Beck and Cage The Elephant arrived in Saratoga on Monday night, as it was the next stop in their Night Running Tour, which will conclude at the end of August. The night was kicked off with a bang, as the New York City based Sunflower Beans brought an energetic indie-rock sound, bringing the early-arriving crowd to their feet. Their set was followed up by Spoon, who kept the same pace and energy as the Sunflower Beans, despite being two decades older.
Cage The Elephant took the stage shortly after the Spoon’s set. The lights all fell, and the Bowling Green native band was silhouetted by the surrounding pyrotechnics. Eventually Matt Shultz, the band’s lead singer, emerged wearing an outfit you’d only imagine from a Cage The Elephant frontman— a grey trench coat, a masquerade mask, a straw sunhat and an assortment of accessories on various satchels donned by the singer. This was the outermost of many (and I mean many) layers that Shultz was wearing. Throughout the set he unpeeled each layer, revealing strange outfit after strange outfit, until he was left in a nude leotard and red short-shorts. These layers of clothing didn’t impede Shultz’s mobility in the slightest however, as there wasn’t a single minute in the 19-song-set that he wasn’t running, dancing, jumping, or leaning hard into each and every lyric.
Photo by Jim Gilbert
Cage just released their fifth studio album, Social Cues, this past April, so naturally, they played many tracks from the new record, including; “Broken Boy,” “Social Cues,” “Ready To Let Go” and various others. As the set went on the energy of the band never slowed, keeping the thousands in attendance dancing right along. Playing hits such as “Ain’t No Rest For The Wicked,” “Come A Little Closer” and “Cigarette Daydream,” before finally finishing their set with “Teeth.” However, just because the band was done didn’t mean Matt Shultz was. Midway through the last song the singer left the stage and began to make his way through the crowd, and didn’t stop when the song concluded and his bandmates left the stage. Shultz continued on, making his way through the amphitheatre, eventually reaching the lawn, where he crowd-surfed all the way up to the concourse and eventually made his way to the balcony, embracing and entertaining fans the whole way. It was almost 20 minutes after the set that Matt Shultz made his backstage, however, we hadn’t seen the last of him yet…
After Cage The Elephant’s long and exhilarating set it was hard to believe we still hadn’t seen the main act. But, sure enough, there was another entire set to be seen, and it did not disappoint. Beck opened his portion of the night with an acoustic slide guitar solo, such as one you may hear in an Old Western, that solo transitioned into arguably his most recognized song, “Loser.” Beck’s set was filled with his signature indie-rock-rap music, impressive solos from him and his band, bright lasers and lights, and fans who had not stopped dancing since the night began. The night did slow down for a few minutes, when Beck gave a touching speech, talking about his mother who was in the crowd, the importance of savouring what you have and not taking anything for granted – this did not disappoint the fans though, as they continued to cheer and show their support. Beck then covered the Korgis “Everybody’s Gotta Learn Sometime,” then played his own “E-Pro,” before exiting the stage in preparation for the encore that was surely to follow.
Beck began his encore with the sound of the iconic guitar intro of “Where It’s At,” leaving no one unsure of what song was being played. Once that was over Beck gave an unexpected but riveting harmonica solo, beginning his 1994 song “One Foot in the Grave.” Following this, Beck invited the Spoon singer, Britt Daniel, to come back on stage and asked him what he song he wanted to play, Britt replied, “Pump It Up” by Elvis Costello, and so that became the third song of the encore.
Next, Beck invited yet another singer back on stage, this time Cage The Elephant frontman Matt Shultz (who came out wearing yet another exotic outfit, this time complete with a yellow rain jacket and hat). Beck and Shultz sang their recent single together, “Night Running” (of which the tour was named after), followed by a reprise of “Where It’s At,” during which confetti rained from the amphitheatre before the night finally came to an end.
There is a festival where volunteer staff wear t-shirts that read “La Famiglia” and what better way to encapsulate a feeling of family. Many festivals claim to provide a feeling of family, but none better provides a sense of true community than the intimate Mazzstock Music Festival, where founder Lee Mazzola has graciously opened his back yard for music lovers like himself.
On August 8-11, 2019 the uber-affordable Mazzstock Music Festival took place at Mazzstock Fieldin Marlboro, NY, within the picturesque and bucolic Hudson Valley Region. Conveniently located 1.5 hours from New York City, 2 hours from Hartford, 3 hours from Philadelphia and 4 hours from Boston, Mazzstock celebrated its 12th year (5th year as a 3-day fest) and drew soaring crowds with another very strong lineup.
Photo by Mickey Deneher
With the motto “3 days, 2 stages, 1 love, no worries,” Mazzstock Music Festival is something special. It is so intimate and friendly, one feels that they will meet and get along with any one of the smiling faces on the dance floor, in tent city or at concessions. This year included a variety of strong ascending artists. Festival favorite and Mazzstock veteran Zach Deputy returned as a headliner; while Flux Capacitor, Dark Side of the Hudson, Gratefully Yours, Escaper, Cousin Earth and Hayley Jane are just a few offerings from the festival’s varied lineup – which also featured a number of stylized and talented DJs for a very popular late-night silent disco.An impressive set from Kingston DJ, Joey Hernandez, who brought up-tempo house musings.
The weather was perfect throughout and there was no cell service so patrons were connected without any distractions. Another bonus was that one could clearly hear each set clearly from their campsite! Lee, Vinny and the rest of the organizing team provided a seamless experience with impeccable amenities including clean porto-potties with stocked toilet paper, always – all weekend.
Dave Reiss and I Anbassa proved they are a fun band to watch; Flux Capacitor showed why they are invited to play so many festivals, Tom Clancy and Dave Heinzinger led a feisty Sky Daddy set that ignited a tight “Fire on the Mountain.” Will Hanza guided his ascending band, Escaper, to some monster jams while festival mainstay, Alpha Male Gorillas, brought a heavier but contagious groove.
Photo By Mickey Deneher
Tigerman brought the funky rhythms, and stellar guitar work was showcased by ShwizZ Himsef while he adorned a tiger onesie. Dark Side of the Hudson demonstrated they are a premiere Pink Floyd experience with a professional cover rendition of the album Dark Side of the Moon and an exquisite vocal solo on “Great Gig in the Sky.” There were six artists at large, but those from Nyack (ShwizZ Himsef, Natasha May DiMarco, Dan Rappaport, Danielle Sheri Wasserman) shined brightest throughout their plethora of appearances; the bonfire jams were comforting with many bringing voices and instruments of choice for the familiar festivities.
Highlights of the festival included Cousin Earth, Cosmal and Zach Deputy!
Cousin Earth were a pleasant welcoming committee to the many fans that arrived late Friday evening during the set. Formerly Ukelelian, the quintet has been touring hard over the past year, even doing a vast Southern run, spreading their energetic and innovative sound. The NY based band, (a member of the Jam Band Syndicate), consists of Terry Brennan (vocals/keys/percussion), Melissa Raye (vocals/percussion), Corey J. Feldman (bass/vocals), Joey Calfa (ukulele/vocals) and Nate Searing (drums). The band was a breath of fresh air with their eclectic songwriting and hard to predict delivery. They are a band to watch as they ascend the ranks of our scene with more visibility.
The Mazzstock set was electric – fuelled by soaring harmonies and moments of beautiful jam improvisation. “Can You Get to That” was buoyed by the virtuoso guitar work provided by guest ShwizZ Himsef (Ryan Liatis) and his presence on stage with Calfa, who possesses monster chops, was a music lovers delight. “Super Laser Beams” remains a show staple and for good reason– it really showcases the band at its full power with intricate time signatures, blended melodies and trippy surreal solos as part of a musical package that lures attendees in like a laser beam. A recent release, “Don’t Kill Us” is the song that could be a hit as a released and promoted single. Raye’s vocals lead a pleasurable auditory attack with a seriously addictive chorus on a fantastical lyrical romp.
Set List: Pancakes, Burning Up, Window Video Game, Super Fun Laser Beams, Can You Get to That, Please Don’t Kill Us, Fleshy Car/Spain, Capricorn on the Cob
Hailing from New Paltz with over a decade of experience, Cosmal is well known to music aficionados in the Hudson Valley and beyond. Ryan Coyle (guitar/vocals) and his wife, Ali Laz (vocals/live painter), have partnered to unleash a musical experience like no other. A surreal and trippy exploration to the unknown, the dynamic duo has truly mastered the sharing of downtempo moods. Laz is relatively new to sharing her vocals on stage, but performs like a seasoned pro. She has become the consummate frontwomen – sexy, prolific and with a smooth vocal delivery.
Laz is also an accomplished live painter who creates one of a kind masterpieces on canvas that fans share much adulation for. The Wizard of Cosmal though is Coyle, who harnesses his brilliance to compose a myriad of uniquely contagious and infectious original sounds. The new song, “Snake Charmer” is meticulously crafted with solid guitar fills. However, it is “Caliente” that takes down the house as the highlight of the gig. Laz sultry sings, “I love the way you touch me” with relentless beats supporting the groove and it really delivers a euphoric vibe ala Gilberto in “Girl From Ipanema.” The song isn’t about sexual lust, but rather the yearning to feel someone’s entire soul. Cosmal are a quickly ascending band that I expect many more pleasant surprises from in the immediate future.
Set List: Sumatra, Caliente, Ancient Future, Drishti, Realize, Snake Charmer, Final Gear, Way Down, Encore: Blossom, Moment
Zach Deputy :: West Stage :: Saturday 11:10pm-12:40am
Zach Deputy returned to Mazzstock Music Festival as the headliner and had the prime Saturday night slot at the Main Stage. There is only one thing you need to learn about ‘Zachy Dee’ – he is a Master Looper. If you didn’t know that, his fiery and upbeat set soon would convince you. Hailing from Savannah, GA Deputy honed his chops at Riders Lounge on Hilton Head Island, South Carolina. His unique approach delivered a bevy of bombastic acoustic numbers that inspired the crowd to shake their booty in delight. He shared crowd favorites like the party anthem “Put it in the Boogie,” the infectious “Twisty Twisty” and the rhythmic “Home.” He had the longest set of the weekend and patrons still were boogying at the end and salivating for more. A down to earth, generous, jovial giant of a man gifted fans with an assortment of benevolent ditties and in doing so proved that Santa Claus still delivers.
Fifty years after the 1969 Woodstock Music and Art Fair, many original festival goers and younger crowds alike returned to the site of the original festival to mark the golden anniversary at Bethel Woods Center for the Arts. Last night opened the weekend with a performance by Arlo Guthrie, who bridged August 15 and 16, 1969 with a midnight set all those years ago.
Though a bit scaled down from the crowds of approximately 400,000 in 1969, the few thousand people in attendance brought their old memories back to life (minus the mud and inconveniences); they were able to soak in the atmosphere – breathe air that’s never been breathed before, as Woodstock/Bethel Woods mainstay Duke Devlin said. Guthrie was the only artist to perform, but fellow Woodstock alum Melanie Safka stopped by for part of the evening.
Some rain changed the original plans for the night, but the screening of the Woodstock documentary film still took place in the pavilion. This change didn’t dampen any spirits though; while various artists’ performances were shown from the 1969 festival many original attendees were giving as much as standing ovations.
Check out a few images from yesterday’s happenings at Bethel Woods, and stay tuned to NYS Music for more on this Woodstock anniversary weekend. Bethel Woods continues the celebration with performances by Ringo Starr, Blood, Sweat & Tears, and Edgar Winter (Friday), Santana and The Doobie Brothers (Satruday), and John Fogerty, Tedeschi Trucks Band, and Grace Potter and the Nocturnals (Sunday).
Tourism at the site this weekend is restricted to only those who have tickets and travel passes specific to each day.
So Last Year’s “Minutes Away. Worlds Apart” is a song about that moment in a relationship when one person is having to tell the other that things are just not going to work out.
The song came to Logan, lead singer and writer, over the course of a week, and after working on the song he realized that the bridge would be the perfect moment to bring the whole scene together. In the bridge, both people are singing to each other at the same time, one explaining how things aren’t working and the other explaining how there’s still hope to make it work. The song really conveys tension between two people that are at two different places in a relationship, both lyrically and musically.
Logan’s musical theater background leads him to write in story format often, and this song is no exception. Fans of catchy hooks, funky guitar riffs and toe-tapping drums with be in love from the moment they hear the song start. You can expect it to be featured on So Last Year’s upcoming album.
Woods Fest Music Festival is quickly becoming a “can’t miss” event in Central New York, featuring many of the best emerging and established bands in the region and New England.
The all-day festival also featured a Super Jam to finish the night on the big stage. The jam saw members of Nina’s Brew and The Old Main joining Annie in the Water on stage to finish the festival. Following the outdoor festivities, the music continued inside the lodge until sunrise.
Sunday evening, Justin and Jennifer Miller opened the doors of the beautifully renovated Lark Hall in Albany, NY to friends and family with My Morning Jacket’s Carl Broemel as the featured artist. Ian O’Neill of Deer Tick opened up the evening on guitar and vocals with help from Dennis Ryan on drums and vocals. They played some originals that were just recorded, songs from their side project Happiness and Deer Tick songs from the album Mayonnaise.
The audience, having just been treated by the Miller’s to a Tex Mex buffet and open bar, was all smiles and an amazing listening room shone brilliantly as the last rays of sunlight came into the hall through the balcony windows.
The invite-only audience of about 70 people was in for a real treat next as O’Neill and Ryan closed their set stating, “Well looks like Carl just got here and we have one more for you, then we are going to come on out there and watch him with y’all!” Carl Broemel, guitar, pedal steel and saxophone player for My Morning Jacket, having just finished a four-night run with his bandmates, had quietly been watching the opening set from the side of the hall. Broemel, who has just released the critically acclaimed Wished Out album in 2018 and 2019’s EP Brokenhearted Jubilee was up next.
We were incredibly honored and grateful to have Carl join us on our maiden voyage… and none of it would have ever been possible without the support and love of our friends who were there to share the experience with us – Truly a dream come true!”
Justin and Jennifer Miller
After a quick stage switch and soundcheck, Carl “Snowy” Broemel took the stage armed with his electric, acoustic and pedal steel guitar and a rig of pedals and loopers. The Miller’s entrusted their close friend Matt Hueston as the event coordinator and the evening was dubbed “A Snowy Evening At Lark Hall.” The sound at Lark Hall was the first thing those lucky enough to be in attendance noticed. The sound technicians and natural wood of the theater made for a crisp and perfect quality as each note rung true. This space is perfect as a listening room, but the hall will surely host some barn burners as well.
Photo by Matthew Golden
Broemel opened the set with “Starting From Scratch” from Wished Out. He moved in and out of his original material from his solo records with the same ease as he moved between looping guitars with harmonies that created a rocking atmospheric funk. Then the pedal steel came in, layered over top. You could hear a pin drop as the audience did not make a peep during this very special set. It is no wonder why Rolling Stone magazine listed Broemel in the top 20 modern guitar players in the world. His command and control of all that was happening on stage was flawless.
Photo by Matthew Golden
Having just finished a solo tour with Tyler Ramsey, Broemel decided to play an M. Ward cover, “Chinese Translation,” that they had done together while on tour. This version soared through the hall and out onto the Albany streets outside like the sweet drops of moonlight touching down through the trees. Another highlight of the evening was “Carried Away” from 2010’s All Birds Say. Finally, Broemel was beckoned back onstage to treat the audience to one more tune and decided to close out the evening with a rollicking version of Tom Petty’s “Last Dance With Mary Jane.”
After the concert, Broemel signed posters, t-shirts and hung out in the hall talking to fans for hours. He even joined fans in a ping pong match in the adjacent Lark Street Yoga Studio run by Jennifer Miller, just voted a Top 5 Woman Operated Business in Albany. All the facilities at the beautifully renovated Hall and Yoga Studio are state of the art. The sound is amazing. The framed posters that line the walls and decorations are incredible. Those lucky enough to attend “A Snowy Evening at Lark Hall” had a once in a lifetime experience and also witnessed the start of what will surely be a successful venture and true listening space for artists to play and feel like family.
Event organizer Matt Hueston said, “What a magical night, and I don’t think there was one second I didn’t have a smile on my face. I wanted to put this event on not only because I love Carl, My Morning Jacket, and Deer Tick, but to show my appreciation for all of the kindness that strangers, who are now amazing friends, have shown me during my musical adventures. Music brings us together in a way very few things can. Be kind, spread positivity, and as always rock on!” Hueston seems to be onto something here, as Broemel expressed his desire to come back and play this brand new venue again. Be on the look out for so much more from the Miller’s new venue Lark Hall! Scroll past the pictures for the venue’s Mission Statement.
Lark Hall is a Historic performance arts and community venue located at 351 Hudson Avenue in Albany, New York. Located in the heart of Albany’s Lark Street neighborhood, this 14,000 square foot building was constructed in 1916 by the Daughters of the Eastern Star as a meeting and performance hall that includes street level retail and meeting spaces and a 3,000+ square foot venue space with 22’ ceilings, proscenium stage, intricate mezzanine areas, and an artist’s green room and living quarters located above the stage. Owned and operated from 1977 to 2017 by Electric Body Arts, Inc., Lark Hall was most recently utilized as a not-for-profit dance and fitness school maintaining all original historic details.
Purchased in March 2018 by a group led by Jeff Buell and Justin Miller, Lark Hall is being developed into a multi-tenanted performance arts and community venue that will build on the neighborhood’s longstanding arts and community-oriented culture. Carefully designed and engineered, Lark Hall will be developed to provide not only an unmatched guest experience, but also to serve as a one-of-a-kind residency for artists to perform, stay and hone their craft in a comfortable oasis from touring.The building’s first floor at street level boasts over 3,000 square feet of commercial space that hosts Lark Street Yoga Studio (1,400 square feet of high end yoga and fitness studio space) and related amenities, along with an additional approximately 1,000 square foot lobby and common space that will host Lark Juice Bar, Lark Hall Box Office and new elevator bay for ADA and load in access to the upper hall.
An additional 1,200 feet of first floor space is under construction to host a locally-owned coffee shop.The main hall currently contains nearly 3,000 feet of main open floor space fronting an approximately 10 x 30 proscenium stage, along with built in mezzanine space on one side that provides incredible sight lines and acoustics in current format. The hall will be upgraded to include expanded mezzanine amenities for reserved-level ticketing with private bar and bathrooms. The main floor level will include a large bar area and new bathrooms to service the main floor area. Among the significant building upgrades to be installed to support the hall and support spaces include a new elevator, extended stage area, bar and related service and office spaces, building-wide sprinkler and fire signaling, HVAC systems and air handling, along with building-wide electrical systems, lighting and tech backbone to support state of the art sound, lighting and front of house equipment.
For first phase of built out, Lark Hall will be rated for ~300+ occupants and feature unparalleled acoustics and unrestricted sight lines for every single guest.The hall also boasts a unique 2-3 bedroom apartment located above the stage that is directly connected to the stage and mezzanine areas. This amenity will be offered to artists and support crew for use during and after performances. This living space will be a one-of-a-kind green room and residency area to attract and retain artists for multi-night residencies and unique performance opportunities. This living space also adjoins approximately 1,200 square feet of practice and recording space that will be offered to artists and recording professionals for use as part of regular bookings and extended practice and recording opportunities.
All photos by Matthew Golden
Facility Highlights: Historic ~500 capacity venue with unique multi-level mezzanine layout, 22 foot ceiling and proscenium stage. The main Hall includes tech and monitor rooms built into the wings of the stage area, with multiple access points from stage to private artist residence areas.Both GA floor and mezzanine levels for reserved ticketing opportunities, along with flexible seating formats to accommodate ADA and general seating preferences for select shows.Artist focused living and practice space to attract and retain local, regional and national touring acts. Living space may be available for short term stays to support community meetings, weddings and other hall offerings.
Practice and studio space will also be available for use as part of enhanced ticketed performances (a la midnight preserves), and for lease and/or management by third-party recording professionals.Built-in flex space on first level that will provide dedicated box office, merchandise counters and flex space availability within yoga studio to support artist meet and greets and integrated gallery space for artist support industry (gallery for pop-up poster artists and photographers, sound check party amenities, and general flex space to support events built around ticketed performances).Designed for both fans and artists, Lark Hall will provide an unparalleled live music and performance experience.
“Something that won’t necessarily be discussed today, just because we don’t have enough time, is how to do all of this outreach. How do you send that e-mail? How much is not enough, or too much and too annoying? But we should have this discussion, either in a separate function or one-on-one, and you can come talk to me. Because I want this region to do well; there is too much talent here.” Joel Feinberg, CEO of DeWolfe Music, said this at at the end of an engaging panel discussion titled Licensing Update: Moving Beyond Commercials at the inaugural Hudson Valley Music Summit, held August 9 in Kingston, NY.
Feinberg, who calls New Paltz, NY home, is certainly right: The Hudson Valley comprises the section of New York reaching from Upstate to the the edges of the big city itself. And while that’s a vast stretch, it’s a strongly connected one, with many fast-growing musical and artistic performance scenes burgeoning within them. Representing this area and its continually multiplying numbers of talented, independent artists in the context of the music industry is an important and noteworthy, albeit long term, cause.
That’s where the Hudson Valley Music Summit comes in, the single day event planned and organized for as long as over a year by author and independent musician David Hoffman.
Beginning bright and early at 9 A.M. and lasting through a more informal, live music event at Kingston’s BSP lounge, the Summit was a chance for local artists and music career professionals to both connect with highly successful and renowned members of the industry and learn trade secrets from them. Across a series of panel discussions, hosted by a moderator and joined by a small handful of talking heads, the summit’s aim was to demystify the often intersecting, co-dependent niches of the music industry, and offer insight into the many diverse ways to achieve financial, creative, entrepreneurial success within it.
In that Licensing panel, for starters, Feinberg along with a handful of others, like panel moderator Sharon Tapper, CEO of Pivot Music Group, answered questions about the myths, misunderstandings, and gems of truth about getting one’s content into the hands of publicists, label executives and more. When discussing writing music for commercial, “Upbeat always beats depressed in the numbers,” was just one insight of many upon which the panel unanimously agreed.
In a panel titled Conceiving a Coherent Image for a Strong Merchandising Strategy, Mara Frankel, Senior Directive Creator of Atlantic Records led a very intriguing conversation on artists’ best approach to visual mediums and making them work for their brand. At one point during this session, John Warner, owner of Hi-Line Merchandising, held up Keller Williams’ newest album, Add, to the crowd and succinctly explained its direct yet effective use of a single title single image to communicate the one-man-jamband’s thematic intention.
Some of the day was less study session and more nifty. One of the day’s highlights, for instance, was a lunch hour overseen by an intimate discussion between Relix Editor-in-Chief Dean Budnick and Capitol Theatre owner Peter Shapiro. Budnick pressed Shapiro for details on the recent success of The Cap, Port Chester’s renowned rock music venue, along with tidbits about its sister venues The Brooklyn Bowl and the now-defunct, yet ever famous, Wetlands Preserve.
One of the more intriguing questions asked of Shapiro concerned how bands might able to transition from playing one size venue to a larger one, to which he offered: “Keep in touch with bookers, and let them know where you’ve played. Also be open to opening, tell bands and bookers you can bring this many people to their show. Go crush Garcia’s and you’ll probably get a phone call from us.”
And, in response to a question from the crowd asking, “Why staff at The Capitol Theatre love Shapiro so much?” which is something you don’t see too much,” Budnick actually answered for Shapiro, giving an answer that seemed to fit. “It’s because he’s there, at the shows. He’s down in it, just like any fan watching a show, and I think that’s what anyone should aspire to.”
In a special panel that closed out the day, Manager’s Roundtable, the Summit gathered together the managers of The Wood Brothers, Wilco’s Nels Cline and others to paint a picture of a day in their life. The four members and moderator Linda Lorence-Critelli (president of the New York chapter of the GRAMMYs) all agreed firmly upon a simple yet paramount idea, one that seemed to sum up the entire day. In response to an audience member’s question about how to make get inside a manager’s door and establish a connection, they said, “It comes from relationships.” Hard Head Management founder and wife of Warren Haynes, Stephanie Scamardo, went on to describe how she recently also became manager of rock sensation The Revivalists, noting that it stemmed from a friendly conversation that led to a lunch date, and then ultimately a strong partnership.
Hopefully, that’s what the collection of local musicians, marketers, content producers and more found in attending the Hudson Valley Music Summit: the chance to connect with an industry leader or two, learn a thing or two, and possibly even offer services to one another or vice versa.
My Morning Jacket finished out their only four shows of 2019 with an incredible East Coast run this weekend at the The Capitol Theatre in Port Chester, NY and Forest Hills Stadium in Queens, NY. After an incredible two-night run the previous weekend at Red Rocks Park & Amphitheatre in Colorado, the gentlemen from Louisville, KY headed east to celebrate with a very special 20th anniversary concert of their first album The Tennessee Fire, plus songs they covered during that era and a very tight set of fan favorites and deep cuts, all played under a perfect summer night in NYC.
The Capitol Theatre was buzzing with excitement as fans gathered early to form a queue wrapping around the city blocks of Port Chester. Many had signed up for the VIP packages which included a BBQ with the band, featuring drummer Patrick Hallahan’s famous smoked meats. When the doors opened, many rushed to get spots on the rail, buy posters or just soak in the majesty of this beautiful theatre. The projectors layered the walls images of the first record and hand written song lyrics and, later, images of space during the first encore – a cover of Elton John’s “Rocket Man” with soaring vocals from Jim James (lead singer, guitar) and wailing pedal steel from Carl Broemel (guitar, pedal steel, saxophone).
Before we even got to that, the band ripped into “Heartbreaking Man,” the first song from their first album released 20 years ago, with a tenacious energy. One could see the smiles on bassist Tom Blankenship’s face as the boys brought new life to The Tennessee Fire. It is incredible to see what they can do as a live band now. Revisiting the first record was not only special for the audience, but James noted that it was an incredible experience to think about where they were, what they were doing and how much has happened since those songs were written.
Even the slower songs like “Old September Blues” and “Picture of You” were given special treatment with wild guitar riffs traded between James and Broemel – and beautiful solos from Bo Koster on keys. Some of the songs featured a few special lyric changes like the last song of the set, “I Think I’m Going To Hell,” which made the experience of being at the venue and witnessing this performance that much more special for the audience.
On Saturday night, the band bid a bittersweet farewell and ended their four-night summer run with yet another incredible performance. Forest Hills Stadium is a beautiful venue located in Queens and the concertgoers could not have asked for a more perfect night. The band sounded tight and packed a powerful punch into the two and a half hour set. “Compound Fracture” was the opening song from their latest album The Waterfall, released in 2015.
As the sun began to set, the band lit fire to the stage with “Victory Dance” from 2011’s Circuital. “Hope to watch the victory dance after the days work is done / Hope to watch the victory dance in the evenings setting sun,” James sang, motioning to the lingering trails of light over the historic stadium. For fans of the band, it was rewarding to see the full band back together as it had been nearly 18 months since their last performances at One Big Holiday 4. The chemistry was still there and when James and Broemel stood together trading and layering licks over the final two songs of the first set “Steam Engine” > “Phone Went West,” you could see the shape of a heart between their nodding heads with Hallahan, Koster and Blankenship between them.
Both performances were exceptional to say the least and gave the audience the best of both worlds with a night of deep cuts in celebration of 20 years together and a night of fun fan favorites. Hopefully, they are back on the road together again sooner than later.
Setlist – Capitol Theatre: Heartbreakin’ Man, They Ran, The Bear, Nashville To Kentucky, Old September Blues, If All Else Fails, It’s About Twilight Now, Evelyn Is Not Real, War Begun, Picture Of You, I will Be There When You Die, The Dark, By My Car, Butch Cassidy, I Tnink I’m Going to Hell.
Encore: Rocket Man, Weeks Go By Like Days, Tyrone, Tonite I Want To Celebrate With You.
Setlist – Forest Hills Stadium: Compound, the Way That He Sings, I’m Amazed, Golden, Mahgeetah, Evil Urges, Victory Dance > Circuital, Gideon, Off The Record, Spring, Smoking From Shooting, Tropics, Lay Low, Steam Engine > Phone Went West
Encore: Wordless Chorus, Touch Me I’m Going To Scream Part 1, Touch Me I’m Going To Scream Part 2, One Big Holiday.
The Group Therapy Tour was just the medicine needed for more than 15,000 fans of Barenaked Ladies that packed into CMAC this past Friday night. This being the first time they’ve toured in over a decade, Hootie & the Blowfish was not only celebrating the 25th anniversary of Cracked Rear View Mirror‘s release back in 1994, but also announced their upcoming album Imperfect Circle, due for release this fall.
Opening and getting the night started was the Barenaked Ladies. With Ed Robertson on lead vocals and guitar; Jim Creeggan on bass and vocals; Tyler Stewart on percussion and vocals; and Kevin Hearn on keyboards, guitar and vocals; this quartet have perfected their harmonies and playing over the years, but it’s their stage presence that really lifts them above most bands. The one thing that hits you first (if this is the first time you’ve seen them live) is they have so much fun playing together. Racing across the stage, playing to not only the crowd but to each other, fun has to be their middle name (Barenaked Fun Ladies), just has to be.
They are known for their improvisation – their number one hit “One Week” was added to the album Stunt to demonstrate their flair of improv and the energy they exude during their live shows. Capturing it perfectly on the album and again Friday night, these fun loving guys have proven they still have what it takes to get the crowd out of their seats, dancing and singing. In fact, if the band “Had a Million Dollars,” they wouldn’t have to buy their love because it was right there in front of them as the crowd sang the lyrics word for word while the band pitched and knocked stuffed animals out of the park. Closing the set out with a mash up of some favorite rock songs, percussionist Tyler Stewart demonstrated what his and the other band members’ strongest qualities are: their versatility and talent, both vocally and musically.
With a quick changeover, it was just minutes before Hootie & the Blowfish took the stage. The moment they came out, the crowd rose to their feet. With hands in the air and phones on record, the crowd ate up every moment they played, hungry for more.
The setlist was outstanding, giving the crowd a taste of an expanse of music from their library, those that have influenced them along the way, and just favorites of both the crowd and the band. Joining them a few songs into their set, one of the best moments of the night was when Barenaked Ladies sat in for a cover of the Beatles’ “A Little Help from My Friends.” This classic song was just an epic choice to feature all these talented musicians and what they bring to the stage.
Like a storybook unfolding, Darius told a story the whole evening through music. Sharing past hits from music that influenced them, such as R.E.M.’s “Losing My Religion,” and showing how music can soothe and collectively unite as he and the band dedicated “Will the Circle Be Unbroken?” to the families and victims of the past week’s shootings, it once again demonstrated how music heals and is a universal language to which everyone can relate.
With a new album to be released on September 6, those in attendance got just a taste of what’s to come. This will be the first album they’ve released since 2005’s Looking for Lucky. A performance of “Rollin’“ as an appetizer left the crowd wanting more, at least it did for this photojournalist.
Despite a slow start to the evening that included the massive number of people coming in to the venue, the issues with ticketing (CMAC is a Ticketmaster venue so buying from third parties is not encouraged or honored) and a strange rain storm that occurred in the beginning of the evening, (rain on one side of the amphitheater and not the other), all in all, it was an amazing night of music that made all the gray moments shine like the rainbow that appeared right before the show began.
Barenaked Ladies Setlist: Bringing It Home, Odds Are, It’s All Been Done, Gonna Walk, The Old Apartment Matter of Time, Brian Wilson, Lookin’ Up, Pinch Me, Big Bang Theory Theme, One Week, If I Had a Million Dollars, Barenaked Rap: Shallow / Old Town Road / Sicko Mode / High Hopes / Whole Lotta Love / Another One Bites the Dust
Hootie & The Blowfish Setlist: Samuel L. Jackson Ezekiel 25:17, Hannah Jane, State Your Peace, I Go Blind (54-40 cover), Sad Caper, Not Even the Trees, With a Little Help From My Friends (Beatles cover with Barenaked Ladies), Hold My Hand, I Will Wait, Let Her Cry, Hey Hey What Can I Do (Led Zeppelin cover), Will the Circle Be Unbroken?, Desert Mountain Showdown, I Hope I Don’t Fall in Love With You (Tom Waits cover), Alright (Darius Rucker song), Running From an Angel, Losing My Religion (R.E.M. cover), Time, Rollin’, Wagon Wheel (Old Crow Medicine Show cover), Old Man & Me, When I Get to Heaven / Fight the Power / Freaks of the Industry Encore: Goodbye, Go and Tell Him (Soup cover), Only Wanna Be With You / Get Down on It, Country Roads (John Denver cover)
Hailing from Vinton, Louisiana, Marcia Ball will be bringing her unique sound to Caffè Lena on Friday, August 30. USA Today described her music as being a combination of “Texas Stomp Rock” and “Louisiana blues-swamp,” an intriguing combination. Each performance of Marcia Ball’s becomes a musical party of joyful music and triumphant vocals, and every note comes with a twist that is all her own.
Marcia Ball has won many accolades over her career, including a recent induction into the Austin City Limits Hall of Fame in 2018. In 2002, she won the Blues Music Award for “Blues Album Of The Year” for Presumed Innocent. In 2004, her album So Many Rivers was nominated for a Grammy Award and won the 2004 Blues Music Award for Contemporary Blues Album Of The Year, as well as the award for Contemporary Blues Female Artist Of The Year . She has been awarded a total of ten Blues Music Awards, ten Living Blues Awards and has been nominated for a Grammy five times.
Clearly, Marcia Ball is an incredibly talented musician who has cultivated a sound and style that can only be described as her’s. She will be performing two shows at Caffè Lena, an early show at 6:00, and a late show at 8:30. To get tickets to the early show, go here. To get tickets to the later performance, go here.
