NYS Music 20​19

Category: Features

  • LOCKN’ Festival Releases 2019 Lineup

    Located at the base of the Blue Ridge Mountains in Arrington, Virginia, Infinity Downs and Oak Ridge Farm will once again be the venue for LOCKN‘ in 2019, the four-day camping festival.

    Created in 2013 and now an annual event, LOCKN’ is promised to be one of the summer’s most exciting experiences.

    Starting on Aug. 22 and finishing up on Aug. 25, several unique headline collaborations are scheduled for the event, beginning with the Trey Anastasio Band featuring Derek Trucks on Aug. 23, Tedeschi Trucks Band featuring Trey Anastasio on Aug. 24, and concluding with Bob Weir & Wolf Bros featuring Susan Tedeschi on Aug. 25.

    In addition to daytime performances, the festival has added a more intimate touch this year: a rare performance by Soulive as well as sets by Circles Around The Sun and Galactic in the intimate Garcia’s Forest setting. These performances will be taking place in the evening following early shows by Fruition, The Lil Smokies, and Town Mountain.

    Peter Shapiro, co-founder of the festival, hinted at his excitement for the artists yet to be revealed. He said, “By announcing the full lineup now we wanted to give fans a good idea of what to expect, but there’s definitely a surprise or two still coming.”

    LOCKN’ is offering a Three-Day Weekend Pass in addition to the traditional Four-Day Festival Pass. This option gives fans with tighter schedules the opportunity to enjoy all the bands performing at the festival for a lower price. Single-Day Passes are also available.

    Tickets are available now through the LOCKN’ website.

    THURSDAY, AUGUST 22
    Joe Russo’s Almost Dead
    Gary Clark Jr.
    Khruangbin
    Chris Robinson Brotherhood,
    Andy Frasco & The U.N.
    Jerry Party

    FRIDAY, AUGUST 23
    Trey Anastasio Band Feat. Derek Trucks
    The Revivalists
    Old Crow Medicine Show
    Pigeons Playing Ping Pong
    Edie Brickell & New Bohemians
    Melvin Seals & JGB
    Moonalice w/The Chambers Brothers
    Greg Humphrey’s Electric Trio

    SATURDAY, AUGUST 24
    Tedeschi Trucks Band Feat. Trey Anastasio
    Vulfpeck
    Oteil & Friends feat. Bob Weir, Devon Allman, Duane Betts and more
    Twiddle
    Preservation Hall Jazz Band
    The Allman Betts Band
    Cory Henry & The Funk Apostles
    Liz Cooper & The Stampede

    SUNDAY, AUGUST 25
    Bob Weir and Wolf Bros. Feat. Susan Tedeschi
    Jason Isbell & The 400 Unit
    moe.
    St. Paul & The Broken Bones
    Steel Pulse
    Nahko and Medicine For The People
    Soul Rebels Brass Band
    Deva Mahal
    Keller Williams’ Grateful Gospel

    GARCIA’S FOREST: EARLY SHOWS
    Fruition
    The Lil Smokies
    Town Mountain

    GARCIA’S FOREST: LATE SHOWS
    Circles Around The Sun
    Galactic
    Soulive

    SVIP LOUNGE
    Bob Weir & Wolf Bros.
    David Shaw (The Revivalists)
    Mihali (Twiddle)

  • Nothing But Love Songs: Railroad Earth and Holly Bowling Spoil The Egg on Valentines Day

    “Nothing but love songs, folks,” said Todd Scheaffer last night at Albany music theatre The Egg. Scheaffer and the rest of the formative jamgrass group Railroad Earth were having lots of fun at the capitol region venue, the first stop of their northeast run this weekend. So was Holly Bowling, the well-known pianist opening up for Earth, that also joined the band for most of their headlining performance last night. Bowling and Railroad kicked off the run magnificently, winding through song material ready-made into a bluegrass Valentine’s Day playlist, but also putting heart into all the musical treats of the evening.

    Bowling opened up with her own welcomed performance before the two main sets, as is the plan for the rest of the northeast shows. Among the most well received of her Phish and Grateful Dead piano versions was a full-stretched “Divided Sky” on which she put a lot of personal touch. Another highlight was, no doubt, the set ending of “Dark Star” > “I Know You Rider,” where Bowling invited Railroad Earth bassist Andrew Altman and mandolinist John Skehan to play.

    Droning cello from Altman, soft strumming from Skehan and piano sound effects from Bowling wound through a wonderful version of the early Dead song that shifted between delicate moments and chromatic, jazzy creativity. The trio easefully guided one another into “Rider.” Holly started to really hammer on the keys and Altman played a cool standup bass solo. From this beautiful opening segment, the stage was set for the magic to be made between Bowling and Railroad Earth.

    After Bowling’s set, Railroad Earth descended upon The Egg with a great opening “Hunting Song,” giving this particularly psychedelic original a bit of musical power. When Railroad starts a show off with something extra heady like this, the chances for a strong show are in the cards. Bowling, who joined the band on stage from the beginning, got her first real sounds on “Old Man and The Land,” playing a ragtime-style solo that got a beaming smile from Todd Scheaffer.

    Railroad Earth Holly Bowling

    Love songs did indeed imbue much of the band’s two sets through the evening, with “Happy Song,” “For Love,” and “Came Up Smiling” following the opener, and these cheerful songs started to get the audience, from the front row to the back of The Egg, out of their seats and dancing. “Raven’s Child” > “Only By The Light” was a powerful combo that saw expert playing from Skehan and Mike Robinson. Robinson was sitting in as special guest for this entire night on banjo, guitar and pedal steel; and he deftly held his own beside Railroad Earth, standing out in multiple moments. On “Dandelion Wine,” the romance number to end the first set, the younger musician picked an incredible guitar solo that elicited not only cheers from The Egg, but a fist pump from violinist Tim Carbone.

    The second set kept the welcome love theme rolling, starting with the bittersweet “Been Down This Road.” “Lovin’ You” and “Long Walk Home,” alternatively, brightened the attitude on. “Old Dangerfield” came in the middle of these as a particularly hot version, with Carbone’s fiddle soloing propelling the tune between its breakdown tempo and an Railroad-style funk beat.

    The last stretch of the night received the most adventurous musical treatment from Earth and Bowling. “Goat” was standard length, perhaps even shorter than many versions, but it was a rocking version at that. The thing to note about this one was Altman’s mighty standup bass work – huge and resonating. It sounded like a giant tap dancing on the roof of The Egg. Following on his and the drummer’s sturdy backbeat, the rest of the band ditched the song proper for a dynamic, colorful jam, and Bowling and Robinson were both well footed within the fray. “Jupiter and The 119” took this energy and ran away with it, for a very special version of this Railroad classic. The band showed their fearlessness in furrowing through an uptempo jam segue, and made a seamless and uplifting transition into “Butterfly and The Tree.” The playing from everybody on stage was a thing of progressive bluegrass beauty.

    Railroad Earth Holly Bowling

    While the band soared from the one song to the next, there was one particular moment in which Bowling and Skehan’s soloing linked up, and the two complimented one another musically much in the way they had in the opening Dark Star segment, only this time at a breezy speed. If anything best presented how well Bowling fit into Earth’s melodically dramatic and unpredictable style, it was here.

    Many fans are understandably buzzing about the night’s encore as much as anything else in the show. “Said What You Mean” is definitely on the rarer side of Railroad Earth originals, having been performed only twice over the last two years. A song that sounds like it could have been co-written between Sam Bush and The Band (but it’s all Scheaffer, a genius in his own right), this was maybe the best loved hit of the night.  

  • Hearing Aide: Sharon Coates ‘None Of The Above’

    This is what happened when I dusted off my lovely Fender Strat, reads the beginning liner notes of Sharon Coates’ latest album, None of the Above.

    Coates and her Strat were joined in the studio by Dave Drago on guitars, Jacob Walsh on drums, Alex Northrop on organ and Josh Massicot on piano, with Jeff Beam lending a hand on guitar for a couple tracks. 

    None of The Above from Sharon Coats is chock full of songs exploring a wide range of sounds and topics about feminism, love, longing, and friendship. From the pop rock sound of the opening track “Radio” to the surf-rock undertones of “Hey Man;” and from the lofty echos of “I Look For You” to the slow smolder of “One of Those Nights,” driving guitar riffs tie everything together. The vocals, lyrics and other instruments are arranged like pieces of glass in a mosaic. Each sound has been thoughtfully placed to create an auditory kaleidoscope of sound with Coates’ beloved strat as the centerpiece. The steady back beat keeps everything grounded, and the moderate use of the Hammond organ adds a colorful touch. 

    Here’s to hoping the dust never has a chance to settle on this indie rocker’s Fender Strat again.

    Key Tracks: Radio, I Look For You, One of Those Nights

     

  • The Elements of Aqueous: Part One – David Loss

    Animas City Theater in Durango, CO, a venue nestled in La Plata County, is where Buffalo’s Aqueous kicked off their five night Colorado run. Co-headlining a 20-date tour with BIG Something, Aqueous has once again proven that they are a fundamental force in the Colorado music scene. The 270 capacity venue filled up quickly with Colorado residents and familiar faces, that made the trek from the East Coast in support of their favorite band.

    Aqueous opened the Durango set with “Second Sight,” a fan-favorite from the Element Pt. I (Live 2017) album. Next the band broke out “Mosquito Valley Pt. 1,” right into a high energy “Numbers and Facts.”  Aqueous then reached into their cover song archive and busted out The Band’s “Ophelia,” last time played 92 shows ago on 12/9/17. The set ended with some of the most loved songs in their catalog,  “Don’t Do It,” “Weight of the Word” and “Uncle Phil’s Parachute.”

    After the show I had the opportunity to chat with David Loss (Guitar/Keys/Vocals), discussing the Aqueous fan-base, band-mates, growth and gratitude. Excited to be back in Colorado, Loss expressed sincere appreciation for the support the band receives from their Colorado based fans. Aqueous is cultivating a steadfast group of supporters across the nation, noted for their familial vibe.  Upon my mention of the loyal fan-base otherwise known as AQuaintances, Dave lit up and stated, “I love them, they really are the best.” aqueous david loss

    Dave Loss is gaining notoriety as one of the most skilled, actively touring guitarists in the industry.  Technical and composed, Dave’s guitar tone is unmistakable, evoking sentiments that keep the crowds returning show after show. Recently sponsored by PRS Guitars, Loss and his guitar-wielding counterpart, Mike Gantzer, have an undeniable bond on stage and often come together as one. Balanced, intense and emotive, the partnership of Loss and Gantzer brings about a show experience that has catapulted Aqueous to the front lines in their genre.  When discussing what it’s like playing with Gantzer, Dave explained that the two are growing and maturing their sound with every show and that he really loves the non-competitiveness of their musical relationship.

    While Aqueous has often acknowledged the influence of jam-veterans moe., both musically, personally and in a business sense, Dave Loss talked with me a bit about some of his other favorite music to listen to.  Radiohead takes one of the top spots in his mind and the extreme differences in artistic styling from album to album is what he enjoys most about the band.

    At the conclusion of our chat, Dave again reiterated how lucky he feels to be a part of this band, having the incredible crew, the loyal fan-base and the brotherly bond with his band mates.  The future is bright for Aqueous and they are certainly poised for incredible success.

    The Colorado run rolls on tonight with a Valentine’s Day show at Agave in the town of Avon.   The shows will be uploaded for streaming on Nugs.net with a subscription.  Tour dates for the rest of the Aqueous & BIG Something tour can be found here.

    aqueous david loss

    Official Setlist– Animas City Theater- Durango, CO 2/13/19

    Second Sight, Mosquito Valley One>Numbers and Facts, Ophelia* >Don’t Do It, Weight of the World, Uncle Phil’s Parachute

    * The Band cover (last time played): 12/9/17 (92 shows)

  • Hearing Aide: The New Motif ‘The Reciprocal Boogie’

    The Reciprocal Boogie, the debut album from Massachusetts four-piece The New Motif, is an impressive survey of the band’s eclectic sound. The roots are rock, but different tracks run jazzier or more psychedelic, funkier or more spacey. Produced by Soulive’s drummer, Alan Evans, the album showcases the band’s rich textures and compositional prowess.

    The album’s first track, “Manifest,” is microcosmic of the whole album: it features shifts in style and tempo, is at times led by a funky bass line from Dan Kelly, at other times with a catchy guitar riff from Dennis Christiano, sometimes the organ, sometimes the synthesizer, always high-octane drumming. There are vocals, but the song is undeniably led by the instruments. Checking in at nearly six and a half minutes, it’s a bold opening statement to a freshman album devoid of any filler tracks.

    While “Manifest” feels frenetic, The New Motif follows it up with a mellower “City Cituation.” Cory Schechtman swaps out the keyboards for a saxophone, a pleasant surprise as the track commences. Paired with the following song, “Crooooshtown,” the songs are a smooth, jazzy reprieve from the relative tumult of “Manifest.”

    In total, there are nine tracks, each between four and eight minutes long. About half are instrumentals and half feature vocals; Schechtman plays the saxophone for half the songs and spends the other half on keyboards. Unsurprisingly of an album produced by Alan Evans, drummer Terrence Kelleher is extremely active throughout.

    The heart of the titular track represents the album well. Guitarist Dennis Christiano trades licks with Schechtman on the saxophone while Ball and Kelly, even if not as prominent with the rhythms, are relentless, lending to the full sound.

    The sixth track, “Flown,” is the first where the vocals feel like the central component. The song has a reggae tone, unique to the album, and allows Christiano to show off with a high-soaring solo. The ensuing “Yasss!!” is dark and exploratory yet upbeat and features all band members finding their ways into dynamic grooves. At just over eight minutes long, the track is an instrumental odyssey. The following and penultimate song, “Whatever’s Clever,” features the catchiest vocals.

    Closing track “Late Cretaceous” once again puts The New Motif’s rich sound on full display; one needs to crank the volume dial to get the full flavor of all the layers. After multiple listens to The Reciprocal Boogie, something different has caught my ear each time: a guitar riff here or a bass line there. Each time after listening, I’ve found myself going back and listening straight through again

    The New Motif is currently touring to promote The Reciprocal Boogie and have multiple shows scheduled in New York. The full tour schedule can be found here.

    Key Tracks: Manifest, Yasss!!, Late Cretaceous

  • Hearing Aide: Reed Foehl ‘Lucky Enough’

    Americana journeyman Reed Foehl was on his way to make a new home in Nashville, looking to expand on the success he found in co-writing “Fly” off of Lee Ann Womack’s Grammy-nominated album The Way I’m Livin’. But then news came from Massachusetts where his mother was diagnosed with lymphoma. Without hesitation, he dropped everything and flew to Massachusetts to be by her side. While he cared for his dying mother he continued to write his music. Foehl’s latest solo album, his fifth, consists of the music written during this trying time in his life. Lucky Enough, released February 1, is dedicated to the memory of his mother, “the Queen of Everything,” who instilled a love for music in him at an early age.

    The songs, borne from loss, are steeped in deep reflection, but also instill a sense of hope and love while exploring themes of lifelong friendship. Foehl employed the help of friends in bringing his new tunes to life, with Austin’s The Band of Heathens fleshing out a full band sound. They also recorded in the Heathens’ new studio with guitarists Gordy Quist and Ed Jurdi co-producing as well.

    The short but dense set opens with a nugget of folk perfection. “Stealing Starlight” is one of those tracks with nary a false note or turn. Every moment was meant to be, from each cymbal crash and sparse piano plink, to the mysterious wailing noise emerging midway through. You’ll likely want to hit rewind a play through a couple of times before moving on.

    When an album opens that well, the rest is just gravy. But here it’s still damn good gravy! It’s chock full of catchy new-folk hooks, country bar singalongs, and twangy ballads all featuring an earnest down-home voice with plenty of range. Familiar enough to sound like it’s coming from your front porch but good enough that you’d want to see it played in a beautiful old theater.

    Key tracks: Stealing Starlight, Wish I Knew, He’s On an Island

  • Levon Lives On: An Evening With Amy Helm and Cindy Cashdollar

    Amy Helm and Cindy Cashdollar, two heroines of Woodstock, NY, wowed a hometown crowd on Friday, February 8 at Levon Helm Studios.

    The opening act, Freddy & Francine, however, traveled from significantly farther away. An Americana couple from Nashville, they were joined by a big bassist and launched the embarkation of the evening. With only a tambourine, unplugged bass, acoustic guitar and their voices, the trio made significant ripples around the room.

    When Freddy, whose real name is Lee Ferris, spoke between songs, he sounded like a regular guy; when he sang, he sounded like a folk sensation. As they put on a moving cover of Etta James’ “I’d Rather Go Blind,” Freddy and Francine (Bianca Caruso) maintained unblinking, unyielding eye contact that was nearly blinding. 

    Amy Helm Cindy Cashdollar
    Freddy and Francine

    The energy between the couple-plus-one was palpable, their harmonies remarkably in sync. This was the first night of their ironically-titled Summer Tour and the soulful Southerners elicited excited applause.

    Amy, as she’s simply and lovingly known in Woodstock, took the stage following a break and, drum in tow, went right into a cover of her father’s “Feelin’ Good.” Levon’s voice is irreplaceable and unmistakable, but Amy has clearly inherited his amiable presence and musical aptitude – who else can sing the blues so happily? After playing a clip of Levon singing “Little Birds,” dobro maestro Cindy Cashdollar mused, “If my voice could come through half as clear as his, I’d be happy.”

    Amy Helm Cindy Cashdollar
    Amy Helm

    History seeps from the rafters of the Barn at Levon Helm Studios and, with Woodstock’s first daughter squarely in the limelight, the crowd was fully spellbound. It was fascinating to hear the folk gospel of the Mississippi sung to the staunch devotees of Levon Helm, many of whom undoubtedly witnessed him 50 years ago at Woodstock ‘69. Most of the evening’s congregation sat straight-backed, unmoving, eyes glued to the revered Ms. Helm. While I felt my limbs unable to resist involuntarily moving to the tunes, I witnessed much of the crowd sitting immobile, so engulfed by the musicians. 

    The stage was undeniably Amy’s, though Cindy Cashdollar’s genius on the strings was equally unmistakable. Whether it was the lap steel or the dobro she played, her strokes were magical. The twang she inherited from her time in Texas jived with her Northern heritage. She was, at once,  technically flawless and emotionally invested.

    Amy Helm Cindy Cashdollar
    Cindy Cashdollar (left) and Amy Helm (right)

    Between the songs, they sprinkled in the stories: life with Levon and growing up with a legend. Amy and Cindy recalled late night rambles and his infectious affability, how Levon made music look easy and made those around him sound better.  While his presence always lives on in Woodstock, his spirit was prominent this night emanating from his daughter and cascading from his disciple.

  • Hearing Aide: Kris Yunker ‘Biocoastal Waves’

    Kris Yunker has been around the scene for many years, coming to the Northeast with his good friend and fellow On the Spot Trio bandmate, Danny Mayer. His long road has brought him to Iron Wax Studios, the brain child of soul-man extraordinaire, Alan Evans. Here Kris, Al, and guest singer, Kelly Burr laid down an incredibly funky and upbeat new album, Bicoastal Waves.

    Bicoastal Waves blends surf funk, space rock, and organ jazz to create a unique sound driven by Yunker’s left-handed bass lines. The whaling Hammond organ is the beauty, while Evans’ beats are the soul. This album has a little bit of it all with fat and funky whalers to heavy rock bangers.

  • Galactic Brings the NOLA Funk to Brooklyn

    Galactic brought their deliciously funky Already Ready Already Tour of NOLA Funk to Brooklyn Steel in Brooklyn, NY on Saturday, February 9 to promote their new album with the same title. The New Orleans-based group is one of the original jam bands from the mid-nineties. Their style is often described as a fusion of rock, funk, jazz, hip hop, r&b and electronica, and has evolved over time.

    They often tour with a talented vocalist, and Erica Falls is no exception. The native New Orleans singer has a style that is rooted in vintage soul, channeling an earlier era. Erica reminders her fans that, “Vintage soul is not about bringing the listener back to a time of authentic music, it’s about reminding them that it never went anywhere.”

    In addition to Erica Falls, Galactic brought their funky NOLA friends The Motet to open the show. The Motet released an album last month titled Death or Devotion as well. Singer Lyle Divinsky raised the band’s energy even higher with his exceptional stage presence at Brooklyn Steel, and got the crowd ready for Galactic.

    At set break, the High and Mighty Brass Band entertained fans with marching band renditions of TLC favorites like “Waterfalls” and “Creep.” The High and Mighty Brass Band is still currently on tour opening for Galactic.

    After the serendipitous first set and set break music, Galactic and Erica Falls took the stage with a bayou-flavored vigor that only Louisiana natives can possess. They played several tunes off of their new album, including “Ready Already,” “Clap Your Hands,” “Going Straight Crazy,” “Touch Get Cut,” and “Everlasting Light.” Ms. Falls lit up the stage with her dynamic and authentic vocals. Galactic showed their incredible improvisational skill with everything from saucy sax solos to funky guitar solos.

    The High and Mighty Brass Band joined Galactic on stage again during the encore for “Buckit Like a Horse,” raising the level of funk just one more time.

    Setlist

    Ready Already*
    Higher and Higher*
    Heart Of Steel*
    Clap Your Hands*
    Fabuloso
    Going Straight Crazy*
    Hey Na Na*
    You Don’t Know*
    Doomed>Tiger Roll>Touch Get Cut*
    Coolin Off Medley
    Everlasting Light*
    Right On*
    Big Whiskers
    Tuff Love
    Dolla Diva*

    Buckit Like A Horse**
    Never Called You Crazy*

    *  with Erica Falls

    ** with High and Mighty Brass Band

  • Rochester’s Steve Gadd Brings Home First Grammy

    Legendary musician Steve Gadd has performed on many Grammy-winning albums, but this year he was awarded the first one for one of his own projects. The Steve Gadd Band’s self-titled album won Best Instrumental Album. The modern jazz band includes Steve Gadd on drums, Walt Fowler on trumpet and flugelhorn, Kevin Hays on keyboard, Jimmy Johnson on bass, and Michael Landau on guitar. 

    Steve Gadd is hailed as one of the most accomplished and skilled drummers of his generation. Born in the suburbs of Rochester, Gadd took up drums when he was seven years old. When he was 11, he sat in with Dizzy Gillespie, launching a lifetime of work with some of the greatest artists of our time. He has performed in studio and on tour with iconic artists such as Paul Simon, James Taylor, and Eric Clapton. He continues to make music in conjunction with other artists and with the Steve Gadd Band. He was inducted into the Modern Drummer Hall of Fame in 1984, and the Rochester Music Hall of Fame in 2018.

    Gadd will be touring with Dave Matthews in March and James Taylor later this spring. Steve Gadd Band is on the bill for the Rochester International Jazz Festival and Montreal Jazz Festival. They’re also booked for a three-night stand at Iridium in NYC in June.