The Stone Temple Pilots have been playing since the late 80’s, and even with a new face on the mic, they don’t seem to be slowing down. Droves of fans packed the wide room of Upstate Concert Hall in Clifton Park, NY on Tuesday September 10th. The crowd was a sea of late 40’s dads and also a young crowd that will keep these memories alive.
The quartet came out to a massive roar as they took the stage. They started off strong, working through “Coma,” “Wicked Garden” and “Vasoline.” After a few classics they moved into their newer songs. They did an incredible job weaving through their repertoire, at one point playing two of their most memorable songs sandwiching their newest singles.
You can catch STP on the last leg of their tour coming up on September 19 and 22 in Philadelphia and New York City. Check out the setlist and photos from Zatchmo Lives Media below.
Setlist: Coma, Wicked Garden, Vasoline, Crackerman, Lounge Fly, Big Bang Baby, Glide, Big Empty, Plush, Meadow, Interstate Love Song, Roll Me Under, Dead and Bloated, Trippin’ on a Hole in a Paper Heart.
Banks brought her energetic live show to Brooklyn Steel on September 10 in support of her fantastic new LP, III. This was a second night added due to the first night on September 8 selling out so quickly.
Kevin Garrett opened the night with a soulful, beat-backed set of ballads. The crowd was full of Kevin Garrett fans as they willed him on by, singing and dancing along. His new album Hoax, released back in March of this year, was a nice complement to the evening, setting a warm tone but not stealing away any energy from Banks.
As the stage hands removed the opening band’s instruments, it was immediately clear that she would be dancing from one end of the stage to the other. With a keyboard set-up far stage left and a drum kit far stage right, the entire Brooklyn Steel stage was turned into Banks’ and Co. personal dance floor – and they sure used every inch.
The audience was in full-throat for every song – belting out all the lyrics and trying to mimic Banks’ dance moves on the packed GA floor. Some of the more adventurous dancers drifted to the back of the room and the balcony where there was ample space to dance.
Boris needs no introduction at this point in their career. Their upcoming studio release, LφVE & EVφL, will be their 25th(!) full length LP to date. This is not even counting the numerous live albums, EPs, demos and collaborations they have put out since their formation in 1992 in Tokyo.
The band is currently on a lengthy tour of North America and they rolled through Elsewhere, Brooklyn on Tuesday night in advance of the new album being released. Uniform provided support, delivering a very heavy and frenetic opening set, dense with noise and reverb.
Boris took to the stage with little fanfare, and quietly began setting up their loops and pedals. Then, equipped with a double neck guitar/bass combo, Takeshi Ohtani began laying down the heavy drones. The set had many peaks and valleys as the band transitioned from heavy, nearly uncomfortable drones to more melodic and vocal bits. All three band members contribute to the vocals, making for a very hypnotic sound.
During the encore, Uniform joined Boris on stage for a rendition of “Akuma no Uta,” the title track from their 2013 full length. This was quite the treat for the many Uniform fans in the crowd. The show concluded with the track “Statement,” a track from an alternate version of the album Smile.
Boris continue on their long tour with upcoming stops in the Northeast and on the West Coast before heading back to Japan. The band will end the tour, and their 2019 with a show in Athens, Greece on December 21.
Jason Aldean played Saratoga Performing Arts Center on Thursday, September 5th to a solid crowd of country lovers of all ages. His return to upstate NY was greeted enthusiastically by fans who loved his top pop-country song of the summer “Rearview Town.”
Openers Carly Pearce and Kane Brown set the scene for a fun and energized night of popular country music. Kane’s opening was stylistically a mix that was unique for country, complete with a visual set that replicates more pop and rap music than the traditional country look. Pearce sounded amazing and is a major up-and-comer in the country scene. Watch for her to be one of the new top female artists in the industry.
Photo by Claude Sawyer
Aldean entered the stage in jeans, a black Motley Crue T-shirt, and a cowboy hat with his guitar slung over his shoulder. The words “Ride All Night Tour” shone in bright letters as Aldean’s shadow crossed behind the stage when he arrived, welcoming fans with a giant “What’s Up, New York!”
Aldean gave the fans what they wanted: his most popular hits. While some country stars use concerts to promote new music, Aldean played familiar and loved hits from throughout his career, not just his recent releases.
Every year, Aldean plays “Dirt Road Anthem,” a different song from his others in that it includes some rap elements. The crowd sang along to the song that emphasized the importance of enjoying your friends and being a good person.
Aldean bucked the tradition of waiting for fans to cheer for an encore. Instead, announcing he would stay on the stage and give more music to fans. He then sang a longer than usual end of the concert with upbeat fan favorites that became sing-alongs. Aldean truly can ride all night. Here’s to wishing he performed at SPAC more than once a year.
Wallis Bird‘s upcoming album, Woman, is both a rebellious act of self-advocacy and a call to action. Wallis Bird is an accomplished musician from Ireland with a unique sound. When she was young, Wallis was involved in an accident where she lost all of the fingers on her left hand. Fortunately, all but one were able to be reattached. This has impacted the way she plays her guitar. She performs with it flipped, lending to her distinct musical quality.
Womancomes twelve years after her first album, and it is a reflection on the things Wallis has learned, both about herself and humanity. It serves as a way to impart what she has discovered and to rouse her audience into wanting change. To change the world around them; to be a kinder place.
In “Life Is Long,” Wallis reminds us that while a lifetime may seem like a long period, time itself is very brief. Each moment needs to be savored, which is something that is easy to forget in a world of instant gratification and constant distractions.
In “Salve,” a previously released track from the album, Wallis sings, “I’m practicing what I’m preaching, no else is going to save me,” a lyric which shows she has learned responsibility for her own self-growth. It’s easy to be sold on a version of yourself when you’re constantly fed images via social media. The desire to model yourself after someone else, who appears to be living an ideal lifestyle is tempting, but Wallis seems to ask you to step back from all of that, to evaluate yourself based on your own standards and decide what it is that you truly value. Create your own rubric to measure yourself by and define your own happiness.
Wallis invites introspection in her track “Brutal Honesty,” where she is, as the title suggest, with herself and shows awareness about how her own words impact others. She invites the listener to step inside her thoughts, where an act of intimacy becomes a shared experience with many. In “Repeal” she advocates for the right to decide what is best. In the current political climate, as a woman, others in power feel that it is up to them to make decisions for you. Wallis Bird speaks out against this, fighting to take ownership of her own choices in life.
Wallis Bird presents you with singable tunes that are joyous in sound yet carry deep messages that comes from introspection and reflecting on the changing world at large. It is a blend of soul roots and her love of the various genres that have influenced her. It stands as a testament to who she is and who she has built herself to be.
“Woman” will be released on September 27th. To catch her on tour, you can find her upcoming shows here.
Key Tracks: Salve, Brutal Honesty, As the River Flows.
The Band of Rustlers gave listeners goosebumps on September 5 at the Cock ‘n Bull Restaurant in Galway, New York with their iconic sound and perfect pitch harmonies. Singing a tribute to the Sons of the Pioneers’ songs, the trio brought alive the traditional country-western sounds of Roy Rogers, Bob Nolan, and Tim Spencer.
Band of Rustlers features three incredible musicians: JP Biondi (Cabinet) and brothers Roy and Kevin Williams. JP demonstrated tremendous range with his sweet tenor voice and had a fun whistle to add to the traditional cowboy songs. Roy, a frequent performer this summer at the Cock ‘n Bull, delighted with his fast-paced and technical guitar playing, as well as his fun bass range voice that he used both to sing and speak with through the archetypal western tunes. Brother Kevin Williams on bass was consistent, playful and a well-rounded third to complement the other two.
The trio joked with one another like brothers and shared a familiar ease that fit in well with their show. JP pointed out that the songs romanticized the cowboy lifestyle, and chuckled as he reflected on how challenging that lifestyle really was to live. The songs drew on nature metaphors to idealize love, friendship, and even the isolation of American cowboy culture.
As usual, the Cock ‘n Bull provided a perfect setting, providing acoustics that offered ideal circumstances for listening to such exact harmonies and precise playing. The men’s voices combined like honey and tea, melding to soothe and bring smiles around the room.
Rick Sleeper, the restaurant’s owner, took the stage to proudly introduce the band. Welcoming the audience or “buckaroos,” Sleeper maintained the western theme with the kitchen’s offering of a cowboy special. The plate included BBQ ribs, beef brisket, baked calico beans, and a lovely corn muffin spiced with jalapeno. The fun dessert stayed with the theme, offering a S’mores brownie complete with graham cracker crust and toasted marshmallow topping.
For folks unfamiliar with the Sons of the Pioneers, the music was still instantly recognizable as these songs have been a staple of American country-western music since the 1930s. For those who love the Sons’ music, this concert was a delightful and goosebump-raising event that almost perfectly replicated the quintessential and iconic sound.
The Band of Rustlers have created an experience for audiences that echoes memories in their exemplary performance. Next time they mosey through town, make sure you catch their show.
On September 7, the Greenwich Village event space (Le) Poisson Rouge was set for an intimate evening with SPAGA, a quasi-jazz project from the mind and fingers of Disco Biscuits keyboard player Aron Magner. Tables were draped with black cloths, lit by candles, and set with other accoutrements while on stage waited a baby grand piano, an upright bass on its side, and a full drum kit. Upon entering before the army of Bisco fans, the mood and setting were surprisingly sophisticated.
As The Disco Biscuits are generally known for their dance-inducing electronic music and laser beams, an open floor plan with room to move was the expectation. Alas, the performance did circumvent most expectations but lacked the confidence, or boldness, of traditional jazz stylings.
What is most interesting about SPAGA is the clear intersection between the old-fashioned and the new-age. It’s a classic trio set up with modern gadgetry intact. A synthesizer sat atop the grand piano with an assortment of foot pedals beneath, and a laptop computer was situated right next to the bench. The upright bass ran through a full effects pedalboard beside a rock drum kit. Throughout the course of the 90-minute set, all of the above were put to good use.
While the bulk of the night’s music was pulled from the recently released album (SPAGA, out now via AM Records) the opener was a non-album number, appropriately titled “For The Table.” This set the tone for the rest of the night’s offerings as it featured a tantalizing hook to anchor the more loosely fastened sections of improvisation. A major highlight right off the bat was drummer Matt Scaranos’ incredible ownership of the kit. As the keys and bassist Jason Fratacelli repeated the songs melodic content, Scarano displayed an impressive command over every little detail on top of, inside, and outside the beat. The songs that followed like the albums opener “Creed” and “Resurrection” both find their strength in their composition, giving the listener moments to mellow in ambiance and elate with blistering rhythms.
SPAGA did cover a wide spectrum on Saturday. “Resurrection” sits on a hip-hop beat, while a totally unique take on Led Zeppelin’s “Black Dog” seemed to be just a tease at first, eventually playing out as the full song. Improvisation was there, but it didn’t feel so much like it was in a jazzy conversationalist sense. Instead, it seems SPAGA has taken to sticking with the jam-band formula of creating a pocket, building a steady groove to fill it, and elevating the energy to a peak.
Magner took to the microphone to comment that SPAGA is a project grown from wanting to reconnect with and explore an instrument that he was properly trained on but spent a long time away from, the acoustic piano. While there isn’t much comparison between SPAGA’s piano-laden presentations and The Disco Biscuits electronically driven material, they certainly feel like they could have been made in the same kitchen. There’s different ingredients, but similar flavors.
All in all, SPAGA is a unique interpretation through a time-tested setup. There are moments of familiarity laced throughout a set that is, for the most part, completely separated from what you normally would hear from Magner and Co. SPAGA will be at Resonance Music Festival in Slippery Rock, PA ON September 19 and can be heard on all streaming platforms now.
Setlist: For The Table, Creed, Resurrection, Black Dog, Dig*, Colors, Four Angels, Good Old Days, Bird
*Temporary song name. Magner stated that it’s currently untitled and being decided on social media by fans.
On Sunday, August 25, Beau Fleuve Music & Arts Festival hosted their third annual festival at Silo City in Buffalo. The one day event, an “Ultimate Sunday Funday,” lived up to its name and featured more than 30 performances of all genres of music, as well as art installations, a silent disco, vendors village, beer and wine garden and much more.
The big takeaway from the festival was the diversity of the event. Artists and performers included Curtis Lovell, Miller & the Other Sinners, DJ Magic, The Sofa Kingz, Heather Russell and many more. From the music to the art, those that attended were of all ages, walks of life, backgrounds and nationalities and enjoyed a care free day with the historic Buffalo Backdrop of the Silos.
Check out the festival recap video below, and a photo gallery from the festival here.
Lonely Dakota is a UK based southern rock band. What? A UK based southern rock band. If baffled by this identification, the band’s debut EP End of Days will remove any confusion to who they are.
Recorded in April 2019 at Ranch Production House in Southampton, England, End of Days opens with “Victoria,” a bare bones rock anthem. Hearing lead singer Luke ‘VonDee’ Varndell’s raw vocals and Craig ‘The Machine’ Sepala’s authoritative drumming, you’ll find yourself pumping your fist in the air and letting out a YEAH as the song builds. The title track (and first single) “End of Days” follows. The song solidifies the band’s rock status with its hard-hitting drive, highlighted by Paul ‘PJ’ Jackson’s potent guitar work.
Track three is “Medication,” a slight shift melodically from the first two songs but kept to the bands creative dimension. Rounding out the collection are “Overdrive” and “15 Years,” songs that maintain the musical landscape established by the opening numbers.
“End of Day” cover art
So let’s review:UK, southern rock; UK, southern rock. Got it? Doesn’t matter. Just remember that Lonely Dakota’sEnd of Day will rock you, no matter where you are from.
Since their inception back in 2004, The Wood Brothers have been creating their own flavor of American traditional music on their own terms. The trio is comprised of brothers Chris (bass & vocals) and Oliver (guitar & vocals) Wood , as well as Jano Rix (percussion & shuitar). Together they have been successful in creating a unique musical gumbo which includes the combination musical styles including Blues, Folk, Country, and Rock.
The Wood Brothers also recently received critical acclaim for their latest studio release, 2018’s One Drop Of Truth, which included a Grammy nomination for Best Americana Album. If that weren’t enough to keep the band busy, The Wood Brothers have just released Live At The Fillmore a new live album, their fifth, that was recorded over a two night stint at San Francisco’s famed musical landmark. The trio is famous for their live performances and the band shines on the stage. The opening track on Live At The Fillmore is “Blue and Green,” which is a stripped down, intimate number off of 2011’s Smoke Ring Halo LP. The deft vocals that Oliver and Chris deliver, as well as the ambient noise of the crowd, easily transports the listener to the gig at the historic Fillmore.
The boys tear it up on the third track “Snake Eyes” with a great percussion intro by Rix, which leads into a nicely executed guitar accompaniment by Oliver, featuring some heavy feedback. The Wood Brothers infectious performance, along with the a little on stage prompting from Oliver persuaded the audience to join the band in the chorus of the upbeat number, creating a vivid picture in the mind’s eye of the listener. The trio’s harmonies were spot on and the track wrapped up with another nice guitar fill by Oliver.
The Wood Brothers keeps the energy flowing with “Raindrop,” the fifth track from Live At The Filmore LP. Oliver and Jano constructed an intro featuring guitar and percussion which effortlessly leads into the jamming number. With the catchy opening vocal “Broke a heart for a cheap thrill. Seemed worth it at the time. There’s a hundred of ’em out there still. You can hear ’em all cryin’,” Oliver is able to evoke the frustration that anyone can feel while trying to get over a painful breakup.
The sixth tune, “Chocolate On My Tongue,” has an infectious groove that will get your foot tapping along with The Wood Brothers as they expertly ply their trade. Catchy riffs and smooth harmonies make this tune a true gem of a performance and a highlight on the LP.
Overall the fourteen tracks on Live at The Filmore are successful in proving The Wood Brothers are at their comfort zone on stage, playing for a live audience. It also illustrates how proficient the trio, who have had extensive time on the road performing, are able to anticipate and coordinate their playing together as a road tested unit. Oliver Wood once said while talking about selecting songs for a set list: “Sometimes it is like choosing between your children, you don’t want to have to do that but sometimes you have to.” Luckily for fans of The Wood Brothers, the band chose extremely well on Live At The Filmore, creating a voyeuristic experience where the listener gets to experience the best of two nights in the life of a great live band playing at a historic musical venue.
