NYS Music 20​19

Category: Features

  • When Worlds Collide: The Dee Brothers Invade Turning Stone

    Turning Stone, an award-winning, destination resort in Upstate New York, works tirelessly to bring best in music and entertainment weekly. Named as the “Best Countryside Hotel/Lodge” in 2015, their vast accommodations, casino and top tier restaurants clothe a hidden gem – Turning Stone as a music mecca. The renowned Casino not only bring us talent, they foster talent, such as The Dee Brothers.

    Turning Stone Casino and Resort offers a multitude of musical options from large national acts, to new and local talent. No matter how big or small, there is a venue to host it appropriately. The Event Center is the largest with a 5,000 seat capacity.  Here you’ll see large shows, sporting events, and conventions.  The Showroom, first to open its doors back in 2002 seats up to 700, bringing you shows, comics and theater productions. Back in 2013, we saw Exit 33 open offering a variety of nightlight and clubs for music of all types, playing off the venues location.  Whether it’s dancing at Lava, two stepping at The Tin Rooster, rocking out at The Gig, or just slow dancing at The Turquoise Tiger, there is a spot for all music lovers wishing for a great night out. Add in talent throughout many of their restaurants and atriums, and their’s music everywhere. 

    It’s here that Ryan and Joel Dee (The Dee Brothers) found their way from NYC. The two brothers moved to upstate New York to pursue their musical dreams and taking a job at The Gig. The brothers would bartend during the evenings, giving them time to pursue their creative aspirations during the day. Just like something out of a movie, it’s here that they found a spot to play their music. The Dee Brothers took a moment to speak to NYS Music and share a little of how their partnership with the Turning Stone has helped them out as musicians.

    The Dee Brothers

    Kathy Stockbridge: Originally from NYC, tell us how you came to the Central NY Region and Turning Stone.

    Joel and Ryan Dee: We were both itching for more elbow room, so when we heard about the opening of Exit 33, we packed our bags. It’s been the perfect fit, because we can now enjoy the relaxed vibe of Upstate New York, while also getting our fix of high energy at Turning Stone.

    KS: Having a following in your hometown area, did you find it difficult to get started here?

    JD and RD: Working at Exit 33 has really helped us make great local connections, and our flexible schedules allow us to pursue music during our off hours. Plus, working at a music venue continually propels our passion forward.


    KS: While working at Turning Stone, I understand you were given a break to play your music.  How did that transpire?

    JD and RD: Turning Stone is always spotlighting its employees, including through an Employee Talent Show, where we got the chance to play and have returned every year since. It’s been a great new stage that Turning Stone has provided us to showcase our music.

    KS: As an employee of Turning Stone, how supportive are they with your side gig?

    JD and RD: We couldn’t ask for a more supportive employer than Turning Stone. With their flexible shifts, we still have plenty of spare time to work on our music while still making a good living with great benefits.

    We both bartend at the rock and roll venue The Gig, which is awesome because it keeps music front and center in our lives, even at work.

    KS: You hear of musicians working at a venue just to catch a break… how has this helped get your music out there?

    JD and RD: We’re very lucky to work at a place where our passions and jobs collide. While bartending, we’re continually meeting fellow musicians, fans and making other great connections.

    JD: As a songwriter, working at The Gig inspires me because of the music, conversations and moments I experience at work every day. I get to talk music theory and exchange ideas while on the job, which is a huge benefit and provides a ton of inspiration for my songs. Turning Stone is always evolving and working on the next big project, so our advice would be to be ready for any opportunity that presents itself.

    KS: What are your aspirations and dreams for your band Andela? Any new music in the works?

    JD and RD: In five years, we would love to be playing regularly at Turning Stone. But I can also see us on tour, traveling the world with our music. Maybe one day, we’ll get the opportunity to come back and play at the Turning Stone Event Center and bring our story full circle.

    JD: We want to attract a wider audience, and we’ve really gravitated toward the new taste for songs that make you want to dance.

    RD:  This generation’s love for EDM has pushed us into an entirely new realm of music creation. We’re now finding our own sound that’s a balance of dance/club music mixed with a live rock feel.

    KS: What advice would you give other artists starting out or wanting to work with the Turning Stone?

    JD and RD: We’ve both grown tremendously working here and enjoy every day because there’s always something exciting happening that helps us grow and inspires us.

    Learning about how Turning Stone has assisted the Dee brothers, and their dreams, by fostering a great working relationship and giving them a stage to perform – sharing their music that is unique. The Turning Stone happily happens to be holding a huge hiring event this coming Monday, May 13, from 10am to 8pm.

    Learn more: May 13 You’re Hired Event

    The Dee Brothers

    Those that may wish to find employment in fields of hospitality, culinary, gaming and many more should update their resumes and come dressed to impress. The event is titled “You’re Hired!” because qualified candidates could be given job offers on-the spot. Turning Stone recruiters and senior leaders from several departments including gaming, culinary, beverage operations, and hospitality will be on hand to answer questions and conduct interviews. 

    Looking for your foot-in-the-door opportunity may just be right around the corner, off of Exit 33.  If asked how you learned about the event, just tell them Kathy from New York State Music sent you.

  • Hearing Aide: J.J. Cale ‘Stay Around’

    Legendary songwriter, guitarist and singer, J.J. Cale, was taken from us back in 2013, but his musical legacy will live on forever with Stay Around. His catalog of tunes have shaped lives, influenced musical styles and helped make the careers of more than one musical superstar. With songs like “Cocaine,” “After Midnight,” and “They Call Me The Breeze,” Cale’s storied musical catalog will outlast many of today’s contemporary artists. This fact is backed up by one, Mr. Eric Clapton, who has covered  multiple J.J. songs and has described his 2006 Grammy award winning collaboration with Cale, The Road to Escondido as being, “the realization of what may have been my last ambition, to work with the man whose music has inspired me for as long as I can remember.”

    Luckily for fans, Cale isn’t done providing new material just yet.  With the posthumous release of Stay Around, listeners are lucky to be provided with previously unreleased material that has been painstakingly compiled by J.J.’s widow, musician Christine Lakeland-Cale; along with friend and longtime manager, Mike Kappus.

    The result is a 15-track gem of an L.P. that includes unheard material penned by Cale with the exception of “My Baby Blues,” which was written by Lakeland-Cale.  This track captures Cale’s cool vocal style and sets the scene of a funky, smokey Juke Joint somewhere south of the Mason Dixon Line. The multi-layered rhythm guitar is interrupted by an oh-so-pleasing fuzzy guitar lead that effortlessly weaves itself in and out of the tune.

    Another Gem on Stay Around is the tenth track, a stripped down soul cry titled “If We Try.”  Lyrically, the song describes one man’s attempt at saving his relationship with his long term time lady by putting all of their mistakes in the past in an effort to give each other a fresh start.  The song features a solo Cale, starkly playing on the acoustic guitar, which creates a real feeling of intimacy, as if you were comfortably sitting in J.J.’s living room next to a fire while he performs the piece on his strumming guitar.

    Another favorite is the wonderfully produced “Long About Sundown,” the album’s 13th track. They say imitation is the biggest form of flattery. If you are familiar with Eric Clapton’s long musical career you know that there was fundamental shift in his playing in the mid to late 1970s. A good portion of that distinctive sound can be attributed to the fundamental core of Cale’s musical aesthetic. Sundown perfectly illustrates those similarities with an arrangement that could be right off of Clapton’s 1974 release 461 Ocean Boulevard.

    J.J. Cale’s life in music may be over, but his long musical career was one that he lived by on his own terms. His rejection of the big corporate musical industry was the nexus of the man’s music. Truth, honesty and a genuine love for the music that he readily embraced, yielded an enviable body of work that has forever changed contemporary music for the better. Stay Around is a perfect summation of that incredible work by a legendary artist.

    Key tracks: Lights Down Low, Tell Daddy, Long About Sundown

  • Hearing Aide: The Last Poets ‘Understand What Dub Is’

    If you were to construct a timeline showing the evolution of hip hop music, where would it begin? Some may think to credit the rhythmic jazz and blues of Bo Diddley, dating as far back as the 1950s. Some may say the birth of hip hop was in the creation of turntables and sampling, made popular with the scratching and beat matching of DJ Kool Herc and Grandmaster Flash in the 1970s. Beyond these names, and others that we’ve come to know under the hip hop umbrella, nobody has stood the test of time more than The Last Poets – the spoken word masterminds of the late 1960s, and the true trailblazers of hip hop music.

    the last poets

    Fifty years ago, The Last Poets began their ascension into the public sphere using moving poetry and smooth reggae backing tracks as a platform for voicing political activism, describing their experience as children of the civil rights movement. After decades of releasing albums and touring the world, the group released Understand What Black Is is 2018. While followers of the group are forever grateful for new music, it took the dubbing of the album by British producer Prince Fatty to bring this music – and the powerful message of unity and peace – to a younger generation.

    In the 2019 dub release of Understand What Dub Is, Prince Fatty adds transient delay and reverb over The Last Poets’ original tracks, keeping many of the album’s elements the same. From simple guitar riffs to decorative flute that decorates the spaces between each stanza, Prince Fatty keeps attention on the resonating lyrics of The Last Poets. At the same time, he tends to bring light to the 1970s -style rhythm in “We Must Be Sacred,” crisping those off beat drum hits. You can hear the chilling melody of “Certain Images” intensify with panning mastery, making it almost comparable to a hook in late hip hop.

    It’s clear that Prince Fatty has a deep understanding of The Last Poets’ immense impact on music and culture, as well as other creators of that era. His name, Prince Fatty, is an ode to Jamaican dub engineer, King Tubby, from the 1970s. Prince Fatty’s other successes include working with The Sugarhill Gang, making their mark on Harlem shortly after The Last Poets, with the first organized rap song to date. There’s no doubt that Prince Fatty developed a love for poetry at a young age, and followed this emergence of hip hop over the years, mixing and dubbing along the way. Understand What Dub Is is a tip-of-the-hat to the undefinable emergence of hip hop music, while bringing the inspiring voices of The Last Poets to center pan.

    Key Tracks: Certain Images, Understand What Black Is, We Must Be Scared

  • Brian Auger and Oblivion Expression Jazz-Mining at The Egg

    Brian Auger and the latest incarnation of Oblivion Express played just six songs in each of their hour-long sets on Sunday, May 5 at The Egg. The modest but appreciative audience was treated to plenty of marvelous solos from both 79-year-old English keyboardist, Auger, and the incredible Australian guitarist, Frank Gambale, a mere stripling at 60.

    Brian Auger

    Earlier versions of Oblivion Express recorded six studio albums from 1971-1975, mining a progressive vein of soul-jazz that also incorporated traces of funk and rock. The current band somehow manages to make all these elements sound relevant and contemporary, even when they’re covering jazz numbers such as Dizzy Gillespie’s “A Night in Tunisia,” Wes Montgomery’s “Bumpin’ on Sunset,” Eddie Harris’ “Freedom Jazz Dance” and Gene McDaniels’ “Compared to What.”

    The current quintet was filled out by relative youngsters: singer/percussionist, Lilliana de los Reyes; bassist, Andreas Geck, and Karma Auger (yes, he’s Brian’s son) on drums. Anyone who thinks nepotism accounts for Karma’s presence should just listen to him – he’s an excellent drummer who doesn’t overplay, yet made the most of his brief solo-spot during the coda of “Whenever You’re Ready.”

    Reyes has a lovely voice and she gained confidence as the evening progressed, stepping out from behind her percussion array, really emoting on a beguiling version of Donovan’s “Season of the Witch.” It was first cut by Auger with Julie Driscoll and the Trinity on their 1967 debut Open.

    “We were recording on clay tablets at the time,” noted Auger. “This tune was a smash all across the Roman Empire.”

    Reyes’ ebullient vocals and the energetic solos from Auger and Gambale were well-suited to the positive messages conveyed by songs such as “Happiness Is Just Around the Bend,” “Straight Ahead,” “Whenever You’re Ready” and “Sundown.” Auger is best-known for a robust Hammond B-3 organ sound, though he also deployed a Korg M3 synthesizer. Gambale was dazzling throughout, with such a clean tone and precise articulation, he demanded attention even when playing rhythm accompaniment behind Auger’s lead on “Compared to What.”

    Brian Auger finished this performance by saying “drive carefully because you never know: I might be walking back to the hotel. Thanks again everybody we will see you in the future.” Though he turns eighty on July 18, he’s got a European tour booked for the fall, and shows few signs of slowing down. Mr. Auger, long may you run.

  • The Masses of Woodstock 1969 Time Travel in a 38-Disc Box Set

    The daunting Woodstock 50 – Back to the Garden – The Definitive 50th Anniversary Archive box set debuts August 2, exactly two weeks before the Woodstock festival revival was said to take place. Limited to 1969 units, the 38-disc box set is completely remastered, spanning the original festival top to bottom. All 433 tracks are catalogued between Friday’s opening set of Richie Havens to Jimi Hendrix, spilling into Monday morning.

    More than half of the total runtime debuts unheard releases. The 267 song homage captures names like Janis Joplin, Grateful Dead, The Who, Creedence Clearwater Revival, Sly and the Family Stone and many greats for the first time.

    Each box comes loaded with a guitar strap, Director’s cut Blu-Ray, prints, writings and other memorabilia. A coffee table book, Woodstock: 3 Days of Peace & Music, fuses visuals with sound and are accompanied by Lang’s insights and memories to 1969.

    The collection is a time-capsule weaved with personality; notably from a replica diary written by an inspired attendee. Stage-banter sucks you into different angles in time – retrospective in particular lights of the festival experience, and flat out rock and roll. The expansive archive captures festival blurbs from random attendees taped by  sound recordist Charles Groesbeek, and backstage audio. Its mass will be organized neatly, day to day. From an analytical measure or for the pure Woodstock-junkie, this box set is remarkable. Experience it day by day as if it were 1969. Price of admission: $799.98

    The Definitive 50th Anniversary Archive can be preordered here.

  • Woodstock 50: Lang Accuses Financial Partner of ‘Treachery,’ Plans To Raise $30M By Friday

    The drama surrounding Woodstock 50 continues. It is estimated that Lang will need upwards of $30 million to produce the three-day event at Watkins Glen International Speedway, Aug 16-18. According to Billboard, sources have stated that Lang has until Friday May 10 to raise the funds, which is in addition to the $30 million that Japanese-firm Dentsu has already spent on prospective headliners.

    Sources have also stated that despite Dentsu and other investors pulling out that Lang is adamant that Woodstock 50 will go on. Lang has stated that CID Entertainment would be stepping in to replace Superfly as the festival’s producer, but the company has not officially confirmed. A representative for Lang has approached both Live Nation and AEG (Anschutz Entertainment Group) about investing in the festival, and both promoters were not interested.

    Woodstock 50

    To make matters even more complex, Lang has accused former investors Dentsu of of taking $17 million from a festival bank account, attempting to talk acts into dropping out of the event and pleading with stakeholders to break their contracts. Lang made the accusations in a letter dated Monday, however representatives from Dentsu have stated they did not receive the letter. “We only would ask that you honor the law and your obligations, stop interfering with our efforts to put on this wonderful event and return the $17 million you improperly took,” Lang wrote. Lang also accused Dentsu of “treachery” and wrote that the company’s actions “are neither a legal nor honorable way to do business.” Lang went on to state “We also have evidence that Dentsu representatives have gone so far as to say that should the talent back out of Woodstock, they would be seen favorably by Dentsu and that this could result in their performing (at) the 2020 Summer Olympics in Tokyo, where Dentsu is a major organizer,” Lang wrote. “In these actions too, Dentsu has acted not only without honor, but outside of the law.” Lang went on to say, “In the end, since Dentsu has already abandoned Woodstock, all I ask for is that Dentsu walk away peacefully and allow me to deliver to the people a 50th Anniversary Festival.”

  • Marco Benevento Joyously Delivers at Historic White Eagle

    “We’re having sooooooo much friggin’ fun on this little run of shows!” quipped Marco Benevento in an Instagram post on the afternoon of May 3. Later that night, the sentiment became overtly obvious as Benevento and Co. brought their colorfully energetic mix of pop and rock to Jersey City. White Eagle Hall, an historic venue is situated in the Village neighborhood of downtown Jersey City, welcomed every note as if it knew Marco came home to play.

    Providing a short opening set was New York City native Andrew Fox, a solo singer/producer with a small assembly of toys and knobs but a large sweeping psychedelic soul. Warming up the Jersey crowd with a selection of songs from his recently debuted EP Shock by Shock, Fox sang passionately over a mix of deep bumping bass and sinking synthesizer leads. The live performance of these tracks varies slightly as Fox mixes, filters, and plays keys. A stand out was the funky “John / Candy,” featuring a pop laced guitar riff and chopping snare claps.

    marco benevento white eagle

    In a nod to the oh so obvious theme of welcoming that encompasses Benevento and crew, Fox mentioned that the two had in fact only first met in person just prior to the show. It was just a few weeks ago that Benevento reached out to Fox via the internet and asked him to tag along for a few shows. This speaks volumes to Marco’s openness to opportunity and appreciation.

    After a short break, the headliners appeared to an uproarious applause and took a moment to settle in before jumping right into “Free Us All.” Immediately, the rainbow lights began to blanket the room as the crowd swayed in delight. The trio continued on through a mix of old tunes like “All The Other Dreams,” “Greenpoint,” and “Dropkick.” Still, there was room for a new song debut and announcement that a to-be-titled album is on the way, due out in September.

    marco benevento white eagle

    Dressed in silver sequin jackets and white tees reading “We’re using time for fun” (a song committed to tape on 2007’s Live At Tonic) the trio of Benevento, David Butler and Karina Rykman held on to their smiles as much they did the groove for 2 hours straight. There is an incredible enthusiasm in this group that creates an energy so palpable it’s hard to not participate in the celebration. Marco takes every opportunity available to thank the audience, thank his bandmates, and relish in the feel-good momentum that makes their performances uniquely positive.

    The mid-section of the set brought more from the recent The Story of Fred Short record with the zany “I Can’t See The Light,” a soaring “Stay In Line,” and the bouncy “Walking With Tyrone.” Benevento jumped back and forth between center stage to dance around and sing and then again to his piano rig just in time to walk up and down a solo.

    marco benevento white eagle

    Just after Rykman removed her jacket, but not the smile, Benevento made banter by recalling a previous show where the crowd roared for 10 minutes when he announced the bassist by name. The audience took this obvious cue and cheered ever more loudly as Marco clapped and yelled “KARINAAA” into the mic. It was a cheerful moment that shined a happily embarrassing spotlight on the youngest band member just before she took a distortedly delayed bass solo. This paved the way for the crowd-pleasing cover of the Butthole Surfers 90’s hit “Pepper,” led by Rykman on vocals.

    As is with most musicians, this band and Benevento, especially as the songwriter, gets as much out of sharing in the music as they do playing it. This was evident through the entire set but was most clear when the trio “answered the call” to play “The Real Morning Party,” an infectious pop number that had the entire crowd gleefully singing along to the melodic hook. As the audience bounced up and down in enjoyment, it was hard to tell whether the ground was shaking because of the dancing or because of the powerful rhythm section and soulful jamming.

    marco benevento white eagle

    After one last thank you, the party was brought to a close with the aptly titled finale “At The Show.” Members of the audience were still humming the vocal melody as the three band mates took their final bow at center stage.

    Marco Benevento tour continues on May 10 in Washington D.C. with Andrew Fox.

    *Setlist was not written down and songs were being called out by Marco. The following list was provided by management:

    Free Us All, All The Other Dreams, Solid Gold, Dropkick, Greenpoint, Send Me On A Rocket, Walking With Tyrone, Live a Certain Life, Stay In Line, I Can’t See The Light, Follow The Arrow, Pepper, Witches of Ulster, The Real Morning Party, Oh Baby Can’t You See, At The Show

    marco benevento white eagle
    marco benevento white eagle

  • Western Swing and Waltzes: Colter Wall at the Haunt

    Colter Wall travelled from Saskatchewan in southwestern Canada to grace the stage of The Haunt in Ithaca on Saturday night. Though he had no problems connecting with the sold out crowd. Songs centering around cattle branding, ranching and rodeos were cut with more universal themes like love, friendship, trains, cars and motorcycles.

    He arrived to the stage alone with his guitar and his cowboy hat, appropriately opening the set with the old cowboy song, “Old Paint.” He continued with a more modern tale of his own making, “John Beyers.” His voice, a resonant baritone, is rich like a finely aged whiskey (aged just 23 years in this case) and had a strong presence that echoed throughout the room. Though, possibly, the echo was from the audience, who exuberantly sang along, to each other, to the stage or to themselves.

    A few songs in, Wall’s band joined him on stage. Together a quintet, pedal and lap steels, harmonicas, drums, and bass joined him and his guitar. Each brought their own character to the mix. There was an entire arsenal of harmonicas, and even a jaw harp, to match the mood of every tune. The pedal steel’s howls and whirls intermingled beautifully with the harps in an unexpected and somewhat unusual combination. The steady bopping red and gold paisley covered bass and swinging and tasteful drums held it all together perfectly.

    The set was filled with songs from last year’s release. Songs of the Plains, and 2017’s Colter Wall. The tried and true, the ones everyone knew, were tossed in with something new, like “Western Swing and Waltzes” and also some much older selections, like covers of Ramblin’ Jack Elliot’s “Railroad Bill” and Townes Van Zandt’s “White Freightliner Blues.” No matter their age, coming through the voice of Wall and with the skill of his backing band, it was all sounding great to the adoring crowd.

    Fellow Saskatchewans Kacy and Clayton warmed up the evening. The two cousins played a short set of lovely folk songs but were unfortunately competing with a rowdy crowd anxious to sing and dance to the main attraction. The subtle beauty of their voices and guitars was no match for the clanging of glasses and boisterous barroom conversations, but attentive ears were rewarded with another example of Canada’s increasing and ironic grip on the Americana genre.

  • Alice Frost Wows the Crowd in Hudson Falls

    In a sold out show, a blast to the past of the late ’60s – ’80s progressive rock era, the Alice Frost band had the crowd rocking in their seats to the music of YES! The core of the band started performing in the late ’70s and the friendships made then have endured to this day. The members of this ensemble, original and newly added, have developed a true love for the music and for playing together. The group is composed of experienced area musicians who enjoy the challenge of this complex and beautiful music. On guitars is John Eisenhart who has played in 805, out of Syracuse, Lake City, Blind Design and currently performs around upstate New York as a solo artist.


    John Eisenhart – Guitar

    John has a diverse background which includes a wide range of musical styles. From 17th century classical guitar to delta blues, as well as more popular music, John adds his own style and the audience loves it. Harold “Clutch” Reiser, on drums and percussion, is a founding member of The Maynard Brothers Band, and also played with The Sundowners, Blind Design and other bands. Matt Donnelly, keyboards, plays with The South Street Saints, The Music Box and hosts the Thursday night jam at the Lawrence Street Tavern.

    Matt Donnelly – Keyboardist

    Matt brings years of experience on the keyboards to the Alice Frost band. He currently is associated with many other bands in the upstate New York area. Once you hear his mastery of the keys, you can understand why so many bands want to be associated with him. Frank Esposito, the vocalist, played for Howard Stern’s show and works in the Vibratones. Carl DeSantis jr., on basses and a Berkeley graduate, plays in North Carolina in a number of ensembles. Steve Hymowech, the bassist for Dirt Cheap, assists Alice with extra guitar, vocals, percussion and inspiration. The show encompassed music from the Yes Album, Fragile, Close to the Edge, and Relayer.

    Playing at a high level of difficulty to bring this music to audiences makes the work enjoyable and rewarding, and it was be a show to remember. The May 3 date kicked off the 2019 season for Alice Frost, ending as the headliner to an outdoor prog music festival in the Syracuse area. They have a Facebook page with videos, pictures and more information. 

    Harold “Clutch” Reiser – Drums

    “Clutch” not only sets the beat for the songs, but he did a tympani set which drove the fans wild and onto their feet.


    Steven Hymowech – Acoustic Guitar
    Carl DeSantis Jr. – Bass
    Alice Frost hudson
    Alice Frost hudson

     

  • Griz Crashes into Albany and Brooklyn on Ride Waves Tour

    Future funk and electro-soul artist, Griz, continues to Ride Waves on tour, promoting his new album of the same name across the East Coast. The lineup includes electronic and urban pop producers, Yung Bae and Dwilly, for most of the May shows.

    Ride Waves was produced over a two year hiatus that Griz took from electronic music, in which he addresses socio-cultural issues like gun violence. The DJ, producer and saxophone player recruited talent from Bootsy Collins and Matusyahu to Snoop Dogg and Wiz Khalifa for his 5th studio album that emanates with positivity. The album contains elements of funk, rap, reggae and soul, including moments of reflection from Griz’ life. The track “It Gets Better” is an uplifting collaboration with DRAM that showcases Griz’ saxophone skills, and sends a message of perseverance.

    Join Griz at the Palace Theatre in Albany and King’s Theater in Brooklyn, NY this week for the Ride Waves tour, as well as his signature electronic beats and organic saxophone-funk.

    Upcoming Shows:

    May 6th – Worcester, MA – The Palladium*
    May 8th – Albany, NY – Palace Theatre*
    May 9th – Buffalo, NY – Buffalo Riverworks*
    May 10th – Brooklyn, NY – Kings Theatre*
    May 11th – Philadelphia, PA – The Met*
    May 14th – Louisville, KY – Iroquois Amphitheater*
    May 15th – Columbus, OH – Express Live!*
    May 16th – St. Louis, MO – The Pageant*
    May 17th – Minneapolis, MN – The Armory*
    May 17th-19th – Gulf Shores, AL – Hangout Fest
    May 18th – Kansas City, MO – CrossroadsKC*
    May 27th – Detroit, MI – Movement
    June 9th – Chicago, IL – Spring Awakening
    June 14th – Manchester, TN – Bonnaroo
    June 21st – Heber City, UT – Bonanza Campout
    June 23rd – Dover, DE – Firefly Music Festival
    July 5th – Liempde, NL – We Are Electric
    July 10th-14th – Dour, BE – Dour Festival
    July 12th – Bristol, UK – Nass Festival
    August 2nd-4th – Montreal, QC – Osheaga Festival
    August 9th-11th – Salmo, BC – Shambhala Music Festival

    * = with Yung Bae & Dwilly

    griz ride waves
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