Acclaimed filmmaker, Karen Kramer, will begin a week long theatrical release of her new feature doccumentary, Renegade Dreamers, at Greenwich Village’s own Cinema Village starting Friday, May 31. The film is a look into beat poets and folk singers of today, who use free speech and song to spread words of action and change throughout our society. Renegade Dreamers also shows the history of this same rebellion that took place in New York City in the 60’s.
Beat writers, poets and folk singers inspired a social movement in Greenwich Village in the 60’s, showing the public power of the first amendment, and how powerful spoken word can be. The movement brought light to a change that was happening in our country and introduced us to some of the most important artists and wordsmiths of an evolving generation. Renegade Dreamers profiles the artists and activist pursuing this same mission in the world we live in today.
The Film sheds light on numerous subjects all using some form of spoken word art to express a sense of rebellion and concern for the road our society is going down. Weather it’s Matt and Tiffani using folk music and an acoustic guitar, or Roya and Jeremy using poetry and public speaking, each subject featured in the film wants to inform audiences of the power in the firstamendment; just like in the past, with innovators such as Kerouac, Ginsberg, Dylan, and more. Using your voice can make all the difference.
Over all this film is about looking into our past and learning from these people who decided the path they were on was not for them. It’s about how history often repeats its self and how we should take lessons from the past. It’s a film that makes you realize in light of what is going on in our world today It’s more important than ever to question authority.
Renegade Dreamers • Fri., May 31 – Thurs., June 6 • Cinema Village, NYC
Listening to Baby FuzZ’s Plastic Paradise is like playing a game of musical hopscotch – you’re skipping from alt-rock to indie pop to EDM. The influences that inspired the music on this album range from 70’s glam to 2000’s emo, and touches on everything in between. Spectacular hooks and danceable rhythms are he golden threads that hold it all together.
Baby FuzZ has seemed to come out of nowhere, but founder and frontman Sterling Fox has paid his dues in spades. He spent years working primarily behind the scenes as a songwriter, studio musician, and producer, working with some of the biggest names in the music industry. After years of supporting other musicians, he’s pouring his heart and soul into his own musical project.
Plastic Paradise opens with an emo anthem entitled “Burial,” then switches gears to the electro-pop number “Disneyland.” From there, it delves into a shoegaze ambiance of “Andy Warhol” and the slow ballad “I’m Still Holding Out For You.” The lyrics so far are playful and roguish. In “Disneyland,” Fox sings: “I don’t want to be your prom date. I don’t wanna take you home to meet my famz. I just wanna be a player, and ride the rides like it’s Disneyland.”
Perhaps the most poignant and honest song on the album comes about halfway through. “Cig” is a song of love and loss about someone who “drove off into the sunset, drinking pinot, singing ‘Livin’ on a Prayer.’” The sentimental reminiscence about what was and what could have been concludes; “in the end we all burn out like cigarettes.”
On the B side, “Drip Drop” is about love and loss too, but is built on a foundation of rock n’ roll, channeling some Elvis and Jerry Lee Lewis vibes. “Mr. Blu” is an alternative take on a lounge song, where crooning vocals meet swimmy guitar effects. There are a couple more electronic songs on this side too, for good measure.
The album ends with the piano-driven dark ballad “Shadowland.” It feels like a reflection on the cost of being a professional entertainer, with its references to people cheering for tragic anthem, and the open road becoming the highway to Elysium. But yet, he forges on. “I was raised in plastic paradise and I’m still here, deep in Shadowland.”
Plastic Paradise is a showcase of Fox’s skill as a songwriter and performer. He’s comfortable. With a variety of styles and subject matter – in fact, he’s able to pull them off with panache.
It’s fitting that this romp through a sonic candy-land comes in bubble-gum-pink vinyl. If you enjoy the music, be sure to check out the series of music videos that accompany the songs featuring a cast of characters including puppets, a magician, and a karaoke king. Each video is like a mini art-student film which delves further into the storyline of the song.
Plastic Paradise was created with a host of collaborators in addition to band members. With two exceptions, the songs were written, or co-written by, Sterling Fox (aka Brandon Lowry). They were mixed by Chris Connors, and mastered by Emily Lazar and Pete Lyman. Album Art was created by Kristin Eichenberg and Merideth Truax, with Album Design by Ashley Pawlak.
It’s available now to purchase and stream on all major music platforms. Visit Baby FuzZ online, where you’ll find their store, stocked with music, merch, sheet music, and even a comic book about the band’s origin.
Nestled in an unassuming building next to a Russian Orthodox church is a passionate and energetic group of people with a common interest. That interest? Singing music they actually want to sing. Music that is well known, loved and mainstream.
Seventy-percent of the members of Rock Voices can’t read music. Some have never had any sort of vocal training or musical practice, yet everyone shows up. The members applaud one another (literally and loudly) for doing something right. They also lean on one another for support in both music, and everything else.
After the rehearsal, a few members and director, Nate Altimari, joined me at a local restaurant to chat and have some dinner. Contemplating over a spread of nachos, cheese fries and beverages, bass vocalist, Brian Rose, was tired. “I love being tired from singing,” he said. “It feels like we accomplished something and it feels great.”
Altimari, who conducts the Albany and Saratoga chapters, was attracted to the prospect of having his own chorus for many years.
“When my family and I moved from Boston and settled down here, I went through a significant period of time with no musical outlet,” Altimari said over a beer and steak nachos. He’s sitting with five of his longest members. “The opportunity presented itself several times to have my own choir. This was the first one that felt right.”
Altimari had never had his own group like this one. He’s an award-winning singer for his Boston-based group Firedrill!, but this was new territory. After four seasons, he’s learned to let it go. Not everything will be perfect, and that’s perfect in itself.
“This is such a casual, inclusive environment,” he said of his group, which hosts people of all ages, races, ethnicities and religions. “We have no divas or anyone who thinks they are better. We all just love music and want to sing.”
Rock Voices was founded on a simple motto:
Healing ourselves and others through song.
Born from the brain of Tony Lechner, the performer and Rock Voices Executive Director creates of the program’s harmonies himself. Boasting an impressive 15 chapters across the Northeast, the groups all take advantage of the same programs. This makes it easier for those who travel a lot or have scheduling conflicts to attend rehearsals. Even if you can’t make the group you enrolled in, you’re welcome to join other rehearsals to get the practice you need. Because most members can’t read music, Rock Voices provides tracks for each vocal part to help members learn what they need. There are also sheets with strictly lyrics for those who find sheet music daunting. Altimari has 20 years of vocal experience and can smoothly hit all notes, including the sky-high soprano register.
Even after the rehearsal, the five members flanking Altimari have a contagious energy that could ignite passion in even the coldest of souls. Every single one invited me to join the group and asked me about who I was, as well. They listened as intently as they spoke. Their warmth to a stranger they met just three hours ago was like an incubator; I felt at home, accepted and at incredible ease.
Rose is usually the only bass at his rehearsals. With a rehearsal size of 65 (120 people will be on stage at the May 5 show at Sage), you could hear his booming, smooth voice as clear as day.
“It’s just fun,” Rose said. “I walked in a couple of weeks after Mike Hyrny in season one. I came because I wanted to sing “Africa,” [by Toto] which was on the program. I didn’t know this was what I needed, but the feeling I get when those harmonies marry and that moment when it all clicks in rehearsal is something I cannot explain. It feels incredible. I’m hooked.”
Rose expressed the added pressure, if you will, of being the only bass at most rehearsals actually helps him learn his part better because he has to carry his own. Unlike the women and the tenors, there isn’t anyone else to cover for him if he makes mistakes.
Hyrny is sitting two seats down from Rose. Like Rose, he joined without knowing it was what he needed.
“I had gone through some major surgeries before getting here,” Hyrny explained. “Nate had spoken to the Daily Gazette about the first season in February 2018.
“The first rehearsal was actually the day of my surgery,” he continued. “Four weeks later I came in and saw this little chorus of seven or eight people. We had 17 people at the first concert.”
The sound those seven or eight people produced that night was so energetic and impressive, Hyrny immediately joined. In the 16 months and four seasons, Rock Voices has been in Albany; he’s been involved in every one.
Ronnie D’Alauro is Hyrny’s junior high classmate. One day over lunch, Hyrny was telling her about the chorus with a bit of embarrassment. They met again a couple of weeks later and he invited her to the show.
“Everyone looked like they were having fun,” she said. “I didn’t know the background of this group, but I wanted to join.”
D’Alauro described the emotional experience she had at the first show, where she knew this was a group of people who wanted to sing and just have fun. As she talks, her eyes are bright and animated. Her personality is big and intriguing; you want to be around her, as you do the other members.
“I can make any conversation come back to Rock Voices somehow,” she said. “The way we connect, the way we sound — it’s a no brainer.”
Ronnie D’Alauro
The connection is what keeps Altimari coming back and what keeps his chorus stronger than anything the members could have imagined.
“When the music comes over you and the adrenaline is pumping, there’s nothing like it,” soprano Penny Blaisdell said. Blaisdell’s presence at rehearsal was prominent; every single time the group started singing, she would break out in dance. She moved with the music effortlessly. As I moved around the room, her warm smile greeted me whenever we made eye contact. Her church choir roots bred her for this exact situation.
“This music brings me so much nostalgia,” she said. “This music brings me back to those moments from long ago and simpler times. It’s freeing.”
Perhaps the biggest breakout story of the night was Kim Strosahl. A self-proclaimed introvert, Strosahl joined in season one with a fear of singing in front of people. Today, you’d never know that was the case. Since joining, she’s had a solo in each performance. At rehearsal, she belted the iconic “Brighter Than The Sun” solos with confidence and exuberance.
“I was looking for friends and that’s something that’s so hard to find in the second half of your life,” she said. “I wanted something with music in my life. I heard about this and realized it was exactly what I was looking for. No auditions and rock music. I’m in.”
The five singers credit Altimari for bringing the group into its own. A kind soul with the patience of a saint, he corrects with a soft voice and refrains from chastising.
“I couldn’t have done this the way Nate did,” Rose said. “The charisma that Nate has and his ability to bring us all together is something unique to him.”
The other four agreed. D’Alauro called him a kind person in an odd way. Altimari’s energy and presence is something that people seem to be drawn to in practice. Everyone wants to talk and give input.
Altimari struggles with his own expectations, he said. There will be times where he feels the group is much further ahead than it is and it promptly slapped back to reality during rehearsal.
“A couple of weeks ago, I was frustrated with how much we had to do and I was just biting off everyone’s heads,” he explained. “I had to check myself in the car on the way home and then had to email all the members and apologize.
“I have to remind myself that this isn’t about being perfect,” he continued. “The brand of Rock Voices is about fun and expressing yourself. We’re going to be a little rough around the edges sometimes because we are human beings and that’s just human nature.”
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
It rained, it scorched, a few artists had to cancel due to travel issues, but that did not stop Summer Camp from being an absolute blast! A festival full of ups and downs but mostly a lot of awesome, jaw-dropping moments of improvisation and collaboration, beauty, artistry, community, and fun.
Summer Camp, what a line up! Many sets of Umphrey’s Mcgee, moe., plus Pigeons Playing Ping Pong, Lotus, STS9, Gramatik, Space Jesus, Papadosio, and so so many more! Unfortunately not all major acts performed due to various issues, some weather related – Space Jesus, Govinda, Blackstar, & Rebelution were some of the acts that were unable to perform.
moe. in full bubble mode.
The pre party did not look so promising on Wednesday night. In a nearby arcade bar in Peoria, just twenty minutes outside the festival, the sky was black and the lighting fierce. Tornado warnings broke up the chill vibe of the bar as it interrupted old hits like “Electric Feel” by MGMT.
But alas the rain stopped, as it always does. The sun came out and the patrons lined up at the entrance. God bless the express lane for media and the friendly folk who pointed out that media does not have to wait over an hour in the sun just to have their items inspected.
Umphrey’s McGee at the Sunshine stage. We’ll miss you, Jefferson Waful. (UM lighting designer to retire from touring at end of year).
Jay Blakesburg was directing the video team and filming patrons as they entered. The pre party featured some amazing acts like STS9, EOTO, Keller Williams, & Spafford, plus late night by Umphrey’s & Here Come The Mummies. Now that’s how you kick off a festival!
Spafford played an incredible “All In” as well as “The Reprise” amongst their shred-filled set. Umphrey’s Mcgee played some strong first sets including songs like “Andy’s Last Beer” and “Syncopated Strangers.” STS9’s ‘Axe The Cables’ set was filled with groove including a masterful “Mischief of a Sleepwalker” > “New Dawn New Day” > “Mischief of a Sleepwalker .”
Taz sits in with Pigeons Playing Ping Pong at the Moonshine Stage.
Friday started off with Brandon “Taz” Niederauer. Now this kid can shred. “Fire on the Mountain” > “BlackBird” was phenomenal, heart touching, and ever so appropriate. Keller Williams’ Pettygrass with the Hillbenders was cancelled due to some lighting, a storm was coming that never came. Music is back on! moe., Exmag, Spafford, Karl Denson, Here Come The Mummies, Ghost Light (Tommy Hamilton still has the tape on his guitar from Shpongle Live Red Rocks!) and Pigeons Playing Ping Pong were all happy to oblige.
Since Rebelution was cancelled, moe. & Pigeons Playing Ping Pong put together a set. At first it was moe. with Jeremy Schon, but what happened next was really impressive. While playing the same song (“Cissy Strut” by The Meters), members of moe. on stage switched with the Pigeons guys backstage, switching bands while maintaining the same jam ! Crazy impressive. Other songs played included “Get Back” by The Beatles, “Deal”, and “Sympathy For The Devil” by The Rolling Stones.
Aqueous at the Moonshine Stage.
Umphrey’s McGee performed Anchor Drops in its entirety during their evening set, filled with virtuoso shredding and improvisation.
Some heavy hitting bass music on Friday by Zeds Dead, Tokimonsta, Flux Pavilion was followed by Ryan Stasik’s side project Doom Flamingo at the Campfire Stage who are definitely an act worth seeing.
Mihali sits in with Big Gigantic at the Sunshine Stage.
Saturday looked very promising, especially during the epic Big Gigantic set with an unexpected sit in by Mihali of Twiddle. But alas, during Umphrey’s set, the rain came in and washed it all away, along with several sets including those of Space Jesus & Manic Focus.
Saturday also featured amazing performances by Chromeo Live, Cory Wong of Vulfpeck, Blues Traveler with a sit in Mihali of Twiddle and a separate one from Al Schnier of moe. , Andy Frasco with a sit in from Gumby himself! (by sit in what is meant is that Andy invited someone in a Gumby suit from the crowd to dance on stage as he shoved mushrooms in the costume’s mouth and finished Gumby off with his band members with an implied circle jerk).
Cory Wong at the Moonshine Stage.
So spirits were a little low Saturday night in the rain. Some major acts had gotten cancelled and the rain was not letting up. But indoor stages were still on! lespecial saved the day. Space Jesus did not get to play but he was rocking out to lespecial for the entirety of the set front row. With a little support from ‘his uncle,’ Luke Bemand and the lespecial boys crushed the late night Saturday set including the lespecial heavy hitter “Fruit Wolf Dance.” All those folks who may have been somewhere else were now packed and raging lespecial. Their tight, hard rock, danceable groove was perfect for this night. What better Primus song to play after a torrential rain storm… My name is mud!
lespecial at The Soulshine Tent.
Sunday funday. Never miss a Sunday show right? Chris Robinson Brotherhood was in the house, Oteil & Friends, Eric Krasno, Papadosio, The Werks, Ben Harper… the jam was strong with this day.
Aqueous put on a particularly solid set to kick off the day featuring a live debut of “APunk” by Vampire Weekend. Umphrey’s, bringing the heat after having one of their Saturday night sets rained out, included “Whitehouse Road” by Tyler Childers with a special sit in from Arlo McKinley and Allie Kral from Yonder Mountain String Band. Umphrey’s McGee closed up their set with “Outshined” by Soundgarden.
Neal Casal, Weedie Braimah, and Oteil Burbridge of Oteil & Friends at The Moonshine Stage.
Oteil & Krasno in the VIP Lounge was beautiful, featuring masterful renditions of Dead songs such as “Help On The Way.” Oteil & Friends featured Jeff Chimenti, Krasno, Neal Casal, Weedie Braimah, John Kimock, and Alfreda Gerald. Now that was a set filled with such tight, progressive jams. It really flowed, had a direction, and was sonically impressive.
Chris Robinson Brotherhood put on an incredible set with songs like “Rare Birds” and “Venus In Chrome” was played with precision and whole lot of energy.
Chris Robinson Brotherhood at the Sunshine Stage.
moe. busted out some live debut covers including “Rebell Yell” & “Turning Japanese.” This set featured masterful, psychedelic stage lighting complete with UV reacting bubbles!
“Loving Cup” by The Rolling Stones was played at least twice that day by different bands, so that should tell you what kind of Sunday it was. A fun one. It was a Sunday Funday! Ben Harper & The Innocent Nocturnals proved to be intimate, full of masterful blues, and virtuoso musicianship including a Buddy Miles cover, “Them Changes.”
Ben Harper & The Innocent Nocturnals at the Sunshine Stage.
Lotus played a particularly awesome set, including a particularly groovey “Eats The light.” It flowed very well and people danced from the very first note until the end of the encore. Lotus is a nice happy medium between jam and electronica, where they can satisfy musical preferences of different tastes with the same song. Someone who loves to hear someone play guitar can appreciate their guitar playing, but someone who just wants to dance to a catchy beat can also do so at Lotus.
Summer Camp had some heavy hitting bass music to close out the festival featuring Gramatik, Squnto, & Borgore. Borgore dropped old classic dance songs that everyone knew like “Sandstorm.”
Mike Rempel of Lotus at the Sunshine Stage.
Overall, Summer Camp was a success! Thousands of strangers gathered to celebrate freedom, music, and art. Summer Camp is a magical place full of amazing people, incredible music, inspiring art, and a thriving community that is held together by the love of music.
On a beautiful Memorial Day, Ray Brothers BBQ kicked off their fourth season of live music with a concert featuring The Lightkeepers, paris_monster and Chris Eves & The New Normal. “The 4th Annual Backyard BBQ” was a benefit show with ticket sales going to 4 Animal Adoption agencies in the area.
The Lightkeepers hit the stage first with classic rock covers and original tunes from their new SAMMY-nominated album Poor Man’s Blues. Lead singer Jes Sheldon has an incredible energy and charm that captures the audience and certainly sparks the band. The Lightkeepers ripped through their set and left a smoking crater on the stage.
Luckily for the huge crowd that came, that crater was filled shortly afterwards by the duo paris_monster. It is difficult to categorize their music, but in a very good way. You have not seen anything like these two, and the sound they put out is mesmerizing. With a driving bass line and synth fills, Geoff Kraly fits perfectly with singer, keys player and drummer Josh Dion. Their incredible set ended with Chris Eves (high school friend of Geoff) joining the duo on guitar for the final two songs, trading solos throughout. It’s no wonder Turkauz picked these guys to open for them on their West Coast tour. paris_monster has also been touring heavily, not only throughout the United States but Europe as well.
paris_monster
As the sun began to set, Chris Eves & The New Normal began the final set of the night. Chris and his band tore into some covers ranging from The Grateful Dead to Michael Jackson. The band also debuted several new songs from an album that will be released shortly. Everyone was grooving and swaying as the music filled the rolling hills of Central New York. It’s a wonder the beautiful amphitheater is still standing after all of these rocking sets! The audience definitely got their money’s worth with these three incredible bands, delicious BBQ Nachos, tacos, half chickens and pork, not to mention puppies and cats to pet and adopt. If you have never been or are a regular to this outdoor venue, it is a summer must. Colin and Tucker Ray have cultivated another great line up this season along with a wonderful atmosphere for live music. You can check out the rest of the line up and get tickets to The Yard Amphitheater at Ray Brother’s BBQ HERE as well as Instagram and Facebook.
Rising to increased popularity with her recent Grammy win, Brandi Carlile has been selling out acoustic shows up and down the east coast this spring. Saturday’s show at the Shelburne Museum in Vermont was no exception. Hundreds of fans filled the open-air amphitheater, ignoring the forecasted weather warnings of lightning storms and surrounding the stage as the technicians brushed sheets of water off the rubber stage.
Photo by Jim Gilbert
Brandi and the twins would inevitably have to cancel this concert after performing a mere three acoustic songs due to safety concerns. But frankly, their performance, while uplifting and inspiring as always, was only half of this concert experience. The mood of the fans, drenched in rain and mud, huddled in the cold for hours, was brighter than any sunshine hiding behind the clouds. Strangers at 6 pm when the gates opened, the fans quickly bonded, sharing ponchos with strangers, supporting children so they had space to dance, and even covering our concert photographer with an umbrella to protect his gear.
Brandy Clark, the sultry country opener who crooned about divorce, breaking stereotypes of “good girls,” and even smoking weed, was a well thought out choice for the Brandi Carlile fans. Ms. Clark’s real-speak poetry and sexy voice quieted the shivering fans, her music temporarily distracting them from their discomfort. She appeared completely unmoved by the rains that came in sideways toward her while singing. Her voice was a balance between graceful beauty and gritty truths, leading this writer to check her out immediately after on Spotify to hear more.
Between sets, fans began to worry about the weather. It appeared to be worsening, and while the concert was advertised “rain or shine,” there was awareness that the electrical equipment on stage was drenched by the soaking deluge.
Photo by Jim Gilbert
But Brandi and the twins didn’t disappoint. They took the stage with acoustic guitars and stomped wooden boxes for percussion, as plastic covering protected the drums. Starting with “Follow,” Brandi thanked the fans for staying in the pouring cold rain. She remarked, “This is simply amazing to see everyone here.”
And everyone did seem to be there. The fans were overflowing the venue, filling every open grassy area (and the muddy ones too). The trio shifted the song list to accommodate their acoustic sound, bringing great joy to fans who are familiar with older Brandi Carlile albums.
But sadly after the third song, Brandi announced lightning strikes were too close, and the concert would have to be cancelled. The stage was quickly cleared, and fans ran out through hurricane like rains and winds to safely evacuate the space.
Photo by Jim Gilbert
Shorter than expected, but as authentically Brandi Carlile an experience as one might hope for, Shelburne Museum offered a perfect setting for kindness, acoustic music, poetry, and even some dancing in a hurricane. Brandi Carlile concerts – even when cut short – are worth braving any storm.
Note: Higher Ground Music announced that ticket holders will receive refunds. Tickets purchased online through Ticketfly will be refunded automatically; otherwise, fans need to visit their point of purchase for the refund.
Since its inception back in 2009 Albany based punk band, The Slaughterhouse Chorus, have been taking no prisoners with their aggressive, in-your-face musical style. With the release of their fourth record, …In The Name Of Progress, the band has penned its swan song and will be disbanding later this year. After ten years of touring and recording original material, the members of The Slaughterhouse Chorus, which is comprised of Chris Jordan (vocals and guitar), Jay Bonafide (guitar), Bob Watson (bass and vocals) and Mark McKenna (drums), have always steered through the rocky waters of the music industry with honesty and integrity. Initially formed from the ashes of local long-running punk/ska band, Public Access, the band has always had a “do it yourself” mentality that is a hallmark to their popularity and longevity.
The Slaughterhouse Chorus’ latest effort is a stripped down production that was captured at vocalist Chris Jordan’s rural Rensselear County cabin. Each of the five tracks on …In The Name Of Progress were recorded as a live performance by the band and recorded by producer, Ryan Slowey. The EP is being released by local artist collaborative label, Built4BBQ’s, that the band helped co-found. Their first release since 2014, …In the Name of Progress will be available on 12″ vinyl and digital download.
The EP starts off strong with the fast tempo punk number “Greenplates.” Fast guitars and booming vocals by Jordan set the testosterone fueled tone for the record. With lyrics that drip with irony and disillusionment, Jordan lyrically recounts a life of toil and hard work with nothing to show for it but poverty and frustration.
The Second track off of …In The Name Of Progress, entitled “Hambone,” brings a taste of country flavor to an otherwise irreverent punk number. The tune lyrically depicts a gloriously raucous road trip to Nashville where a fresh start in life awaits… if they can just get there in one piece. The track features guitar work straight out of the Grand Ole Opry from Jay Bonafide, who deftly picks away like Roy Clark coming down off of a three day bender. “Hambone” is a fun track to listen to and features backup vocals by Built4BBQ’s fellow label-mates, John “Henry’s Rifle” Pipino and Dan Wilson (of Kimono Dragons and the Rechorduroys), adding a bit of flavor to the number.
Luckily fans of The Slaughterhouse Chorus still have a few chances seeing the local punk favorites live before they hang it up for good. They perform next at their final record release party at Albany’s Hollow Bar & Kitchen on Friday, May 31 at 8PM. They will be accompanied by musical friends Turf ‘n’ Turf, The Death Vacation, and Kimono Dragons. The Slaughterhouse Chorus will play a few more shows this year before taking their final bow sometime this fall, including the sixth annual Built4BBQ Star Spangled Bonanza July 3 at the Hangar on the Hudson, and the Divine Vibes music festival at the Beer Diviner Brewery July 19-21.
Colorado’s The String Cheese Incident graced the tri-state area with a 3-night run at the storied Capitol Theatre in Port Chester, NY to celebrate twenty-five years as a band. This run featured numerous rare covers, the spirit of Jerry Garcia, NOLA style marching into the crowd, and special guests. The band includes Michael Kang (electric mandolin/fiddle), Michael Travis (drums), Kyle Hollingsworth (Keyboards/Synth), Billy Nershi (electric/acoustic guitar), Keith Moseley (bass) and Jason Hann (percussion).
Night one started out with a bang, despite the band and crew travelling through the night from Del Fest and arriving at 8 a.m. that morning. The set started with “Believe,” from their 2017 album with the same name. The boys brought a piece of Del Fest to the Capitol Theatre with bluegrass tunes “So Far From Home” > “Cedar Laurels” and energized the crowd with an incredible segue. “Laurels” was last played at Red Rocks in July 2018. “Gone Crooked” is a new tune by Moseley, written with Raymond Baxter, and had a nice old timey feel. Rounding out the set was “BollyMunster” and the psychedelic “Peace of Mine” > “Let’s Go Outside.”
Michael Kang on the fiddle
Set 2 began with a SCI classic, “Smile,” played for Nershi’s wife Jillian who was celebrating her birthday that night. Nershi announced that the song was originally written for her. Fan favorite “Desert Dawn” segued into two tunes from The Beatles’ Abbey Road, “Polythene Pam” and “She Came In Through The Bathroom Window.” “Pam” was last played 15 years ago, on 04/04/2004, with six total live appearances in all. While not as rare, “Bathroom Window” was last played two years ago on 08/13/2017.
These rarities continued the high energy segue chain into the traditional bluegrass tune turned jam monster, “Rivertrance.” A rocking drum segment followed, with only Travis and Hann on stage. The new Dead-influenced Hollingsworth song “Big Reveal” > “All We Got” closed the set, but the show was far from over. SCI encored with their latin classic “San Jose” and then finished “Desert Dawn.”
Keith Mosely and Michael Kang jam together
Night two picked up where night one left off. Set one started with “Vertigo” and the segue sandwich of “Black and White” > “Can’t Wait Another Day” > “Midnight Moonlight,” the latter being a cover of Peter Rowan for the Jerry Garcia side project, Old and in the Way. The party then went into high gear as the band dove into “Valley of the Jig,” a SCI dancehall beast that is a reworked version of the traditional bluegrass tune, “Red Haired Boy.” The set closed out with Untying the Not’s “Sirens” > the quintessential “Restless Wind.”
SCI covers The Talking Head’s “Burning Down The House”
Set two continued with jam vehicles “Just One Story” > “Rosie.” “Song In My Head” then proceeded, from the album of the same name, followed by their debut of the Jerry Garcia Band cover, “Tore Up Over You.” “45th of November,” from the album One Step Closer, started a funk and psychedelic sequence that reminded the Northeast who SCI is. This began with a segue into the Talking Head’s “Burning Down the House.” The walls of the Capitol Theatre were filled with projections of fire. This cover was last played on 10/29/16 at Hulaween. The jazz-jam monster by The Weather Report “Birdland” > “Wheel Hoss” > “Birdland” > “Just One Story” closed out set two. Apparently, the band was also supposed to play “Jellyfish,” but scrapped the song based on time constraints. Capitol Theatre owner and jamband promoter Pete Shapiro was in the crowd tonight and addressed the audience before the boys returned for the encore. Nershi’s timeless bluegrass tune about rekindling lost love, “Bar Stool,” ended the show.
Pete Shapiro, owner of the Capitol Theatre, addresses the audience
Night three began with the band announcing, “Never miss a Monday night show.” The venue was half full, and those in attendance were in for a cheesy treat. The show started on a high note with “You’ve Got The World” and Believe’s “Sweet Spot.” The perennial fan favorite plus bluegrass tune “Little Hands” included a tight jam and segue into “Don’t It Make You Wanna Dance,” a Jerry Jeff Walker cover. Kang’s “Beautiful,” also from Believe, led into the introduction of their friend, guitarist Scott Sharad. He joined the band on stage for a rocking version of “Outside And Inside” > “Hot’ Lanta.”
Billy Nershi
SCI seemed determined to top each setlist, and the last set was no exception. All six members started the second set by marching into the floor NOLA style, and played an acoustic version of “Dark Hollow.” This song was last played almost 13 years ago at the Tweeter Center on 07/15/2006. “Into The Blue” preceded the always inspiring “Joyful Sound” > “Rumble” and got the crowd moving again. The Keller Williams cover “Best Feeling” launched into a dark reggae jam and segued into The Police’s “Walking On The Moon.” This is the third time they have played this unique cover. “Moon” went back into “Feeling” and then transitioned into Song in my Head’s “Colliding.” Another quintessential String Cheese Incident classic and jam beast, “Texas,” closed out this sensational set. Peter Gabriel’s “Shaking The Tree,” last played 03/18/2017, ended the run and sent the hard core fans home happy. The Northeast awaits the return of this gouda band.
Set One: Believe, So Far From Home > Cedar Laurels, Gone Crooked, BollyMunster, Piece Of Mine > Let’s Go Outside
Set Two: Smile, Desert Dawn > Polythene Pam > She Came In Through The Bathroom Window > Rivertrance > Drums, The Big Reveal > All We Got
Encore: San Jose > Desert Dawn
Sunday, May 26, 2019
Set One: Vertigo, Black and White > Can’t Wait Another Day > Midnight Moonlight, Valley Of The Jig, Sirens > Restless Wind
Set Two: Just One Story > Rosie, Song In My Head, Tore Up Over You, 45th of November > Burning Down The House, Birdland > Wheel Hoss > Birdland > Just One Story
Encore: Barstool
Monday, May 27, 2019
Set One: You’ve Got The World, Sweet Spot, Little Hands > Don’t It Make You Wanna Dance, Beautiful, Outside And Inside1 > Hot ‘Lanta1
Set Two: Dark Hollow2, Into The Blue, Joyful Sound > Rumble, Best Feeling > Walking On The Moon > Best Feeling > Colliding, Texas
Encore: Shakin’ The Tree
Notes 1 with Scott Sharrard on electic guitar, 2 Unplugged, Acoustic
MGMT & Warpaint recently performed at The Capitol Theatre. MGMT played an intimate and fun set with hits such as “Kids,” “Time To Pretend,” “Brian Eno,” and “Electric Feel” sprinkled within some of their newer material from their newest album Little Dark Age.
Losing ones you love stirs up a plethora of emotions that can be hard to process. But confronting the loss head on can be the best way to continue living your best life, the way the deceased would want you to live your life. For International Orange, that meant finishing their sophomore album without their beloved bassist, Gaku Takanashi.
But they pushed through and created a diverse and well executed album. Listeners will find flavors of afro-beat, soul, rock and psychedelic funk, all cut with the jam band flavor we know and love. Although Takanashi did not see the publishing of the album, he did have his hand in nearly half of the songs on the collection.
In short, everything on here is clean, tight and tasty. Arguably, there’s not really a bad song on here. It’s was even sitting in the No. 7 spot on the Roots Music Report chart when it was first released. You can find it there now, but just a few spots lower in rank. No matter though, the album is still fresh and delicious.
Listeners will find a recognizable, contemporary jam sound in “Keep the Blue Side Up” and “Freight Liner.” Unique grooves, time signatures and quirky solos are uplifting and plain fun.
More experimental tracks like “Olinda” and “Sookie’s Roomba” contain touches of latin polyrhythms and open-ended jazzy instrumentals. It reminds listeners that this group is peppered with highly experienced musicians who have played with the likes of Keith Jarrett, Sting and Chris Potter. The companionship and camaraderie within “Olinda” is particularly fascinating. The groups manages to evenly share the space throughout these complex movements and time signatures which keeps things sonically engaging – no easy feat when it comes to improvisational work. “Olinda” is also a fantastic showcase of Takanashi’s skills as he holds down the beat for the entirety of the song but shows restraint when it comes to exploring the space. He was a remarkable player and we can only hope his peers can carry on his legacy in future work.
You can find their full length album on Spotify and Bandcamp. Obviously, a live setting is going to sell their sound more than it will on a recording. Unfortunately, there are no upcoming shows, but their Facebook page shows a consistent run of shows over the past few months, mainly in the Brooklyn area.
