Summer is slowly coming to a close, and the Capital Region of Albany has had a trove of music this summer. Starting with Tulip Fest in May, to the Music Haven series in Schenectady, an incredible summer calendar at SPAC, to local weekly series that bring communities together and, of course, Albany’s Alive at Five, the quad-cities of New York have some of the most eclectic music offerings around the state. Check out the final performer at Alive at Five, Marco Benevento Trio and get ready for his set at Adirondack Independence Music Festival this weekend in Lake George!
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.
The Knotfest Roadshow came to Darien Lake Performing Arts Center on Sunday with one of the heaviest lineups currently touring the United States, starring Slipknot.
This was not just a tour, but the foundation for a yearly “Knotfest Roadshow” package that could continue to add heavy-hitting bands if Slipknot so desires. The traveling museum with the display of the band’s iconic masks and other items gave fans a much more personal touch and is another reason why this tour is so good.
Fans packed into the nearly sold out Darien Lake Performing Arts Center ready for one hell of metal show. Metal isn’t dead, and this show proves just that.
Behemoth took the stage as “Solve” echoed through the amphitheater with a giant backdrop of the United States and an upside-down cross in the middle of it. Fans unfamiliar with Behemoth were shown exactly what they are about with the satanic imagery, black skull masks, and chanting as the band took the stage. Immediately, Behemoth started their heavy and relentless set with “Wolves Ov Siberia”, which included some great pyrotechnics and followed right into “Daimonos”.
The only real break during their set was when Adam “Nergal” Darski went side stage and grabbed two flaming metal spheres and performed what appeared to be a ritual before blasting into “Ora Pro Nobis Lucifer” – the highlight of their set which was accompanied by tons of pyro.
Behemoth commanded the attention of everyone watching, with Nergal being a charismatic frontman. With the amount of pyrotechnics, showmanship, and overall incredible sound, one would expect this to be direct support to Slipknot. The only downside to their set was that it was only seven songs long.
Closing out with “Sabbath Matter”, and lastly “Chant For Eschaton 2000” – Behemoth left a very good impression. With a loud “HAIL SATAN!” yelled by Nergal the band ended their set and had the crowd on their feet wanting more.
Gojira was up next, and the progressive metallers from France would not disappoint. Opening up with “Toxic Garbage Island”, Gojira delivered a heavy eight-song set. Joe Duplantier displayed his impressive fretwork on the guitar, while still doing vocals throughout the night. The sound was flawless as the band played some of their biggest hits, including “Back Bone,” and the fan-favorite, “Flying Whales”.
While not as theatrical as Behemoth’s performance, Gojira had a stripped-down, raw, and heavy feeling that captivates you and draws you right in. Finishing off their set with “The Gift Of Guilt,” Gojira had an intense performance that left the crowd buzzing.
After a quick set change, it was time for Volbeat. Fans seemed to be pretty mixed on their feelings towards this band. Some really enjoyed them, while others were clearly there for the heavier acts of the night. Once frontman Michael Poulson took the stage, the band kept the spirit alive with “Devil’s Bleeding Crown,” an early rock and country influence with a taste of metal.
Volbeat also played some new material, including the song “Leviathan.” Other highlights from their set included the fan-favorite “Warrior’s Call” as well as the Slayer-influenced “Slaytan”. Ending their set with their most well-known song, “Still Counting,” the audience was very enthusiastic in singing along and seemed to pleasantly surprise even the more hardcore metalheads in attendance.
Finally, it was Slipknot time. After almost five hours from the time the show started (there was also a good 45-minute wait between Volbeat and Slipknot) the headliner was ready to take the stage. With a huge black tarp covering the stage with “Slipknot” written across lit up in an eerie orange glow, the hype was real. Fans were already screaming waiting for the curtain to drop, with the thought of Slipknot performing completely reinvigorating the entire venue.
The curtain dropped giving a view of the brand new stage production Slipknot has brought, and it is big. The new three-tiered stage is almost overwhelming when you first lay eyes on it. There’s so much going on you don’t really know where to start looking first. There’s video panel walls, air vent windmills, a treadmill that Sid Wilson marched on, and a couple of epic drum kits.
Each song was also uniquely lit to fit the mood. The heavy opener “People = Shit” was very red-hued, followed by a relaxing blue hue for “(sic),” and lots of pyro for “The Devil in I”.
With the very recent release of We Are Not Your Kind, Slipknot played a few new songs off the album. The crowd went nuts over “Unsainted,” which sounds amazing live. “All Out Life” was another new one that performed very well, and also included some awesome pyro and explosions.
Clown made his way down from up top with a flaming torch that he used to beat on a steel drum hanging from above during the performance of “Duality.” The performance of “Sulfer” seemed to raise the energy even higher than it already was with Corey Taylor going all out.
They ended their set with an encore of “Spit It Out” followed by “Surfacing.” The crowd did not seem tired at all from the amount of chaos they had been enduring. Corey Taylor is an incredible frontman and is absolutely dedicated to his art and performance. The Knotfest Roadshow is an absolute must-see for fans of metal and rock music. All the bands on the bill bring a unique, fun, and lasting experience. Each of these bands could have easily headlined, and the fact that a tour like this can be brought together makes it exciting for what future Knotfest Roadshows could entail.
NYC has waited for a Rowdytown. We finally got one last Friday as Big Gigantic’s Rowdytown New York 3D descended into the Brooklyn Mirage to a sold out crowd. Hippie Sabotage, Shallou, Louis Futon and ilo ilo were the supporting artists at this high-energy EDM event. The industrial views of Manhattan from the venue combined with the onstage sensory odyssey made for a crazy night of music.
Ashe sings with Big Gigantic
Ilo ilo started off the evening. Little is known about this enigmatic duo, though recently they took Louis the Child on a scavenger hunt through New York City to release the track “come thru.” Their eclectic mix of electro-pop and bass distortion really got the crowd going.
ilo ilo
Los Angeles-based Louis Futon brought his exciting mix of electronic hip hop, r&b and soul to the stage next. He was joined by Hailey Niswanger (flute, saxophone), Jawann Blanchey (drums) and Ariel Shrumpet (trumpet), with Blanchey on stage the entire time. His blend of fresh beats, organic instruments and clever visual displays was particularly tasty.
Louis Futon
Shallou, also from Los Angeles, kept the party going with delicious ambient and house melodies. The venue was almost full to capacity at this point, and the crowd was really digging Shallou’s visual production.
Shallou
Big Gigantic took the stage to a roaring crowd wearing 3D glasses. The band members include Dominic Lalli (saxophone/producer) and Jeremy Salken (drums). Behind the band sat a huge LED screen with vibrant 3D imagery that coordinated with the lights on stage and at high points in the venue. Big Gigantic played new hits and old favorites, starting with songs like “Touch the Sky” and “C’mon.” Halfway through the set, singer Ashe joined the band on stage for their recent collaboration, “Friends.”
Big Gigantic’s Dominic Lalli and Jeremy Salken
Sacramento, California’s Hippie Sabotage provided even more high energy as the late night entertainment after Big Gigantic’s monster set. This indie electro duo isn’t afraid of late nights, as they started at 2:20 a.m. and blazed into the night.
NYC is still reeling from our first Rowdytown 3D party. The outdoor festival feel was well executed, bands were on point, and the venue was perfect for the occasion. NYC looks forward to the next one.
Young Cobain shares his latest single, “I Got It,” a unique blend of emo rap and alternative rock that draws influence from artists of multiple, diverse genres. The effort to combine digital instruments with live instruments bonds the mix together to create a melodic tune that flows effortlessly. It’s difficult as an artist to find the right balance. Young Cobain is able to execute this task smoothly in a way that blurs the thick lines between genres.
Finding himself immersed in a story of heartbreak and betrayal, his unforgiving lyrics are directed towards an old lover, that decides an attempt to reconcile with the artist only after he rose to fame. The story begins with Young Cobain flipping burgers and bumming cigarettes, wondering where his partner is while he’s in a low point. His fame suddenly sky rockets, and his life is coincidently filled with friends and girls all of the sudden. These fearless lyrics express his frustration about people trying to ride his wave of success, and gain everything they can while it lasts. The story ends in a refreshing tone as Cobain belts out that she had her chance to reach out to him, but now he’s too occupied with his Benz. Ouch!
Young Cobain is able to easily convey his emotions and channel them into his music. Combining influences from different genres in his own creative way proves that this mixed style is Young Cobain’s forte. Throughout his heartfelt story of his struggles with love and fame, Young Cobain proves himself a resilient icon that is thriving through his lyrics and music. Expect to see Young Cobain on festival lineups and consistently producing music.
KISS brought their End Of The Road Tour to Syracuse, NY at the St. Joseph’s Health Amphitheater last night. Fans of the iconic rock stars were treated to loud heavy guitars, theatrics, explosions, silly gimmicks, lots of fire, fast paced music, and even more explosions. Even if you’re not a big fan of their music, it’s hard to not have a great time at a KISS concert. With all the production, rivaled by very few others in the music industry, KISS is just a great time.
As the name suggests, this claims to be their last and final tour ever. With Gene Simmons and Paul Stanley both near 70 years old, it would be good timing to retire the band that has been performing since 1973. If this truly is the final KISS tour, it is going out with a bang with one of the most pyrotechnic, flame-throwing concert sets you’ll ever experience .
The boys were back in town at the New York State Fair. In 2018, Dropkick Murphys was a last minute Chevy Court fill-in for Dickey Betts, who suffered a mild stroke and was unable to perform. Singer Ken Casey announced at the 2018 performance that it was the band’s first state fair appearance. The Boston-based Celtic punk rock band drew a crowd of 13,000 in 2018. This year, they more than doubled that with an estimated 30,200 in attendance. Casey joked that, “We played here last year as a last-minute addition. They invited us back this year. I can tell you, we don’t get invited back too many places.”
Singers Al Barr and Ken Casey traded vocals throughout the evening as they ran back and forth across the stage, getting the crowd amped up. They brought along their traditional entourage of back-up sounds that included an accordion, banjo, keyboard and of course the bagpipes. All punk music should have bagpipes! The Dropkicks played a nice mix of fan favorites and rebel rousing tunes including, “The Boys Are Back,” “The State of Massachusetts,” “Johnny I Hardly Knew Ya,” “First Class Loser” and their spin on the traditional Irish song “Black Velvet Band.”
The Dropkicks ripped through 23 songs and kept the crowd on their feet and bouncing along to the music. A quick poll of the audience determined there were many first-time attendees. The band ended their main set with the inspirational union track “Worker’s Song” before coming back to finish off the night. For the encore, Ken Casey let the crowd sing along to the catchy hit “Rose Tattoo.” They rounded out the evening with “Until the Next Time” and ended with their biggest sing along hit, “I’m Shipping Up to Boston.” Singers Casey and Barr ran through the crowd high-fiving fans and inviting them to sing along. The band knows how to make their fans feel welcome and that is why the Dropkicks will keep getting invited back.
Thursday morning, just hours before her show at the New York State Fair Grace Potter announced the release of her first new single in four years, the soul wrenching “Love is Love.” Fans in attendance at Chevy Court were the first to hear the song performed live according to Potter. The song is the first single from Grace Potter off her upcoming album, Daylight, set to be released October 25.
Potter told fans they were going to play a few new songs but, “had to get warmed up first.” The band kicked off the set with “Medicine” and played many dance-worthy tunes including “Loneliest Soul,” “Nothing But the Water,” “Alive Tonight,” “The Lion, The Beast, The Beat and the hip shaking hit, “Paris (Ooh La La).”
Potter proclaimed her excitement for “being back in Central New York where she belongs.” She attended college at St. Lawrence University in Canton, NY and recalled visiting Syracuse while she was at school. “We used to go to Syracuse to go shopping and it was the big city.” She told the audience that she has a new appreciation for State Fairs now that she has a kid, “I used to spend the whole time avoiding the fried dough. But now I’m like, yeah I’m having the fried dough.”
Grace Potter and her backup band worked their way through a high energy 95-minute set leaving the estimated 8,700 in attendance dancing as she walked off the stage. Be on the lookout for her new album Daylight October 25 and available for pre-order now.
Few things are more poetic than the lyrical talent of Curtis Flach. It’s been quite the year for C.K. and The Rising Tide. The band, a five-piece Americana and folk powerhouse, is relatively new on the scene, but they have slowly been playing every major venue and more, grabbing new fans along the way. Flach released a solo EP in 2016 before finding his band members.
In 2018 the band, then only a trio and managing itself, released American Romance, a 10-track homage to the finer things in Americana. Armed with fun songs like “Friends” and slower ballads like “Road to Damascus,” American Romance ushered in a wave of success, two new members and new management.
Flach and his bandmates, who include keyboardist and violinist Danny Boudreau, drummer Rob Piccola, bassist Chris Brant and lead guitarist John Lenio (who joined the band in the last few months) are set to release 10 new songs later this month. The album, Perfect Stranger, is said to be more positive, more at peace and quite frankly, “more mature.” Perfect Stranger was released August 16, and followed up with a show at Lost & Found in Albany the next day.
“With this album, we approached things much differently,” Flach said. “When we recorded American Romance, we all recorded our parts separately and didn’t hear it all together until it was fully mixed. We actively worked as a whole this time around.”
Boudreau concurred with Flach’s statement. Boudreau, who has only been playing the violin for a few years, was concerned about his parts in American Romance. This is his first time participating in a band, let alone one that’s successful.
“I didn’t understand how I was going to write my parts because I had no idea what everyone else was doing,” he said. “Luckily, once it came together, it all worked. It was amazing.”
Flach, Brant and Boudreau were the original trio, with some help from Flach’s brother. After recruiting Matthew Copperwheat and Piccola, the band came into its own.
“I’m no longer handling a lot of production tasks, which gives me more time to write and work on music,” Flach said. “Andrew and Rose are amazing at not only keeping us on track, but they are getting us gigs and marketing us in a way we never could have imagined.”
Andrew and Rose Gabriel are the owners and managers at the band’s record label, Ambassador Music Group. The Gabriels pride themselves in handling all the business and marketing for their clients so everyone can focus on what they do best.
“Andrew is really good at keeping us going with deadlines and making sure we fulfill whatever responsibilities we have,” Flach said. Brant added his managers are really good at keeping the group organized. All band members said Rose Gabriel is absolutely amazing with her marketing and social media management, garnering the band significant recognition.
“Between the two of them, we’ve been able to keep it moving along and stay focused,” Brant continued. “It’s been a great fit for us and I hope for them too.”
The Management
Andrew and Rose Gabriel said their business is in “permanent beta” mode. What does that mean? It’s pretty simple; they keep seeing what works for each client and then adjust the business accordingly.
The Gabriel force, who are also partners in life, has made quite a name for itself in the local community. They’ve worked with many of the acts in the Capital District music scene — including Grape Juice, Sydney Worthley and El Modernist — either through doing business directly or featuring bands on their hit live social media show, “AMG Live!”
“AMG’s slogan is ‘focus on music, we’ll take care of business,’” Andrew said. “During this album cycle, we did just that. We were pretty hands-off with the artistic direction of the album. We heard a few demos early on and knew that [C.K. and The Rising Tide] had something special in the works, so we got out of the way and did what we do best: take care of business.”
It’s definitely a lot of work. The hardest part of managing groups like C.K. is no rest. “We get no rest because this band accepts and accomplishes every challenge we throw at them,” Rose said. “We offer feedback one night and the next night they’ve implemented it. We push them to be the best artists they can be and, likewise, they push us to be the best managers we can be.”
Ambassador and C.K. and The Rising Tide just celebrated its one year anniversary together. Flach said he’s hoping the Gabriels are drafting the second year contract. But that’s the thing — the partnership works for the band as well as it does its managers. Both parties have learned a lot about their respective roles in the past year, but neither would change anything.
“We honestly wish we found them sooner,” Andrew said. “…this year [has] made our team stronger, more connected and more ambitious.”
The camera’s eye
Attend any C.K. show, and you’ll probably see a petite blonde with a camera in her hand. If you’ve seen any artwork for the band, the same woman is behind it. Looking at most photos of the group, an A.K. Photography and Design logo is visible somewhere in the frame.
Ann Kielbasa is the official C.K. and The Rising Tide photographer and graphic designer. But she’s special — she’s been there since the group was rehearsing in a garage. She’s a critical part of the foundation that keeps it going because she’s spent so much time showing it off in her work.
“It’s been a whirlwind to watch them grow like this,” Kielbasa said. “It’s very hard to put all of these emotions into words because I’ve watched them blossom into what they are now.”
Kielbasa, while not a part of the official five-piece group, is considered one of the most important parts of the squad. While balancing her full-time job, she’s essentially working another 40-hour-plus gig keeping up with the men and developing her photography business.
“There’s such a sense of pride because I’ve seen all of the encouragement they’ve received and how hard they work behind the scenes,” Kielbasa continued. “I’ve only heard snippets of what’s coming and all I can say is wow. I can’t wait to hear the full thing.”
In regards to her photography, her goal is simple; she aims to visually epitomize the C.K. sound.
“I want to show people what they sound like and who they are without having to know the context,” Kielbasa said. “I’m so lucky to have such an insider view of this and I want to convey some of that knowledge through my lens.”
The Gabriels can’t get enough of Kielbasa either, calling her an “incredibly fun and professional person to work with.”
The Buzzards are Circlin’ ‘round
Drummer Piccola, who was recruited from Craigslist, said it didn’t take him too long to learn his parts on American Romance. Taking over for Flach, who provided drums on the first album, has been exciting.
“Honestly, I think Curtis might be a bit better of a drummer than I am,” he said. “But we all have a corner of the group that works best for us.” Piccola added he’s excited about the release because, like his bandmates, he wants to see how people connect with the music.
A chance to connect came on July 26, when the quintuple-threat released its first single from Perfect Stranger on YouTube, a hauntingly beautiful song called “Follow The Buzzards.” The MP3 track was released several days later. Boudreau explained how “Buzzards” is only a glimpse of what’s to come.
“I feel like Perfect Stranger is much more excited about the prospects of the future, while American Romance talked about things long gone and bitter loss,” Boudreau said. “One lyric that really stands out to me is ‘Follow the sweet, sweet sound / leave it all in the cold, cold ground’ because it’s kind of a way to break with the past of hurt and move into happier times.”
The music video for “Follow The Buzzards” reached 1,000 YouTube views within three days. At print time, the video is close to 2,000. Boudreau said if “Buzzards” is good, listeners will love the rest of the album.
“We’re heading more into indie rock while still maintaining our roots of folk and Americana, which we love,” Brant explained. “This album is definitely a bit different than what we released last time.” Despite the differences, the band assures fans they will still recognize that signature C.K. sound.
Flach is excited, but he’s cautious. He explained that he’s afraid to really go into how much the band’s sound has matured because he doesn’t want to “shoot [himself] in the foot.” However, he admits he’s stepped up his game. No longer the sit-in drummer with 50 different jobs — he’s now the frontman.
“Six months after American Romance, I presented some demos and it has now blossomed into this,” he said. “We’re feeling confident that we’ve been able to top what we put out last time in what’s coming soon. We’ve really been working hard on this.”
The band’s sound has evolved. What was once simple and characteristic of a band getting on its feet is now layered with advanced production and the sound of musicians who know what they’re doing. You can hear the improvement in Flach’s voice, and he’s blessed to have support from four men who are rapidly improving in their own right. It’s a pretty impressive feat, especially when you consider how all five band members work full-time jobs.
C.K. and The Rising Tide will be playing Rocktoberfest 2019, Ambassador’s one-day music festival, at Colonie Park on Oct. 5. It shares a bill with Madison VanDenburg, El Modernist, Vince Palmeri (another Ambassador talent) and more.
“I think we’re all excited to just connect with people some more,” Piccola concluded. “We use our music to convey emotions and thoughts. I’m just excited to see how the public will connect with us.”
Perfect Stranger will be available on iTunes, Spotify and in CD format.
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.
To paraphrase the Downchild Blues Band, the 2019 Chenango Blues Festival had everything you need, almost. The lone exception was a few bouts of rain and lightning. Even then, the staff anticipated the weather, advised festival-goers, revised the schedule, kept things rolling with minimal interruptions, and were rewarded with a spectacular rainbow once the rain subsided.
Norwich’s native son, Brian Golden, kicked things off on the main stage. Golden has a long history of playing in Syracuse-area bands before eventually moving to Nashville, where he met his wife and band mate, Aletha. The Brian Golden Blues Experiment encompasses his interest in blues, but also makes room for Aletha Golden’s powerful voice on soul/R&B/gospel-styled songs, which included a powerful cover of “I Shall Be Released.” More information is available here.
Up
next on the main stage was a returning crowd favorite, Johnny
Sansone. A multi-instrumentalist, Sansone had fans up and dancing
with his energetic accordion playing on zydeco tunes, adding Delta
blues and swamp rock numbers throughout the set.
Johnny Sansone
The tent stage is traditionally where CBF presents emerging solo/duo acts, or artists that might cover different ground than traditional blues. There were a couple of highly anticipated performers there, beginning with Jontavious Willis. At just 23 years old, he has caught the attention of venerable blues men Keb’ Mo’ and Taj Mahal, who combined as Producer and Executive Producer on Willis’ Spectacular Class, released in April of this year and available for purchase here. Willis proved to exceed expectations, showing prowess, showmanship, an easy rapport with the audience, and surprising covers of a roof-raising version of Ray Charles’ “What’d I Say?” and a crowd sing-along on Prince’s “Kiss.” This is an artist not to be missed.
Jontavious Willis
“When I heard him play I said to myself: this is how the blues, as I know it, is going to stay alive. Jontavious Willis is the first blues musician I’ve seen in over 30 years that I would pay to see – and he’s only 20 years old! I’ve seen the best. Jontavious is the real deal.” [Paul Oscher, noted blues musician, and former harmonica player in the Muddy Waters Band]
Multiple Blues Music Award winner and Grammy nominee Danielle Nicole took the stage for an abbreviated set cut short by the first rainfall of the day, which made it impossible for her to continue on the main stage. Still, she displayed the powerful vocals and driving bass guitar that were staples of her debut album Wolf Den and last year’s Grammy nominated Cry No More. Hear her music and check out her tour schedule here.
With rain falling, the infield crowd shoehorned into the tent stage area to see Pokey LaFarge. A performer with a distinct vintage fashion style, LaFarge’s set had elements of ragtime, swing, country, and certainly blues. He was often hilarious and seemed joyous to receive such an enthusiastic response. A highlight was his very recently penned tune, “There’s Always Something to Drink About.” LaFarge commented that he wrote the song a few days prior to the festival, after contemplating his decision to “try” to quit drinking last month.
“…those…storms that rip up the world as you know it, and leave, like a sacrifice, a rainbow to make you forget what has come before.” ― Jodi Picoult, Picture Perfect
While festival staff scrambled to protect equipment and clean up the main stage, it was decided not to wait, but to switch the Downchild Blues Band from the main stage to the tent stage. Frankly, it was a stroke of genius as the legendary band, celebrating their 50th anniversary, was able to replicate the feel of pulsating, crowded Canadian venues they had played for upwards of 250 to 300 shows a year for many of those years. Led by top-notch harmonica player and guitarist Donnie “Mr. Downchild” Walsh, with award-winning vocalist Chuck Jackson, the group played songs from throughout their history, including their famous “Shotgun Blues” and “I’ve Got Everything I Need (Almost),” as well as the high-energy “Mississippi Woman, Mississauga Man” from their 2017 release, Something I’ve Done, which features songs written by five different band members. The band’s impressive history and music can be found here.
Joe Louis Walker had a couple of surprises for fans during his set. Piano player extraordinaire Kenny “Blues Boss” Wayne, easily the best-dressed person in attendance, joined what had initially been billed as a trio. Walker is a familiar face to Central New York blues fans, having played in Utica years ago and more recently at Funk N Waffles in Syracuse. He shared stories of the elder blues men that gave him a chance when he was just starting out and paid tribute by playing a song by Earl Zebedee Hooker. The second surprise was when Walker paid it forward by inviting Jontavious Willis to join him. Willis looked elated as he grabbed Walker’s red and black Greco guitar and smiled all throughout his time onstage.
Once
the rain ended and the
rainbow appeared, perennial
blues festival circuit favorite Tab Benoit took to the main stage. A
dynamic guitar player with a distinct vocal style that mixes his
Cajun roots with a whiskey-soaked sound more often heard in country
music, Benoit is an original in a genre that often relies on familiar
forms. A power trio with just Benoit and a rhythm section, the band
had fans crowding up front and singing and dancing along.
Tab Benoit
Closing out the day was Mississippi Heat band leader Pierre Lacocque, an impressive harmonic player and singer in his own right, directing a slightly stripped down touring version of the band, which sometimes features a horn section and multiple guitarists. The band still packed a punch and Lacocque was perfectly willing to share the stage and shine a light on the other performers, including the magnetic Carla Stinson on vocals for several songs and very special guest, Chicago legend Lurrie Bell on guitar and vocals.
Now in its 27th year, the Chenango Blues Festival is revered by fans far and wide. They have a fantastic knack of identifying and presenting emerging artists that create thousands of brand new fans. Valerie June, Ghost Town Blues Band, Davina and the Vagabonds, Southern Avenue, Nikki Hill, and Jerron “Blind Boy” Paxton come to mind in just the last few years. They also showcase known crowd pleasers and veteran acts that deserve an appreciative, responsive audience. They treat fans and artists with respect, pay attention to details, and just do things right. It’s a simple formula, but that doesn’t mean it’s simple to do. However, those are exactly the reasons why it is many fans’ favorite festival each and every year.
