fan favorites like “Hey Pretty Girl,” “Guitar Man,” “More Girls Like You,” “Something About a Truck” and “The Bull.” He also did songs from the Room to Spare acoustic EP including “Love You to the Moon” and “Plead the Fifth.”
The Room to Spare Acoustic Tour continues this week in Durham, NC and runs through December.
Moore’s new single “She’s Mine” can be heard here and will be featured on his upcoming fourth studio album. Details for the album’s release haven’t been announced but are due to be revealed in the coming weeks on kipmoore.net.
View the gallery from the Kodak Center in Rochester, NY below:
Goose finished the first leg of their fall tour with a sold out show at Nietzsche’s in Buffalo on Saturday, November 16 after moe.’s hometown show. Coming off an opening set for the Disco Biscuits at the Roxian Theatre in Pittsburgh, and a sold out show at The Summit in Columbus, Ohio, the Connecticut based quartet rolled into Buffalo for a late-night moe. after party. The two-set show ran past 2:30 a.m. and highlighted the band’s ability to dig deep into their funk and folk inspired jams.
photo by Zach Todtenhagen
Guitarist and vocalist Rick Mitarotonda guided the band into the first song of the night, a cover of The Wood Brothers’ “Atlas,” before they segued to “Arcadia.” From their 2016 release Moon Cabin, the extensive jam emphasized many of Goose’s best qualities – ever-danceable rhythms, layered melodies, and a dramatic apex. Following a “Let’s Go Buffalo” chant led by Pete Anspach (guitar/keys/vocals), they launched into the reggae-inspired “Indian River.” A slow building rhythm section illuminated a vocal improv component and carried the band to the set closer.
“Drive,” the fourth and final song of the first set was snappy and funk infused and took on a life of its own, clocking-in at well over 15 minutes. An anchored pocket was dominated by bassist Trevor Bass and Ben Atkind behind the kit, while Pete’s rhythm guitar supported Rick’s soaring leads.
Set two picked up where set one left off, with chants of “goose” blanketing the room. The crowd was immediately captivated by the trancey “Creatures.” Dark, echoing, and reverberating, “Creatures” produced a visceral movement within the crowd. A segue to “Shama Lama Ding Dong,” an elevating cover from 1978’s National Lampoon’s Animal House, clashed artistically with the darkness of “Creatures” and preceded “Slow Ready” – a slower synth-laden version of “So Ready.”
photo by Zach Todtenhagen
The segues continued with a rendition of A-ha’s “Take On Me,” before they closed their second set out with “Hot Tea.” Unable to leave the stage for an encore break, Pete took a moment to show his appreciation and gratitude for the fans. The encore started with a cover of “Short People,” off Randy Newman’s 1977 release Little Criminals, that came before their first ever Hot Tea Reprise – dubbed “Teaprise.”
Goose will continue their fall tour on December 5 when they embark on a four-night Colorado run starting with the Aggie Theater in Fort Collins, followed by an already sold out show at Cervantes Other Side in Denver, and finally two nights in Steamboat at the Old Town Pub on December 7 and 8. They will then make their way through St. Louis, Chicago, Covington, and Indianapolis, before their sixth annual Goosemas show at the Wall Street Theater in Norwalk, Connecticut. For more information on tour dates and to purchase tickets, head here.
And just announced this week, Goose will head to Tennessee in March when they tape an episode of Bluegrass Underground for PBS on March 27. The filming will take place at The Caverns of Pelham, TN. A very limited amount of single day and 3-Day Packages go on sale Friday, 11/22 at 11AM CST
Setlist – November 16, 2019
Set 1: Atlas {1} > Arcadia {2}, Indian River, Drive
Set 2: Creatures > Shama Lama Ding Dong {3} > Slow Ready > Take On Me {4}, Hot Tea
Encore: Short People {5} > Teaprise {6}
Notes:{1} The Wood Brothers. | {2} “Lets Go Buffalo” chant. |{3} Otis Day & The Knights. |{4} A-ha. |{5} Randy Newman. |{6} Hot Tea reprise, First time played
Armed with a new album and a stellar bluegrass catalog to pull from, the all-star Dawg Trio made beautiful music at the storied Iridium Jazz Club in midtown Manhattan. The evening included plenty of intricate songs, a special guest on the “mouth trumpet,” and a cover last played with Jerry Garcia.
The Dawg Trio
The band was led by legendary musician, composer, archivist and frequent Jerry Garcia collaborator, David Grisman on mandolin and vocals. Mr. Grisman was joined by a Steve Martin Prize for Excellence in Banjo and Bluegrass Award-winner Danny Barnes on banjo, guitar and vocals. Grisman’s son, Sam Grisman, completed the trifecta on the upright bass and vocals.
David and Sam Grisman
Grisman began the evening with light hearted humor, asking the crowd, “Does anyone own CD’s anymore?” The band released a new album in October, appropriately titled Dawg Trio. He mentioned that they had CDs to sell, but wasn’t sure where they were.
Smiles were frequent at the Dawg Trio
Grammy-nominated Robert Gurland joined the party during the set, playing one song with his “mouth trumpet.” This impressive skill requires no instruments and sounds very similar to an actual trumpet. His skill and adeptness are reminiscent of Keller Williams, who uses this technique in his solo shows. The entire band was all smiles while Gurland was on stage, and throughout the show.
Robert Gurland on the mouth trumpet
Sam Grisman took the helm during “Zadeh’s Waltz” from Dawg Trio. He also filled big shoes by singing Jerry Garcia’s part in “When First Unto This Country.” Prior to the song, Grisman announced that the last time he played this song was with Jerry Garcia. Sam’s vocals were a great tribute to the late Garcia, and showed that he looks forward to a promising musical career.
Sam Grisman on the upright bass
Danny Barnes showed his wild talent throughout the evening, but particularly shined during “Super Grits,” from Dawg Trio. His unconventional and wild approach was refreshing and made for deliciously detailed jams. The show wrapped up with the intricate bluegrass standard “Things In Life,” proving that mandolin juggernaut Grisman still has still “got it” after all these years.
Sam Grisman and Danny Barnes sing their hearts out
Fans braved frigid temperatures and snow at the Oncenter War Memorial Arena in Syracuse, NY on Tuesday, November 12, 2019 for A Day to Remember.
A Day to Remember is headlining The Degenerates Tour, which began its 2-month tour on September 6, 2019, spanning until November 23, 2019. The show had three opening acts. Can’t Swim, based out of Keansburg, NJ, Beartooth, hailing from Columbus, OH, leading up to I Prevail, from Southfield, MI, who all seemed to be eligible headliners on their own.
Jeremy McKinnon – lead vocals- A Day To Remember
The band is touring to support their new single “Degenerates” while preparing for the release of their seventh studio album; You’re Welcome, on November 15, 2019. The album is their follow-up to their 2016 release of, Bad Vibrations.
The show was non-stop energy from the moment Can’t Swim took the stage. Can’t Swim is: Chris LoPorto (lead vocals), Mike Sanchez (guitar), Danny Rico (guitar), Greg McDevitt (bass), Michael Sichel (drums). They are an EMO / Post-Punk group hailing from Keansburg, New Jersey. They certainly set the pace for the remaining show.
Chris LoPorto-lead vocals-Can’t Swim
When Can’t Swim left the stage, they were quickly replaced by Beartooth. The crowd started to expand, they shouted and jumped with intensity as Beartooth ripped the stage in true metalcore/punk rock style with heavy beats and strong riffs.
The band was named after the Bear Tooth Court, where their original bassist Nick Reed grew up. Shomo has stated that Beartooth was supposed to be a mere distraction while he was still a member of Attack Attack! having no intentions to record or play live music; however, after his departure, he focused on Beartooth, which has surpassed his wildest expectations. He recruited guitarist Taylor Lumley, bassist Nick Reed, and drummer Brandon Mullins for live performances.
Caleb Shomo -lead vocals- Beartooth
After a long break to set up the stage for I-Prevail, the crowd had really loosened up. The security unit in front of the stage was heavily present, as the crowd surfing, mosh pit and wall of death activities began. At one point, someone dressed as a shark, crowd surfed into the guards.
I-Prevail was strong enough to be the headliner. The band—Brian Burkheiser, Eric Vanlerberghe, Steve Menoian, and Dylan Bowman — easily toss and turn between heavy metal, alternative, hip-hop, and electronic moods without warning, boundaries, or rules. They were hard-driving and loud, and the fans took in every note with electricity.
Brian Burkheiser -lead vocals- I Prevail
Finally, after a long night of hard-hitting music, A Day To Remeber took the stage. The crowd got silent, as the curtain rose to reveal the headliners. Formed in 2003 and known for their fusion of pop-punk and metalcore, the band provided the soundtrack for millennial teen angst with their fourth album, Homesick, about a decade ago. Their fans — now adults —arrived to relive their emo days.
The music got into your chest and became the heartbeat within you, pulsating through every nerve. The five-man band showcased some new material and pulled out all the stops to do so. Beach balls bounced off the stage and into the mosh pit below during the performance of “Rescue Me,” A t-shirt gun fired into the audience while the band presented their newly released single “Degenerates,” which is the first single off their upcoming album You’re Welcome, released on November 15, 2019
Setlists:
Beartooth: The Lines, Hated, Aggressive, You Never Know, Bad Listener, Disease, In Between.
I Prevail: Bow Down, Gasoline, Rise Above, Scars, Paranoid, Hurricane, Breaking Down, Deadweight, Come and Get It.
A Day To Remember (ADTR): The Downfall of us All, All I want, Mr. Highway’s Thinking About the End, Paranoid, Sticks & Bricks, My Own Worst Enemy (Lit Cover), Better Off Ths Way, Right Back at it Again, Rescue Me, Have Faith in Me, Degenerates, Bullfight, Sometimes You;re the Hammer, Sometimes, You’re the Nail, End of Me, 2nd Sucks, I’m Made of Wax, What are You Made of?
ADTR Encore: If It Means A Lot To you, All Signs Point to Lauderdale, The Plot to Bomb, the Panhandle.
30 years ago, moe. was born in Buffalo, and over the ensuing years the local home town fanbase has only grown. So it was no surprise when nights two and three of the three-day Town Ballroom run sold out weeks in advance. Check out some photos from the second day of the run, Friday November 15th.
Adorned in denim, button-up shirts and boots, Old Crow Medicine Show delivered their high energy blue-grass, folk and country to The Town Hall in New York City. Last Thursday they successfully transported the city slicker crowd to their hometown of Nashville, Tennessee. They danced, jammed and harmonized with a celebrated Southern spirit, spiked with outlaw charm.
Charlie Warsham, an up-and-coming Country music singer/songwriter from Grenada, Mississippi – and current member of Old Crow Medicine Show, kicked off the evening. Armed with an acoustic guitar and his excellent vocals, he delivered a mix of originals and covers, as well as plenty of Southern banter and grace. He closed out his solo set with “Oscar the Angel,” a heartfelt cover of Don Schlitz.
Charlie Warsham opened up the evening.
After Warsham got the crowd warmed up, Old Crow Medicine Show took the stage with vigor. The current lineup includes Joe Andrews (pedal steel, dobro, vocals), Morgan Jahnig (Upright bass), Ketch Secor (Fiddle, Haromica, Banjo, Vocals), Cory Younts (Mandolin, Keyboards, Drums, Vocals), Critter Fuqua (Slide Guitar, Banjo, Vocals) and Warsham (guitar, vocals). Band members were often seen jamming from the energy of each other, in synchronized dance-step.
Old Crow Medicine excels at playing off the energy of each other
The band played a mix of originals and covers. One notable cover was the stoner gospel tune âI Hope Iâm Stoned (When Jesus Takes Me Home),â written by Charlie Warsham and Ashley Monroe for his solo act. The entire group gathered at the front of the stage to harmonize on vocals, with Warhsam taking the lead. The lyrics “A little piece of heaven to take away your blues” are an appropriate description for the incredible show that these talented musicians put on. “Tenneesee Bound,” “Tell It To Me” and “Brushy Mountain Conjugal Trailer” were a few of the originals played this evening.
Charlie Warsham and Ketch Secor include dance moves while they jam
Old Crow Medicine Show has a limited number of shows left on their 2019 tour. Hop on over to their tour page for more details.
Set break is over! With those four words Disco Biscuits fans rejoiced and prepared for the first tour from the Philly based jamtronica veterans in nearly a decade, with the first stop was at the beautiful Roxian Theatre in Pittsburgh, PA for two nights with 7 Biscuits’ originals spread out over the shows.
They continue their tour in Richmond, VA, then head north to Burlington, VT and Syracuse, NY next weekend.
Set 1: Little Betty Boop-> Pimp Blue Rikki-> Little Betty Boop-> Hero*-> Little Betty Boop, Bernstein & Chasnoff-> Miracles (inverted)-> Rocket Science*-> Bernstein & Chasnoff
Set 2: Spaga, Stars in the Sky*, Spraypaint Victory-> Anthem*-> Spraypaint Victory
Curl up, get warm and fall into a world of self discovery, an introspection that Ian McCuen has created. McCuen of Buffalo will release the third installment of his album, Songs of Fleeting Permanence, on November 22, once again capturing a daunting but beautiful atmosphere that anyone can relate to – the feeling of confusion and self exploration that we have all felt at some point in our lives.
McCuen has created these last three albums virtually by himself, in his bedroom using using only a laptop, two microphones, and every instrument he could find in his house. His ability to create such an impressive and professional sound under these conditions is jaw-dropping. Yes, technology can give anyone with a computer an opportunity to reach stardom, but it takes a certain level of creativity, wisdom and soul to do what McCuen has done. He created feelings and sensations that people can relate to lyrically, but most impressively, instrumentally. The timbre of every instrument is ideal for the melancholy mood devised; it brings the whole thing home.
A genre like this, with such small orchestration of instruments, can become redundant. But each of the 11 tracks are truly unique, despite using minimalist chord exploration. Defining each track is a well balanced use of major and minor sounds, a colorful use of picking and strumming styles as well as unique percussion choices. The oscillation between these stylistic choices result in an album you can listen to all the way through. There is one thing that could use some balancing; the instrumentation can over power McCuen’s voice at times. When the lyrics are this deep, it’s important to embellish them with a bit more annunciation.
When McCuen composed a song as enthralling as “Buried At Sea,” filled with immersive instrumentation and builds, it overpowers his voice. But when you hear McCuen’s deep lyrics, “..bury me at sea, there’s nothing left for me,” it sucks listeners into the storyline, searching for more. In less complex tracks like
“Don’t,” you hear his wispy, spine-tingling voice speak: “Don’t want your pity, don’t want sympathy, don’t want your advice on how I’m supposed to be. Don’t need constant scrutiny, don’t you know this is all just chemistry.”
“Don’t,” – Songs of Fleeting Permanence, Vol. III
We hear more very honest lyricism in “Giving Up.” “I give up so easily. I can’t seem to follow through with what’s required of me. When I quit on everything else. It’s only a matter of time before I quit on myself.” It takes courage to listen to. These lyrics are revealing and personal, another reason why this album merits respect and attention.
This style of music is hard to swallow sometimes. Listeners will need to be in a similar mindset of McCuen’s trials, relating to being twenty-something. If not, the album will draw you to that space. But, we could all use a little self reflection, and listening to someone else’s troubles can bring us some peace, knowing that this was McCuen’s creative outlet that allowed him to work towards a place of homeostasis.
Key Tracks: Buried At Sea, Don’t, Love Lost, No. VI
Give Songs of Fleeting Performance a try on November 22 with Soundcloud, Spotify and Bandcamp. In the mean time, listen to the single off the album “Love Lost, No. VI” on his Bandcamp page.
