Whose Live Anyway?, which took place at Kingston’s Ulster Performing Arts Center on April 12, 2019, is an atypical event for NYS Music to cover. Hell, the skit comedy show is an atypical event, period.
In lieu of a traditional review of the night’s proceedings, we have compiled the “Top Ten Things Learned At Whose Live?
1) Drew Carey has a dirty mouth. When he’s not giving away cars on national midday broadcast television, Carey loves saying “fuck.” He dropped more f-bombs than the Bad News Bears dropped pop-ups. The curses were perhaps gratuitous, but never malicious. He seemed like a genuinely jovial guy who loves and appreciates his enviable job.
2) Greg Proops likes audience participation– when it’s asked for. Sure, the event called for audience participation. Sometimes, people chimed in and he apparently didn’t hear, like when a zealous Oliver Twist fan called out his favorite book several times. Other times, unsolicited engagement came and Proops had no problem demanding people to “Shut up!” (perhaps slightly maliciously), while mocking them in the process.
3) Any action can be made sexual. In the evening’s first skit, Carey and Jeff B. Davis came out with a bang… or a blow. Audience members were asked to provide them with non-sexual actions to perform on stage while telling a story. Carey was tasked with sit-ups while Davis was given jumping jacks. It turns out, if you’re doing sit-ups and your friend starts doing jumping jacks while straddling your midsection, the amalgamation looks quite sexual. Who knew?
4) Kids say the darndest things. Twelve-year-old Skylar, who already witnessed his grandmother being wooed (we’ll get to Hester), was called onto stage during the encore to create a fairy tale called “Shmoogley Poogley” (or something) on the spot with Carey and the crew. Skylar– rightfully so– questioned “What parent names their kid Shmoogley? Or Poogley?!” Later in the story, when Poogley was being chased by Shmoogley, Skylar exclaimed, “…and Poogley ran to a bridge and jumped off!” That’s one way to end a story abruptly.
5) Kids make the most monophonic sound effects. During another sketch, Proops and Joel Murray played construction workers filling in Kingston’s infamous potholes, while a couple of young volunteers were called up to make sound effects. As it were, wings flapping, beers cracking, steamrollers starting and ice swishing all sounded incredibly alike.
6) “Bucharest, Bitch!” The cast played Jeopardy and, when the answer was “Bucharest,” Carey’s– I mean space skydiver Felix Bumgartner’s– question was, “What do I say after a killer dunk? Bucharest, bitch!” That’s right, Bucharest is not the nap one takes after chowing down at Buca di Beppo. And definitely not the capital of Romania.
7) Comedians acting drunk are much funnier than actual drunk people. We’ve all been out and seen (or been) people whose motor skills look like they’re being controlled by someone else. During a skit, Carey and Davis impersonated Kingstonians over-imbibing at the annual St. Patrick’s Day festival. The funny part? Their movements were controlled by random participants who pushed or pulled their arms, legs, hands and feet as they saw fit. They moved like robots and slurred like…apparently, Kingstonians.
8) Juuling ain’t allowed in school. A Kingston high-schooler was asked to provide a title for a fake soap opera. The crew would narrate based on the biggest drama going on at her school. The title she provided? “Juuling In the Bathroom.” The skit was funny, the prevalence of kids huffing USBs in school is distressing.
9) Grandmas make great babysitters. The reason Skylar was on stage telling stories with famous comedians who love dropping F-bombs and telling people to shut up; His parents were out and Grandma Hester was babysitting. She was the first audience participant called on stage and was serenaded by Davis. Davis concluded the ballad by bragging he would give Grandma her own “scarlet A” and Skylar must have seen her blush from his seat, halfway back in the crowd. In about five years, he may be the first high-schooler to enjoy Hawthorne when he realizes “that’s what that guy meant!”
10) Ariana Grande and Jim Belushi love library songs. Or, at least when being portrayed by Carey and Murray, respectively, and attempting to sell “greatest library-song hits.” This is a two-for-one point– Greg Proops just may do Elvis Costello better than Elvis Costello does Elvis Costello.
Here’s a bonus takeaway from the evening: laughter is damn good medicine. Go see a comedy show. Your side might hurt from all the laughter, but your soul will feel refreshed.
There’s something familiar behind everything on the gorgeous new album from Newburgh, NY’s Native Harrow. Yet, originality twists through it all, providing a fresh voice for the indie-folk world to fall in love with.
A flourish of drums and guitar get the album started with a surprising, and refreshing, kick to the ear. Devin Tuel’s voice brings to mind Joni Mitchell, though she doesn’t allow the comparison to define her or the music.
The Mitchell likeness might come through clearest in “Blue Canyon,” appropriately a love song of sorts for California. Jazz colors the edges of the title track, and “Hard to Take,” with a slight nod to Van Morrison via Ryley Walker. “Something You Have” injects a gospel-fueled soul, powered by some well-placed B3 organ. The energy of the set peaks with earthbound jazz-rock fusion on “Round to Round” that brings to mind the criminally underrated Arc Iris.
https://youtu.be/7dH5LmX1PrM
Happier Now cements itself as a great album by saving the best for last. “Way To Light,” a sarcastic fantasy about the love of material goods, is a building slow burn, with a hint of “Dear Prudence” and some fantastically eerie slide guitar.
Devin Tuel wrote Happier Now‘s nine songs while constantly touring the country in 2017. The songs center around Tuel growing through her twenties and maturing as a human of her own making, no longer encumbered by the strict ballerina life set out for her since she was just three. When it came time to record with Alex Hall (JD McPherson, The Cactus Blossoms, Pokey LaFarge) at Chicago’s Reliable Recorders, Tuel and her trio tracked live in the same room, later adding minimal overdubs. The immediacy and intimacy comes through in the final product. Happier Now is an album to enjoy thoroughly in the present, but also hopefully a sign of great things to come from this budding artist Native Harrow.
Key tracks: Happier Now, Round and Round, Way To Love
The night of Sunday, April 14 was a special night for all of the Capital Region’s music and entertainment scene at Proctors Theatre. It was the first ever Eddie’s – the Capital Region Thomas Edison Music Awards. The Eddie’s were formed this year by Jim Murphy (marketing and corporate development director at Proctors Collaborative) and Salvatore Prizio (program director at Proctors). It provided an opportunity to amplify, empower, and celebrate all creative professionals that are vital to the Capital Region’s growing music scene. Thirty-three categories, ranging from best photographer, soloist, music venue, and others, and three people’s choice categories, were voted on by the public. Two 2019 Inductees, songwriter, Kevin McKrell, and Music Mobile founder, Ruth Pelham, were inducted into the N.Y. Capital Region Thomas Edison Music Hall of Fame.
As a creative professional in the visual arts, photography, and journalism scene, it was an honor to attend and be a part of this show at Proctors. It was a blast being a part of this show with other creative musicians, photographers, publications, and music patrons. The awards show gave patrons an opportunity to learn more about the musicians, bands, publications, music promoters, photographers, venues, radio hosts, and other creatives that make up our music scene in the Capital Region. It was a great event to support all the nominees and winners that make up our growing scene.
This year’s 2019 Inductees for the NY Capital Region Thomas Edison Music Hall of Fame included songwriter and visual artist, Kevin McKrell and Music Mobile Founder, Ruth Pelham. The video presentations and the speeches that both McKrell and Pelham gave to the audience were both interesting and inspiring, particularly Pelham’s. It was interesting to see how McKrell’s Celtic music and his portrait art of musicians that he created inspired him to become a visual artist and a successful musician who previously performed at the esteemed Carnegie Hall.
Girl Blue with Jamie from Chromoscope Video Productions, accepting the award for “Best Music Video” for “Dreams”Sara Ayers and Paul Jossman accepting the award for “Best Arts Publication” for Nippertown.comA photo video montage shown on the screen held in memory of Caroline MotherJudge.Kevin McKrell,songwriter and recipient of The Eddie’s Artistic Lifetime Achievement Award.Music Mobile Founder, Ruth Pelham, the recipient of The Eddies Lifetime Achievement Award for Music Education or Community Impact.
Blue Cross Arena at the War Memorial – This large indoor arena, constructed in 1955 as the Rochester Community War Memorial, to this day hosts some of the biggest sporting and entertainment events that come through the city. While the large venue has a variety of events, heavily concentrating on sports, bigger music acts utilize the space when they come through on their tours. Most recently, The Millennium Tour, featuring R&B group, B2K and Mario performed there. Make sure to keep an eye on the arena’s calendar for big upcoming events.
Main Street Armory – This active entertainment hotspot has remained central to the music scene of Rochester for a long time. It began as a military facility hosting center and grew into a hub for sporting events, paintball and, of course, concerts. Holding 6,500 attendees, this venue has hosted a multitude of genres and has upcoming shows to reflect its diversity of sound as well. To name a few highlights off the venue’s calendar, A Boogie Wit Da Hoodie will be coming in May with PnB Rock, Lil Baby in June, and Buckcherry with WARPAINT in July.
Theaters
Kodak Center Theater – The Kodak Center is more than just a music venue, as it additionally holds conference and alternative event spaces, as well as a Visitor’s Center. However, the main pull to the center, located just minutes from downtown Rochester, is their main stage, the Kodak Center Theater. The room holds 1,968 attendees in comfortable seating and has produced a variety of shows in the past from comedy to dance shows to children’s camp events to full-on concerts. Some highlights from their calendar for upcoming events include Gary Allen, who will be performing later this week, Derek Hough Live and The Temptations & The Four Tops.
Eastman Theatre – The Eastman Theatre of the Eastman School of Music at the University of Rochester is located in downtown Rochester and is home to multiple state of the art theaters and venues. Within the facilities are Kilbourn Hall, the ornate and acoustically pure Venetian Renaissance styled theatre that holds 400+ guests, Hatch Recital Hall – the modernly-styled, newest addition to the building that holds an intimate 200+ audience, and a handful of other different rehearsal rooms. The gem of this facility, however, is the extravagant Kodak Hall which opened in 1922 and since then has been a driving force of fine arts in Rochester. It holds 3,352 people and commonly holds a high-quality schedule of musical performances.
Clubs
Sensation Nightclub – Sensation Nightclub claims to be the premiere nightclub experience in Rochester, inspired by the founders’ opinion of the lack of a proper nightlife experience within the city. In addition to presenting a luxurious experience with table bookings, bottle service, and top-notch accommodations, Sensation books high-quality, nationally-touring DJ acts for their late nights. If you are looking for a fun night out accompanied by some electronic music, Sensation is the place to go!
SKYWAY – By day, SKYWAY is better known as Cafe SOL, but at night, the place transforms into a unique and visionary clubbing experience. Every Thursday, Friday and Saturday night, SKYWAY Lounge captivates guests through their “musical collage of seamlessly woven beats” that is comprised of every imaginable genre including Balearic lounge, Caribbean rhythm, soul, disco, pop, hip-hop, and deep house. Bottle service and private event booking is available, but regardless, a good time and good music is always guaranteed. For your next big night out, check out their calendar.
Vertex – Another notorious and long-standing club in Rochester happens to be the club Vertex. For over 20 years now, this goth club has continue to operate, while seeing multiple changes in locations, it still continues to bring great music for this scene within the city. Operating on the usual schedule of Thursdays with DJ Noname, Fridays with Silver Crash, and Saturdays with DJ Darkwave, the standard set still packs the house. Throw their Facebook page a like and a follow to stay up to date on their events.
Flour City Station – Flour City Station is a different breed of club, aside from the usual EDM sets at most. For a late night fix of all categories and genres ranging from DMB and The Grateful Dead cover bands, 90’s throwback parties, to ska, funk, and beyond, the Station is the place to go. Don’t miss out on the stacked upcoming events.
Venues
Anthology – An undeniable personality within the Rochester music scene, Anthology is a re-invented multi-level auto warehouse in the East End of the city. It holds about 1,000 people, providing enough space for a large scale audience for local acts and an intimate audience for nationally touring acts, which the venue finds a solid balance between. The facility is beautifully remodeled and has been known to host memorable shows, so keep an eye an out to catch one of your favorite artists there.
Montage Music Hall – Montage Music Hall is a small but mighty, long-standing staple in Rochester’s music scene. This 400-capacity venue has been kicking for over 20 years and has never failed to promote an overwhelming variety of genres. Some past notable acts that have played the venue include The Arkells, Max Creek, Melvin Seals, and Attila, and their calendar is set to include many more dynamic acts to come for the summer and beyond.
Bug Jar – It is safe to say that there is always something going on at the Bug Jar. Whether it be a comedy show, trivia night, DJ set, or live band set, their calendar is packed full, 7 days a week. It is a local favorite and a can’t miss when addressing the city’s musical landscape.
Festivals
Rochester Summer Soul Festival – Set to take place on Friday August 23 and Saturday, August 24, Rochester’s Summer Soul Music Festival is an event that will serve to highlight the bright array of musical talent in Rochester coupled with a great family environment and local food vendors. It will be held at Frontier Field and the lineup is set to be announced soon.
Rochester International Jazz Festival – Right in the heart of Rochester is one of the world’s leading jazz festivals that has been going strong since 2002. Hosted by M&T Bank and spanning a whole nine days, this celebration of music features over 1,500 artists yearly with over 320 shows that take place in over 20 venues around the city. It is a small citywide takeover that lights the city up with good vibes and good music. If you catch yourself in Rochester between June 21 and June 29, you’re sure to be in for a good time. Be sure to check out the lineup.
The Gateways Music Festival – In association with Eastman School of Music, from August 6 until the 11th, The Gateways Music Festival will be gracing Rochester once again with over 50 performances throughout the area. The festival aims to be a resource for classical musicians of African descent and will feature more than 125 musicians from their ever-growing database of now 700 musicians. The tickets are cheap, but the organization will be accepting donations to support their ongoing cause. For more information click here.
Party in the Park – For the 22nd consecutive year, the City of Rochester presents Party in the Park every Thursday from June 6 until August 8. The weekly event transforms Martin Luther King Jr. Park into a treasure trove of local vendors, incredible food, and awesome musicians. Check out the website for more details and this summer’s lineup.
Hidden Gems
Lovin’ Cup – Lovin’ Cup has become Rochester’s one-stop-shop for all the city’s coffee, food, bar and entertainment needs. From breakfast, lunch, dinner, to drinks, Lovin’ Cup has got you covered. Upcoming on their calendar for live music includes The Klick, Hey Mavis, Hanna and the Blue Hearts, and plenty of Open Mic Nights and Salsa Nights to get involved in.
Record Archive – For over 40 years, this record store has been providing Rochester with quality music on vinyl. Beyond it’s primary purpose, Record Archive has two live stages within the store with which they host their own events. A favorite place for locals and a popular attraction for tourists, the Record Archive keeps people coming back with their wide array of records and stellar live events.
Sofar Sounds Rochester – Something that adds an interesting dynamic to local music scenes and does it incredible job of highlighting local musicians in intimate and unusual venues is Sofar Sounds, and Rochester is fortunate enough to have this active organization in their area. If you’ve ever wanted to see acoustic sets in a neighbor’s home, an office building, or a rooftop, Sofar Sounds is one to watch for your next favorite small concert experience.
If you’re looking for a place to get away and lose yourself in music, Rochester holds a promising array for lovers of any genre. This guide is only the tipping point of all the endless possibilities and incredible musical experiences awaiting in this city.
One of UPAC’s bartenders skipped down an abandoned hall, hands aloft, waving side to side, an unadulterated grin glued to his face. An usher, with no one requiring assistance, leaned against a post, nodding appreciatively and smiling approvingly. It was the encore, but the exit hall was empty and there was nobody to usher; no one left this show early. Meanwhile, Angelique Kidjo and her backing band took a victory lap, wading into the crowd from stage right, dancing, hugging and high-fiving their way to the back of the room. They shifted to the adjacent corner and shimmied back up onto stage left, all the while covering Talking Heads “Burning Down the House.”
Kidjo and her band brought down the house from the opening djembe drum solo to the Talking Heads finale. When she took the stage, Kidjo’s presence instantly demanded full attention; her attire rivaled the vibrancy of her voice and she and her band held onlookers riveted all evening.
Originals and Talking Heads covers alternated throughout the evening, with anecdotes sprinkled in. After the opening drum solo kicked things off, a cover of “Born Under Punches” flowed into a bass and synth-heavy “Crosseyed and Painless.” Kidjo followed these covers by informing the Ulster Performing Arts Center, “We love doing Remain In Light—with the blessing of the Talking Heads of course!” Kidjo and her cohorts played a few California concerts with David Byrne, she explained.
For most of the evening, the aisles were filled with a wave of grooving bodies and seats were left abandoned. Kidjo is undeniably a star: her presence is vast and her voice is a wide-ranging instrument unto itself. She formed a symbiotic relationship with the Kingston crowd that blossomed all evening. Her dancing was like jujitsu that warded off bad energy as she bounced from American funk to African beats.
Midway into the show, Kidjo disappeared into the crowd and would occasionally pop up in a sea of fans in the heart of UPAC. She finally reemerged onstage for the remainder of her nearly two-hour set to energetically cover “Once In a Lifetime” to fans’ delight.
As the show neared its end, Kidjo exclaimed, “I want at least thirty people up on stage– first come, first serve, ladies, men, I don’t care who– get up here! Let’s go!” The stage quickly filled with eager attendees looking to bask in Kidjo’s presence. The djembe drummer lumbered to center-stage and began serenading dancers with beats, which they, in turn, interpreted with their shaking bodies. Anyone who wanted the limelight was given their shot at it. Those who preferred watching were treated to a show.
The evening was more an interactive musical experience than a concert. When Kidjo said, “Clap,” the Kingston crowd clapped; when she said stand, they stood. “Dance!” Kidjo demanded, and dance they did. No one left early, and no one left without a look that said they yearned to remain in Kidjo’s bright light.
Last night Trey Anastasio brought his newest project, the emotionally charged Ghosts of the Forest, to New York City for the first of a two night run at the United Palace Theatre. A departure from the improvisational jam routine, GOTF provided a set of incredible honesty and vulnerability. Apart from the music, this project stands-out as beautifully intimate and something uniquely special.
Six shows into their one-off tour, the group of frequent collaborators (members of Phish, TAB and the fresh voice of Celisse Henderson) have played the same setlist every night. Opting for one single set, the sextet unrelentingly weaved through all the highs and lows with precision.
As the crowd funneled in, the ambient house music set the mood, giving everyone time to settle into the wonderfully-detailed 3,000 capacity room. If you’ve been paying attention, by now you know that the music of GOTF has all been derived from the passing of Trey’s childhood friend Chris Cottrell. The 90-year-old opera house provided a perfect setting for this music. The poignant to-the-point lyrics, gorgeous layers of soothing vocal melodies and soaring guitar solos filled air with sentimental, and sublime energy.
The title track “Ghosts of the Forest,” which served as the opening song, is an ethereal walk through an odd-time signature – a reflection of what it’s like trying to understand permanent loss. Going on themes of confusion and searching, there is no nonsense here; “I’m drowning in my own mind, I’m drowning in thoughts, I’m drowning in memories.” These personal revelations continue through “Drift While You’re Sleeping” and “Friend,” a touching gospel ballad expressing the difficulties of making, and losing, friendship.
When new music is released, fans love and look forward to hearing how studio music will translate into the live setting. As the album had not yet been released before the first 5 dates, nobody knew what to expect. Yesterday however, the studio material was revealed and finally gave a taste to the masses. Still, two-plus hours gave plenty of time for extras. The first non-album song, “Sightless Escape,” was fourth up, but the first to feel like a potential jam-vehicle. Featuring a surf-rock tinged riff and a loose mid-section groove, you know things are picking up when Trey lets loose with the whammy pedal. A short, but soulful vocal solo from Celisse was an amazing touch.
Trey and his team, including Stop Making Sense production designer, Abigail Holmes, have done an excellent job of blending various elements of this production to evoke and portray the feelings one might experience when losing someone they love. The stage was fascinating, featuring constantly changing graphics displayed on 10′ vertical LED screens situated between three large panels of swirling three-dimensional triangles. At some points, the backdrop really looked like ghosts in a forest.
The setlist was up-and-down, light and dark, upset yet glad. At times the crowd would sit, during “In Long Lines,” a heartfelt acoustic passage where Trey is clearly singing about real memories he had with his friend. “I lit your cigarette, your hand was touching mine.” As Trey mentioned in a recent Rolling Stone interview, Chris smoked up until the day he passed. In another song, the crowd was bouncing, laughing with the band as they smiled and danced through “The Green Truth,” an uptempo classic rock number featuring vast interplay between guitar and vocals, on the refrain “take it as it comes.”
In a dare-worded curveball moment, Trey sat down his guitar completely for “Mint Siren Dream” and sang over a soft shuffle from Fishman, on top of descending leads from the milkman on keys, Ray Paczkowski. Another obviously special moment, as last year Ray had a brain tumor scare, right around the same time Chris Cottrell was in his final months. Allowing Ray to shine felt like a reminder that these unpredictable episodes in life can be celebrated as much as they are to be mourned in.
Recently Trey commented on Sirius XM that Chris loved it when he ripped on guitar. This was undeniable through the entire set, but spoke most loudly on the racer “Ruby Waves” and “About To Run,” which featured a colorful silhouette on the LED’s during its peaking solo.
It was not painfully obvious, that a man in mourning wrote this music. Though, songs like the all acoustic “Brief Time” point out the inevitable, most of it is uplifting. These songs are an expression of an infinite and all-encompassing love. They are an honor to friendship and experience. The set ended the same way it began, with the piano melody of “Ghosts Of The Forest” as each member walked off stage one by one. It was a surreal call back to the beginning, perfectly encapsulating the circle of life. In his final words, Trey thanked the crowd on behalf of the entire band. It was so heartfelt and really showed that they were there for him as much as he was there for them “dancing beneath a sea of stars.”
Stay tuned with NYS as GOTF is back at United Palace tonight for round two. Download audio of tonights set via LivePhish.
SETLIST: Ghosts of the Forest, Drift While You’re Sleeping, Friend, Sightless Escape, Halfway Home > If Again, In Long Lines, There’s a Path Above, About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2 > Mint Siren Dream, Stumble Into Flight, Ruby Waves,Shadows Thrown By Fire, Wider, A Life Beyond The Dream, In This Bubble > Beneath a Sea of Stars Part 3 (blue).
When I first interviewed Katie Louise, it was hard to wrap my brain around her talent. A classically trained pianist who is now trying to break into the pop scene? How is that even possible?
Well, she proved it’s possible. She’s even proved it’s not only a formidable attempt, it’s a smash hit.
The seven song EP, Unleash, released March 15. Louise and her team kicked off the new album with a show at Jupiter Hall.
Before I heard the full EP, I spoke with Louise. I had listened to two songs before the interview. Even then, I knew she was onto something special. The sultry “Imprisoned in Paradise” is slow, but poignant and powerful. I could feel her emotion throughout the song, and could identify with her rhetorical opener (Why would I want to sit all day and stare at only black and white?). Louise’s ability to speak about how she can see things and feel things, that those around her do not understand, is phenomenal. I felt her pain. “Imprisoned in Paradise” is truly one of my favorites on the EP, which is hard to believe because I’m a die-hard rock ‘n’ roll, go as fast as you can music fan.
spotify:album:6JAdwa5YmQtd4fjh60xXp2
Another true highlight is “Broken,” which Louise told me was one of the first songs she wrote. Another sultry, breathy ballad, Louise is able to use language as a medium to communicate the pain and sorrow the song is based on. A gentle piano melody supports her gentle, but strong voice: “I need you to hear me before we’re fighting because I don’t want to lose you / but I can’t do this without you / I need you to love me when I’m not broken.”
This is by far the strongest lyric in the song written by Louise, with her vocals bringing you to the scene of her pain, with a front row seat to watch it all unfold. I felt this lyric; I was able to relate my own emotional journey and feel the exact same pain. As the song picks up, the song becomes a little faster and is complimented with a drum beat that brings the element of pop into the forefront.
Louise talked about how this EP was a work of “baggage,” as she used some of the harder parts of her childhood and earlier life as a vehicle for her songwriting. Each song demonstrates a different part of her journey, with “Damn Good” bringing a danceable beat and feel-good lyrics (I ain’t gonna lie/ life is pretty damn good/ and I’m sure as hell proud of it) to an album of raw pain and redemption. The guitar solo also gives rock listeners, like myself, something to latch onto, making sure almost any listener has something they like within the brief EP.
Louise’s piano skills are not lost in this album. The solo in “Unleash” gives you just a taste of what she is capable of. I truly felt an old soul in this solo, as if I’ve heard this a million times, yet not heard it at all. Louise uses her impressive talent to introduce you to the world of piano in a way you might have never seen it before. As she’s clearly demonstrated, piano doesn’t have to be classical; it can be the melody and co-star of a modern pop album.
If I had to pick only one song from this album, it would be “You Can’t Talk To A Woman Like That.” A female empowerment anthem about what women want in a relationship and the bouncy beat will have you singing along with your sunglasses on, and windows down, as you drive home. The lyrics will have you singing for days (trust me, I sang it on loop for almost a week), while subconsciously thinking about what a woman should, or should not, demand in her life. The lyrics (You call it feminist/ I call it common sense/ and maybe baby you should get some of it) gives the listener an insight of the woman Louise is; you understand she’s here to fight for the respect, platform and place she rightfully deserves in the music industry, and for that matter, life in general.
Overall, Katie Louise has made a formidable splash into the scene with her first EP. I’m already a huge fan.
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
Jocelyn and Chris broke into Billboard’s Top 40 in the Adult Album Alternative chart with “Red Stops Traffic,” the third single off their 2017 release, “Go.” The album as a whole was Jocelyn and Chris’ most successful release. It peaked at No. 2 on Relix’s Jamband Top 30, and stayed there for three straight months. Perhaps what’s most notable fact about the album is it was produced while Chris was still attending Harvard.
The Jocelyn and Chris team chase radio play. It involves networking, sending tapes, exchanging phone calls and logging miles between more than 120 radio stations that fall under the AAA format. When “Outta My Head” debuted with Parade Magazine last November, David Bourgeois, the band’s manager at Bridge Road Entertainment, said it caught the attention of different radio stations. And, that’s exactly the point they’re trying to make.
The Fun in the Fight, promises to be a venture that will take the band into new territory. It’s debut track “Outta My Head” starts off with Jocelyn singing over Chris’ bluesy guitar riffs, but it then turns into something different. It swiftly progresses into a layered, contemporary production; it’s uptempo and hook-focused. It is the most commercial-leaning song the two have yet to produce. And, that’s just the beginning. Other songs within the 11-track album suggest Jocelyn and Chris could take aim at alternative radio in addition to the AAA and jam-band genres they are accustom to playing.
The album’s opening track sets the table for Jocelyn and Chris’ styling of a new generation of classic rock, featuring Danny Louis of Govt’ Mule. “Witness” is a love letter to all artists that have influenced the sister-brother duo since they were young children. A powerful guitar riff leaves bread crumbs in a lyrical homage to Ozzy Osbourne, Prince, Pink Floyd and more.
Any given live, Jocelyn and Chris, performance is defined by both power and energy. “Kill in the Cure” may best capture that. It’s a controlled burn, with emotional vocals from Jocelyn and metronomic guitar playing from Chris. It’s an appropriate segue to “Outta My Head,” which within itself, beautifully progresses from Jocelyn’s lyrics to a craftily layered track worthy of its debut status.
Chris plays a mean blues guitar and it stands out on a track that also features Beau Sasser on the Hammond Organ. The two are paired well on this darkly powerful, midtempo groove.
“Don’t Hang Up” is a stop-and-listen track. Dark lyrics reveal one side of an intimate phone conversation from someone desperate and contrite. Jocelyn’s voice is front and center in a ballad that lingers on through the next track. A stark contrast to “Problematic,” which follows with a pure rock riff.
Featuring Vulpeck’s Cory Wong on lead guitar and Louis again, this time on the Hammond, “Be That as it May” is an all-out jam. It starts slow and busts out into a stomping, danceable track. “Original” is yet another track that’s going to get you up and moving.
“Things I’ll Never Know” is a retro ballad that, again, reveals the roots to Jocelyn and Chris’ influences. More organ in the back, allowing Jocelyn to take the listener to church on this love song.
The album ends on two fun tracks, “The Western” and “Weatherman.” “The Western” is a story, as one would imagine, with pistols and a climactic duel, complete with a trumpet that will place you into the middle of a spaghetti western. The flute playing in “The Weatherman” accentuates yet another retro track that harkens back to the wistful ballads of Linda Ronstadt and Dan Fogelberg that dominated radio play in the 70s.
Jocelyn and Chris Arndt have shown versatility, and The Fun in the Fight showcases an effort that should help push the band out in front of different audiences. It’s a road map of where the two have been over the past several years and it shows where they plan on going from there. Should you be one of those who has not yet picked up on this duo, pick this up.
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
With 2017’s Kick Out The Rocks,The Dirty Pennies blend blues with other styles of music, feeling out the boundaries of how far they could push the genre. Now with their new EP (aptly entitled EP) they’ve mapped out their niche: grungy rust-belt garage rock, steeped in surf rock and blues.
EP is short, but sweet, containing only three songs. “I’m Giving Up” whets the appetite. The song starts off slow and surreal, but picks up by the end of the first chorus, effectively changing the song from an end-of-the-workday dirge to a happy-hour anthem. The music video for this song is a lot of fun, too. It features the band members breaking free of the drudgery of banal workaday life. “I’m a sad man, too. I’m your poor man’s blues,” sings Ryan Klem with a slight warble. “But I know, yeah I know it ends somewhere.”
“Things You Say” is a heavy-hitter. Drummer Lucas Howe pulls no punches as he shows off with his ability to both unleash the beast within and reel it back in. Joe Mungo holds down the rhythm on bass, keeping the song grounded so Klem can let-fly some lofty guitar riffs.
EP ends with the five-plus-minute ballad “Kingpin.” It’s heavy and heady, with an undulating psychedelic beat. The washy guitar effects and the repetitive lyric “I get up/I get down” leaves the listener entranced. About halfway through, the tempo changes and they’re injecting some good old fashioned rock and roll. The song comes full circle, winding back down. “You can’t stop me. I’m not as easy as they come. Stuck in the same frame, I’m making my way out on my own.”
The Dirty Pennies have come a long way since Kick Out The Rocks. You can still hear elements the members’ various musical interests (including Americana, hard rock, and alternative), but they’ve blended them in such a way as to make a sound all their own. Not some polished newly minted copper, but a sound that befits their namesake.
EP was recorded at Rochester’s Wicked Squid Studios, where it was engineered by Josh Pettinger and mixed and mastered by Greg Thompson. Album artwork credit goes to Mike Turzanski.
Listen to the release in full on Bandcamp. And while you’re there, check out their merch store stocked with copies of EP and Kick Out the Rocks as well as some new t-shirt designs. Copies of EP will also be available at the release party at The Bug Jar in Rochester on Friday April 19.
In a 2003 interview, Jon Fishman said “Look, Trey shits music.” He would know, having played with Trey since 1983 and observed his obsessive song-writing habits. Fishman joined Trey for the first time in a side project, the brand new Ghosts of the Forest, which debuted this month in Portland, ME. When Trey spoke during the encore at The Palace Theatre in Albany on Tuesday, April 9, he said he hoped to play music for 50 more years, and given Trey’s workload – writing Kazvot Vaxt and Ghosts of the Forest nearly back to back – and his increasingly positive outlook on life, that task is not out of reach.
This is Trey who is the unofficial celebrity spokesman for Light (now, with MORE brightness!). He’s been dropping notes of light in songs for a decade now, and with Ghosts of the Forest, we may have hit a new peak with Trey’s profoundly personal and positive lyrics. Trey spoke about Albany as being his second home, and close to those he loves in Burlington and New York City, and how excited he was to bring this new project to the Palace and a sold out ‘hometown’ crowd.
With a band consisting of Fishman on the kit (sans muumuu, he looks like your neighbor who side-gigs as a session drummer), a healthy Ray Paczkowski behind the keyboards, and Jennifer Hartswick and Celisse Henderson who provided gospel hued vocals that not only backed up Trey, but added a sonic layer to the group’s psychedelic rock. Saratoga Springs’ Tony Markellis took up bass duties, as he has in every side project Trey has had since 8 Foot Fluorescent Tubes debuted in 1998 at Higher Ground. Energy in the room was palpable, as many eschewed listening to the recordings of shows from earlier this month for a first-look experience that is otherwise hard to come by. Even the album won’t be released until April 12, making this a nearly-virgin experience for the majority of fans in attendance.
The production design by Abigail Holmes, who worked on Stop Making Sense and The Wall among many other shows, created a playground for her to color, using LED screens behind thin tapestries affixed with folded white paper in sweeping patterns. The symphony of light accented the music and was choreographed to each song of the night. During “The Green Truth,” a rainbow LED projection of Trey floated behind the band across the stage, while a stratified nighttime rainforest sky filled the stage during “Mint Siren Dream,” bringing the audience to Pandora for a brief moment.
Ghosts of the Forest can be translated as deep memories in our mind, and throughout the songs, themes of loss, love and decade-long friendship were present. Trey lost close friend Chris “CCott” Cottrell to cancer recently, and the experience led to a number of the songs performed by Ghosts of the Forest. Trey spoke to Rolling Stone about playing acoustic guitar while CCott was in his final stages, and would play as he went in and out of consciousness. “Drift While You’re Sleeping” draws from that, while having a mid-1970s psychedelic rock feel – think Derek and the Dominoes with space built in for Trey to stretch.
“Beneath a Sea of Stars Parts 1 & 2” was a fun Beatles-esque rocker, with a third part to close the set. “Stumble into Flight” had direct hints of Phish – “Pigtail” meets “Cool Amber and Mercury” with a dash of Steely Dan mixed in. “Ruby Waves” jumped out as a late 70s Neil Diamond show-stopper on steroids. A highlight among the night was “A Light Beyond the Dream,” with lights cascading as if entering a stained glass window and beaming on the congregation, combined with encouraging lyrics of not giving up hope.
This is prophetic Trey: upbeat, happy, and encouraging, dad-like at times but not playing dad-rock. Ghosts of the Forest is a culmination of Trey’s last decade of writing. Trey said he wants to play for another 50 years. This is just the beginning.
Trey Anastasio – Ghosts of the Forest – Palace Theatre, Albany, NY – April 9, 2019
Setlist: Piano intro, Ghosts of the Forest, Drift While You’re Sleeping, Friend, Sightless Escape, Halfway Home, If Again, In Long Lines, There’s a Path Above, About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2, Mint Siren Dream, Stumble Into Flight, Ruby Waves, Shadows Thrown By Fire, Wider, A Light Beyond The Dream, In This Bubble, Beneath a Sea of Stars Part 3 (blue)
