Home For the Holidays featured a stacked lineup of top-of-the-line musicians in the Dead community including Melvin Seals, Oteil Burbridge, Tom Hamilton, Duane Trucks, Jacklyn LaBranch, and Lady Chi.
They played Jerry Garcia Band staples like “Tore Up Over You,” “My Sisters and Brothers,” and “Reuben and Cherise.” The first set started with “How Sweet It Is” and also featured “Shakedown Street,” “Eyes Of the World,” and an electric “Dancing In the Streets.”
Hamilton and Oteil had great chemistry on stage, working off each other’s grooves. Tom was listing vigilantly to where Oteil was going but always checked in to see where Melvin was at. And when it was time to peak, Melvin was really letting it ring!
The second set opened up with “Stop That Train” followed by “Money Honey” and a crowd favorite, “Tore Up Over You.” “My Sisters and Brothers” was touching and full of soul, it is a song about peace and brotherhood after all. The set ended with “Reuben and Cherise” and they encored by getting the whole theatre to sing along to “Shining Star.”
This past July, CAAMP put out their latest LP, By & By, on Mom + Pop Music and are still touring strong behind the record. This past week, the group made their way to Brooklyn for two sold out shows at Brooklyn Steel on December 10 and 11.
Support for these shows came from Savannah Conley; presenting a stripped back solo performance of breezy folk music. She was joined on stage for one song by the violinist from CAAMP’s band.
After blasting John Lennon’s “Mind Games” over the PA, CAAMP walked out to a massive ovation from the audience. The band has quite the following here in NYC, that was on clear display over the two nights in Brooklyn. Frontman Taylor Meier confessed to the crowd after the first song that he was very sick, joking “Why did this happen when the tour got to NYC? Couldn’t I have gotten sick in Omaha?” Despite the illness, Taylor performed seemingly unaffected and got a lot of help from the entire room singing along to each song. (Update: Taylor actually came down with the flu and subsequently cancelled the upcoming Philly and DC shows).
The band adorned matching denim jackets with their names embroidered on the chest, band logos on the back (Taylor was also sporting a Courtney Barnett pin). There was a full drum kit on stage, which was only used for a few of the songs. One band member primarily playing banjo had a separate kick drum which provided the beat for most songs.
The band continues their winter tour through December, concluding with three hometown shows (the last on New Year’s Eve) in Columbus, Ohio at Newport Music Hall. They hit the road again in the spring/summer for a lengthy tour with several festival stops along the way.
Galactic space travelers Treasure Plate have traversed time and space to send a message in the form of a rock opera of epic proportions. The self-professed blue collar cybernetic spacemen from somewhere in the 4000th millennium forewarn of a future filled with the dangers of space travel, encounters with hostile alien life, and harrowing narrow escapes on their album Engine Core Phenomenal.
The audio recording conveys the cosmic story, alternating between songs and narrative segments that push the story line forward. The band is comprised of a mix of sci-fi fans and a theater major, and the full effect of the story is best felt during their performances in full costume with special effects.
Whether it’s live or recorded, the story of space travelers under siege is a great escape from our run-of-the-mill modern day problems. But then again, some things never change, like the yearning to explore the outside world in order to discover ourselves. As they sing in the final verse of the album, “It’s who you are, it’s how we grow / It’s now where we’re gonna go.”
Treasure Plate is Brian McCormick on guitar, Ryan Kinal on bass, Luke Cornwell on keyboards, and Joshua Lownberger on drums. They brought a host of friends into the studio for backup on several tracks. Engine Core Phenomenal was recorded and mastered by Jesse Sprinkle at Bluebrick Studios.
Key Tracks: The Wrong Way, End of the World, Stargazers
With their 2018 EP, Rochester rockers The Stedwells announced they were coming of age with the title I’m Too Tall For My Time Machine These Days. It begged the question, what happens now that they’re all grown up? What comes next for the trio after “Body Shots” and “Pipe Dreams”? The answer came this fall in the form of their new EP Hideout.
When you’re too tall for your time machine, you’re finally mature enough to play in the big leagues. This time they’ve gone with not just one, but two Grammy-winning engineers – Stephen Roessner (Recording Engineer) and Dave Collins (Mastering Engineer). They also had assistance from award-winning Mixer Joseph Chudyk.
Even without the glossy sheen applied by the dream team of audio engineers, brothers Ryan and Brendan Warren and their friend Alex Durr work together like a well-oiled machine. The new songs play to their strengths. Anchored by a rocking beat, they dig into high energy riffs reminiscent of The Black Keys, The Strokes, and even Arctic Monkeys (minus the cheeky lyrics). Over the top of the instrumentation, lead vocalist Ryan serves lyrics with catchy pop hooks that will have you singing along in no time.
Phish fired on all cylinders at North Charleston Coliseum, making their seventh visit to the South Carolina venue deliciously-memorable for the sold-out crowd. Bust-out covers, banter, and barely played original tunes elevated the already enticing jam tapestry that this band is known for.
Page McConnell, Jon Fishman and Trey Anastasio sing “Carolina”
The band began the three night run with an acapella “Carolina,” which was last played on 12/30/2016 at Madison Square Garden. “Carolina” was followed by the crowd hyping Phish original, “Party Time.” The bust-outs continued with “Strawberry Letter 23” by Shuggie Otis, marking the fourth time that the band has played this beloved cover. During the second set, the audience was treated to Led Zeppelin’s “No Quarter,” last played 12/29/2018 at Madison Square Garden.
Trey Anastasio was all smiles at North Charleston Coliseum
“I Been Around,” last played at MGM Grand on 11/1/2018, made an appearance, complete with humorous lead in pun. Trey said: “Hey Page, I’ve been wondering. Where have you been anyways?” Page cleverly replied “I’ve been around,” which lead into the song.
Two barely played original tunes graced the set list, including “Destiny Unbound,” last played on 2/23/2019. The encore included an even more rare “Bittersweet Motel,” last played on 7/6/2016.
Phish certainly gave their dedicated fans a reason to travel to the Palmetto State. They are back in action the next two nights at North Charleston Coliseum. Both nights are understandably sold out, however Phish is offering a live webcast of the event. Visit Live Phish to prevent further FOMO on this already legendary run.
Set One: Carolina, Party Time, Strawberry Letter 23 > Undermind, I Been Around > Divided Sky, The Sloth, Destiny Unbound, We Are Come to Outlive Our Brains > My Friend, My Friend[1] > About to Run, The Horse > Silent in the Morning, David Bowie
Set Two: Axilla > Scents and Subtle Sounds > No Quarter > Your Pet Cat, Mercury > Saw It Again > Limb By Limb[2] > The Lizards, Suzy Greenberg
Encore: Bittersweet Motel[3] > Death Don’t Hurt Very Long > Loving Cup
[1] No “Myfe” ending. [2] Unfinished. [3] Lyrics changed to “halfway from Charleston to Pittsburgh.”
Page McConnell got funky at North Charleston Coliseum
Saturday, December 7
Set One: Fluffhead > Ocelot, Nellie Kane > The Dogs > Reba, Halfway to the Moon > Train Song > Guyute, Strange Design, Moonage Daydream
Set Two: The Connection, Mr. Completely > Crosseyed and Painless > Dirt, Cool Amber and Mercury > Split Open and Melt > Crosseyed and Painless > Split Open and Melt, A Life Beyond The Dream > Wilson > The Squirming Coil
For someone shuffling between cities like Brooklyn and Toronto, the term ‘intercity’ is best to define their mild case of vagabondary. For solo rock n roller Justin “Diamond” Jones, who has been on the inside of the scene for the past 18 years, it aptly describes his constant travel between London, Los Angeles, Toronto and Brooklyn.
Having just released his debut single, “Ashes and Diamonds,” Jones also is releasing a short film based around the track, as well as a music video. Having played on stage with John “Twink” Alder from Santa Barbara Machine Head, in groups such as Tomorrow, The Pretty Things and The Pink Fairies, and recorded in The Clash’s studio, Jones is a rare remnant of artistic integrity with a story to be told.
“Ashes and Diamonds” is Diamond Jones’ return to the rock n’ roll and film scene after a period of solitude and devise. Jones solely shines this feat himself: all instruments are played, recorded and produced on his own. Likewise, the film is written, directed, and stars Jones.
Born in Toronto, Ontario, Justin “Diamond” Jones as a young adult was involved with a group of semi-professional skateboarders during a time that rock n’ roll was seeing a revival, stemming from the skateboarding community. At that time he stumbled upon Bob Dylan’s Bringing It All Back Home and shortly after disappeared off the grid to develop his craft as an artist.
Years later, Jones found himself in London, and quickly began performing around the city on guitar and piano. Jones has spent the past three years in Canada, isolating himself to refine his skills and prepare for his prolific return to the music & film scene.
Like a great sandwich of leftovers from Turkey Day, the Vermont-based band Twiddle served up two nights of their homegrown musical jam at The Capitol Theatre in Port Chester, NY. Dubbed “Frendsgiving” by the band, the weekend show is now becoming an annual event, this being the third time around.
Twiddle
With the theme of “Frendsgiving,” a portion of each night’s door sales was donated to the non-profit organization White Light Foundation. The foundation, run completely by volunteers, assists various charitable organizations and community causes. WLF describes itself as “founded on the principles of community, love, generosity, and passion” and is inspired by the music of Twiddle.
Aqueous
I caught the second night of this two-night run which had Aqueous, who played both nights, opening the show. They kicked out a blistering 45-minute set, including a cover of Vampire Weekends “Sunshine,” stoking the house’s appetite for the main course. Twiddle took the stage to cheers from the crowd, serving up two sets of nonstop music to the delight of all. The second set opened up with “Latin Tang” which had Mike Gantzer and David Loss of Aqueous joining the band and taking the show to the next level .
Mike Gantzer and David Loss of Aqueous w/Twiddle
With this being the beginning of the holiday season, the band gifted the audience with two new songs: “Mistakes,” which closed out the first set, and “Just Gravy” which was featured in the latter part of the second. “Lost in the Cold,” from Plump, took it home as the encore for the night. To make the evening complete, before the band left the stage they had the entire house join them for one big “family” picture to cap off the holiday weekend.
Aqueous Set List
On The Edge, Kitty Chaser (Explosions), Come and Go, The Median, Sunflower, Skyway
Twiddle Set List
Set I Orlando’s, Jamflowman, Gatsby the Great, Hattigan Mcrat, Orlando’s, BeeHop, Carter Candlestick, Mistakes
Set IILatin Tang, The Box, Zelda Theme, The Box, Syncopated Healing, Machine FRENDS Theme, Just Gravy, Gatsby the Great (Ending)
It’s no easy feat to make a Christmas album stand out these days. There’s a lot to choose from and they all tend of blend into each other. Even original songs can have a tough time climbing the charts, except for Mariah Carey’s “All I Want For Christmas Is You.” No one will ever understand how that song got so popular. Regardless, Ernie Haase & Signature Sound have put together A Jazzy Little Christmas, a unique collection of Christmas classics with a twist as well as original scores that are sure to turn a few heads.
What’s more, they follow the holiday spirit by vowing to donate a portion of the proceeds to New York Cares’ Winter Wishes program – a branch of the New York Cares group that is dedicated to providing gifts to low income families.
Ernie Haase & Signature Sound is an Emmy-nominated southern gospel quartet stemming from all over the country. They’ve released a copious amount of albums over the years, but this album is their first Christmas album in a decade and it brings that classic, magical, warm Christmas feel that has transcended time.
The album is filled with a variety of classics such as “It’s Beginning to Look A Lot Like Christmas,” “Winter Wonderland” and “Mister Santa.” They’re chock full of rich, bold brass instrumentation, swirling strings and, the cornerstone of the group, the unbelievable chops of Ernie Haase, Devin McGlamery, Dustin Doyle and Paul Harkey. Together, they created some otherworldly harmonies and sounds that are warm and inviting, perfect for this time of year. They also created some original tracks that Haase hopes will become holiday classics. In his online bio, Haase tells a heartwarming tale of how his original, “Christmas in Manhattan” came to be.
“New York City is a very special place for me and my wife, Lisa. We’re going on 30 years of marriage, and one of the things we started doing when we first got married was going to New York and doing a Broadway blitz, especially at Christmas time. We would get there and just look at the lights and take in the city, so I wanted to write an original love song about those experiences.”
It’s a sweet tale that makes the song more sincere and unique. This authenticity, coupled with their charitable nature, makes this an underrated album. So fire up the yule log on your TV, spike the eggnog and fall into the holiday spirit with this in-depth and unique album. Stream it on Spotify, iTunes, or download it on their site.
Key Tracks: Winter Wonderland, Mister Santa, Christmas in Manhattan
Phish geared up for two nights at Dunkin’ Donuts Center in Providence, RI to cap the month of November. It was long overdue, nine years since Phish had performed DDC. Even more thrilling than the Phish stage presence at Dunkin’, both dates directly infected the community with musical-euphoria, as were fans Friday and Saturday night. Phish, along with the Mockingbird Foundation have donated a $1,500 in tour grants to New Urban Arts in Providence.
Friday 11/29/2019
Set 1: First Tube, The Final Hurrah > NICU, Steam > Scent of a Mule, Bye Bye Foot, No Men In No Man’s Land, Gumbo> My Soul, Maybe[1], Sand > Fire.
Set 2: 46 Days > Back on the Train > Plasma > Farmhouse, Light -> Plasma Reprise > Birds of a Feather, Joy, Simple -> Set Your Soul Free -> Plasma Reprise, Walk Away.
Encore: Meatstick > Sleep, Driver, Bug.
[1] Phish debut.
Saturday 11/30/2019
SET 1: Turtle in the Clouds, Punch You in the Eye > Llama, Meat, The Old Home Place, Lawn Boy, I Didn’t Know, Maze, Horn, Gotta Jibboo > Stash -> Plasma Reprise > Golgi Apparatus.
SET 2: Bathtub Gin > Alaska > What’s the Use? > Piper > Golden Age -> Plasma Reprise > Harry Hood.
Encore: Big Black Furry Creature from Mars > Kung > Wombat, Possum > Plasma Reprise.
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
