A documentary capturing the final years of Blind Melon frontman Shannon Hoon is slated to be released in 2020, per Variety. Both Double E Pictures and Live Nation Productions were recently added as executive producers for the film, which was created using more than 200 hours of the late singer-songwriter’s home videos from Grammy-winning videographer and acclaimed photographer Danny Clinch. Hoon and Clinch were close friends, and Clinch co-directed the documentary alongside Taryn Gould and Colleen Hennessy. Find out more info here.
“We realized that we basically had all these videos of a guy who was videotaping himself obsessively for five years from before he was famous up until really the day of his death,” Clinch told Variety. “It was the dawn of technology where people started to film each other, and he was way ahead of the curve in a way. It’s kind of one of the earliest moments of someone who was self-archiving his own life.”
Hoon died from an overdose at age 28, following the monumental success of Blind Melon’s 1992 eponymous debut.
“He was really an endearing character,” Clinch told Rolling Stone in 2015. “He could just become your best friend right away. His energy was great. He was really creative and super friendly. He definitely liked to have a good time and he enjoyed the rock and roll lifestyle for sure.”
A Kickstarter was launched in 2015 for the documentary, which has been in the works since then, and has been screen at Tribeca Film Festival and the International Documentary Film Festival in Amsterdam.
New York City’s Fever Dolls, a pioneered quintet hinged on being “brash and over-the-top,” are hot off the release of their new music video for “The Distance.” Released this past Wednesday, November 27, the video evokes the limitless nature of modern music with a vintage film.
With an endless supply of irresistible hooks and lyrics about sex addicts, according to the band’s website, “The Distance” follows suit. The band’s leading duo, Evan Allis and Renn Mulloy, fuse musical queues that are equally as provocative as the video’s visuals. With each step, or foot traveled, the viewer picks up on a new detail once overlooked – meanwhile, the stereo proves to be growing in complexity.
“The Distance” is one of the first songs Renn and I sang when we started playing together. It has always been a favorite of ours to perform live and a favorite of our audiences to sing along with. It’s the kind of song that makes people lose their minds and jump for joy.
Evan Allis
While we’ve played “The Distance” in different bands and different forms for a few years now (even releasing a version in 2016 with our previous band Iron Eyes Cody) we never felt like we captured the live energy and spirit of the song in a recording until now. We feel like we caught something special with this cut of “The Distance,” and are excited for people to hear it.
Evan Allis
The Fever Dolls are no strangers to NYS Music after Sammy Steiner dubbed them as musical populists, transcending as visual storytellers for their release of “Mr. Carver.” They are on the rise with a constantly sharpened sword, ready to disrupt the music scene with a vengeance. Check out “The Distance” on all social media platforms, such as Spotify, where the band draws over 9,000 monthly in.
Fever Dolls are playing Mercury Lounge on January 12 with West End Blend and Travers Brothership. The show is 21+ with an 8 pm start time. Tickets can be purchased HERE.
The fans voted, and Joe Russo’s Almost Dead delivered a dream setlist at the Brooklyn Bowl on Monday, November 25. “Make Democracy Rad Again” was a benefit for HeadCount included selfie moments as well as plenty of goodies for those who signed up to vote or showed support for democracy. The biggest treat was the incredible setlist played to a packed house.
If you aren’t familiar with the group, Joe Russo’s Almost Dead offer a fresh take on the music of the Grateful Dead. The band consists of Joe Russo (Drums), Dave Dreiwitz (bass), Marco Benevento (keyboards), Scott Metzger (guitar/vocals), and Tom Hamilton (guitar/vocals). They are known to sell out venues within minutes and offer experimental takes on classic tunes.
HeadCount is dedicated to registering new voters through music. Joe Russo and Marco Benevento were part of the first HeadCount benefit back in 2004, making Joe Russo’s Almost Dead an easy candidate for the first of many benefit shows between HeadCount and the Brooklyn Bowl. Brooklyn Bowl owner Pete Shapiro was recently named Chair of the Board of Directors at the non-profit. The band has also outgrown this venue, which made this pairing more enticing. According to HeadCount’s twitter, the benefit successfully generated $150,000.
In order to uphold one of HeadCount’s missions, democratic participation, the set list was voted on by those attending the show. The results included heavy hitters, starting with a full suite of “Terrapin Station,” “Eyes of the World,” “The Eleven,” and “Franklin’s Tower.” Notable favorites like “Fire on the Mountain,” and “Help on the Way” didn’t get enough votes to make the cut, however, two stellar non-Dead tunes made the cut, including “In Memory of Elizabeth Reed” by the Allman Brothers and “Atlantic City” by Bruce Springsteen.
After this incredible show of dynamic improvisation and fan favorites, it’s easy to see why this band quietly sells out venues. They are back on the road in 2020, kicking the year off at The Capitol Theatre in Port Chester, NY. Head on over to the band’s tour page for more details before the tickets are gone.
Setlist: Joe Russo’s Almost Dead Headcount Benefit at Brooklyn Bowl, Monday, November 25, 2019
Set One: Althea > The Eleven > Viola Lee Blues > Franklin’s Tower, Atlantic City > Reuben & Cerise > Eyes Of The World > In Memory Of Elizabeth Reed
Set Two: St. Stephen > Scarlet Begonias > Dark Star > Terrapin Station Suite > Shakedown Street > Throwing Stones > Another Brick In The Wall Part 2 jam > Throwing Stones
Over November 27 and 28 2009, Phish performed two nights at Albany’s Times Union Center, the latter of which produced one of the band’s ultimate jams from their ‘3.0’ era. Opening set two with “Seven Below” and segueing seamlessly into “Ghost,” the band put forth 45+ minutes of Type II jamming (improvising beyond the song’s composition and structure) that still serve as one of their best from the last 10 years.
Listen via LivePhish.com, Phishtracks.com, stream the full show, or just the 45 minutes of “Seven Below” -> “Ghost” below.
Set 1: Party Time, Stealing Time From the Faulty Plan, Uncle Pen, Sanity, Foam, Walk Away > NICU, Alaska, Split Open and Melt, Joy, Vultures, Backwards Down the Number Line
Set 2: Seven Below > Ghost, Cool It Down > Gotta Jibboo, Let Me Lie, Wolfman’s Brother > Julius
Encore: You Enjoy Myself
This show featured the first Uncle Pen since July 11, 2000 (129 shows). Ghost contained a tease of Seven Below.
Portland-based quintet Fruition has come a long way since busking on the streets of Portland, and as they take the country by storm, they’re not afraid to dive into new ideas in their latest album release Wild As the Night.
Perhaps the greatest talent of this group is their ability to weave in and out of different genres with ease, and their versatility can qualify them to perform at all types of festivals, from Telluride Bluegrass to Bonnoroo (both of which they’ve played).
The album is a true testament to this group’s musicianship and experience. The opening track “Forget About You” is riveting, with piano-arpeggiated runs to fill the spaces between the thunderous drum beat that carries the song. As the commotion builds, we’re introduced to tight three part harmonies and rhythmic mandolin strums. The title track of the album has a rich balance that warms the mix, and just as you get past the tenderness of the ballad, you’re suddenly thrown into the trip-hop trance of “Sweet Hereafter.” It’s here where the beat thickens, the heads bob and the mandolin is given a bit more bite so as to mimic an electric guitar.
Wild As the Night is unique glimpse into the band’s history, which has lasted more than several years. While they can all play multiple instruments, there is no fight for attention on this album. This group has their own language, and they leave space to breathe and allow each other to contribute. They even describe themselves as pieces of a bigger part when it comes to their music, and it’s evident in the album as well as their live shows. A band this creative and daring can generate a buzz quickly, so do yourself a favor and catch one of their shows while they’re still on the rise.
Fruition will be stopping by the Hollow in Albany on February 1, and if you’re in NYC, you can catch them at the Brooklyn Bowl on February 5. For info and tickets, check out their website and Facebook page.
Top Tracks: Forget About You, Wild As the Night, Sweet Hereafter
Electronic wizard and free music advocate Gramatik made people dance into the early morning hours with his digital weave of urban and funky beats at the premiere EDM venue in Brooklyn, Avant Gardner. He was supported by incredibly talented colleagues Opiou and Balkan Bump for a night of organic, hip-hop-infused electronica.
Balkan Bump is an electronic artist who mixes live instruments, world music and digital production. Trumpeter, producer and enthomusicoligist Will Magid is the brain child behind this band. A tapestry of funky beats, stellar trumpeting and dance hall vibes was cleverly woven throughout the set. At one point, Magid announced that he was playing a one word song, and everyone should sing along. That song was “Tequilla” by The Champs, and it was a huge hit with the crowd.
Opiou, a producer and artist from New Zealand, was up next, and brought his Kiwi electronic heat. Also known as Oscar Davey-Wraight, this DJ is known for funky beats and deep bass grooves, as well as a penchant for keeping the dance floor alive well into the late night. Will Magid joined Opiou during the middle of his set on trumpet, creating a refreshing organic synergy. His signature buildups and drops continued throughout the set, framed with an engaging LED light display and plenty of fog.
Gramatik took the stage to a packed crowd that was ready to dance. And dance they did. Denis Jašarević is Gramatik, hailing from Slovenia, and is known for his mind numbing hip-hop beats and fresh remixes. He played with guitarist Adam Stehr, adding an organic feel to his live performance. His stage setup included several LED panels that displayed colorful graphics, a healthy dose of fog, and a stacked lighting rig that fostered an elevated visual experience.
This evening’s stellar performance included samplings of “No Sleep Til Brooklyn” by NYC’s own Beastie Boys and “Can’t Get Enough” by Gramatik’s frequent cohort Griz. Will Magid joined the party on trumpet for a tune, and the crowd was loving every second of this vibrant collaboration. Gramatik noted that this was his last show of 2019 and he sure went out with a bang.
UK-based modern jazz artist Kamaal Williams brought his band to Brooklyn this past Saturday for a headlining show at Bushwick’s Elsewhere. Also known as Henry Wu, Williams has been putting out hip-hop-infused jazz music since 2012. With a musical foundation as a drummer, Williams has brought a percussionist mentality to his music, developing deep layers and rhythms on the keys.
In 2018, Williams founded his own record label, Black Focus Records, and released his debut as Kamaal Williams, The Return. The album is a true representation of the modern jazz scene, with influences from hip-hop, UK garage and funk melding with the jazz foundation in a unique way. All of these influences feature heavily on William’s NTS Radio residency as Henry Wu.
The show relied heavily on The Return, but throughout the night the band ventured in and out of unidentifiable musical passages and jams. The connection between Williams and the drummer was obvious as they cued off each other constantly, all while keeping in sync. Along with Williams’ large keyboard setup, the band consisted of drums, bass and tenor saxophone, but the depth of their sound made them seem much larger.
Shifting back to his roots as Henry Wu, Williams also released the 70th edition of the legendary series DJ Kicks this earlier this month. Still with jazz influences throughout, this release focuses more on the eclectic history of UK beat and garage music with Williams’ jazz style layered in. After the show at Elsewhere, Williams moved up to the second floor loft to DJ a late night party celebrating this release.
Crumb played some of their classic songs and sold out the Music Hall of Williamsburg on Friday. The show opened with sets from the groups of Shormey and Divino Niño. Both had a similar wavy, indie sound similar to Crumb. Divino Niño delivered a spectacle of a performance with an excess of dancing and tossing roses; their showmanship rivaled that of the headliner.
Crumb donned the stage to “Sweet Escape” and kicked off the show with “Cracking,” the opening song to their full length album Jinx. Lila Ramani delivered her signature sweet vocals and dreamy guitar licks. At some point, she brought balloons to the front of the stage and emptied a water bottle on the crowd. For their encore, Crumb played one of their most popular hits, “So Tired.” When the song picked up, everyone from the opening acts burst on stage to play and dance together.
The Disco Biscuits returned to Syracuse for two nights, their first run in the Salt City since Halloween 2015. The masters of live electronica and improvisation performed four flawless sets to enthusiastic crowds at SI Hall at the New York State Fairgrounds in Syracuse on November 22 and 23.
On Friday, following an energetic “M.E.M.P.H.I.S.” opener, guitarist Jon “The Barber” Gutwillig stretched the intro to “Run Like Hell” out for an extended period before a triumphant burst into the Pink Floyd cover, then took the long route into an inverted “Aquatic Ape.” A full “Hot Air Balloon” closed the five song set, one of the few this tour to feature no new material that the band has been breaking out.
Set 2 opened with a pair of ‘global’ tunes, “Jigsaw Earth” and “Story of the World,” the latter of which sandwiched the remained of the set. “Anthem” and “Rocket Science,” two new originals debuted this tour, filled the sandwich, with an “Orch Theme” meshed in between. With the clock ticking, Men Without Hats’ “Safety Dance” served as an encore, with the show ending right at 11pm. A sweaty and smiling crowd rejoiced at one of the finest nights of the tour thus far.
Disco Biscuits, Syracuse, NY – Friday, November 22 setlist via PhantasyTour:
Set 1: M.E.M.P.H.I.S. > Run Like Hell1 > Aquatic Ape2 > Svenghali3, Hot Air Balloon Set 2: Jigsaw Earth, Story Of The World > Anthem > Orch Theme > Rocket Science > Story Of The World Encore: The Safety Dance
unfinished
inverted version
ending only
The Biscuits’ Saturday performance featured a pair of new songs, a Tractorbeam jam, and one of the best sets from the eight fall shows thus far. Two songs, “Mulberry’s Dream” and “Crickets,” were each interpolated with “Catalyst” and recent debut “4th of July,” respectively. In between these two combos found another new tune, “Electric Slinky,” part of a potential series of ‘Slinky’ songs, including “Freebis Slinky.”
Set 2 was filled with pure heat from start to finish. The four song set featured three roughly-15 minute jams, and one monster jam that went past the half hour mark. Opening with “Clocks,” a debut from earlier this year, the band ventured into “Gangster” which was met with cheers and fist pumps from the audience. What came next was one of the longest jams of the tour (thus far) and the highlight of the weekend. A 30+ minute “Spacebirdmatingcall” featured a Tractorbeam jam on Crackazat’s “Fly Away,” which draws on Earth Wind & Fire’s “I’ve Had Enough” and seemed to never let up as the band dove deep and kept exploring what the jam had to offer. “Little Shimmy in a Conga Line” wrapped up the set nicely, and a pairing of “Frog Legs” and the ending section of “Run Like Hell” from the previous night’s version cemented the night as one of the best of the tour. Setbreak is indeed over.
The Disco Biscuits head south to Florida for four shows in mid-December, then return to New York City where they will close out the year in Times Square at the Playstation Theater, which will close on December 31st following their performance.
Disco Biscuits, Syracuse, NY – Saturday, November 23 setlist via PhantasyTour:
Set 1: Mulberry’s Dream > Catalyst > Mulberry’s Dream, Electric Slinky, Crickets > 4th of July > Crickets Set 2: Clocks > Gangster > Spacebirdmatingcall > Tractorbeam Jam1 > Spacebirdmatingcall, Little Shimmy In A Conga Line Encore: Frog Legs > Run Like Hell2
The energy level at Cohoes Music Hall was infectious on Thursday, November 21. Wax Future set the tone from their first note, that this was sure to be an epic school night. The main event that followed was nothing short of stellar. Lotus curated two sets that flowed seamlessly and had everyone at Cohoes Music Hall sharing the groove. Check out the full setlist and photo gallery below.
Set One: Eats The Light, Livingston Storm, One Last Hurrah, Philly hit>Spiritualize>Contagion>Spiritualize, 72 hrs Awake
Set Two: Move Too Fast>Fortune Favors, Kalea, 128>Comptroller>Echoes, Plant Your Root>128
