NYS Music 20​19

Category: Reviews

  • Sister Sparrow Shines, Dirty Birds Delight at Levon Helm Studios

    Arleigh Kincheloe, aka Sister Sparrow, mesmerized a full house at Levon Helm Studios in Woodstock Saturday night, with the Dirty Birds backing her, as she held the audience entranced, proving one’s presence can dwarf their stature. The setting, a barn-turned-showroom, was ideal as onlookers surrounded the band and Sister Sparrow’s voice reverberated majestically.

    The show, Sister Sparrow & The Dirty Birds’ second at Levon Helm Studios, was long-awaited. SS&TDB were scheduled to make their first appearance in Woodstock since 2012 last December 29. Due to illness, however, the concert was rescheduled for January 26. If good things are worth the wait, the band can be forgiven for the near-seven year hiatus; they were excellent.

    When concert-goers arrived in Woodstock, they waited a little longer for the headliner as Melanie Glenn, Mary Kenney and Allison Olender, of the band Upstate, opened with an a capella set. While they typically play with a backing band, the set highlighting the singers was apropos for the intimate Levon Helm Studios.

    The sincerity of their voices manifested in calls and responses, gospels mixed with folk, and the three young ladies had evident chemistry. Expressive and at ease on stage, each singer had her own style and personality: Glenn took the limelight at one point with an acoustic guitar and Olender later came to the front with her electric Fender. Kenney anchored the set, standing center throughout. While Sister Sparrow would come out to steal the evening, Upstate’s harmonies set the mood wonderfully.

    After a brief intermission, the Dirty Birds took the stage and, with the audience’s enthusiastic encouragement, Sister Sparrow crept up to the spotlight. With a playful look of surprise for the applause (“Who– me?”) and a shake of her long, red hair, she grabbed the mic and it was off to the races.

    She’s tiny. She’s huge. The microphone stand rivals her in stature, but Sister Sparrow’s presence is titanic. With her mother watching from the crowd and her brother Jackson supporting on the harmonica, Sister Sparrow banged her bright red tambourine, swung the mic, and belted out invigorating tunes.

    While Sister Sparrow’s stage presence is as cool as watermelon on a summer afternoon, the band, a menagerie of supporting musicians, has a full, clean rock ‘n’ roll vibe. With his shoulders curling and head nodding, drummer Dan Boyden played with a nonchalance that imbibed the spirit of Levon Helm. During a cover of Toto’s “Rosanna,”  trumpeter Phil Rodriguez and saxophonist Brian Graham turned and nodded to each other as if to say, “Yeah, we’re gettin’ it!”

    The sounds ranged from pop to folk, prominently featuring funk and soul. Sister Sparrow’s candid mien was positive and jocular, her voice captivating. The show was intimate yet energetic, and, from the beginning, there was a feel in the air that something special was taking place: refreshing music created by from experienced entertainers.

    The Barn at Levon Helm Studios had a church-like feel Saturday night. Rows of worshipers sat in awe as Sister Sparrow & The Dirty Birds held the pulpit. The music had a soul-cleansing component and the crowd was a lowercase-c catholic cluster of Dirty Bird disciples. While it was my first time attending a Sister Sparrow sermon, I most certainly hope it’s not my last.

    Sister Sparrow and the Dirty Birds

  • Long Island’s Josie Bello releases new album ‘Can’t Go Home’

    Josie Bello has a Country-Rock vocal style, combined with the skillful musicianship evident throughout the CD, have prompted a number of listeners on ReverbNation to ask the question, “Were these recordings done in Nashville?”

    The album was, in fact, produced and recorded on Long Island at Melts In Your Ears Studio and mixed at Workshoppe East, both located in Huntington.

    josie bello

    Can’t Go Home contains 10 tracks of original music in which Josie covers a wide range of subjects related to the human condition. The title track contemplates the loss of one’s past. Other tracks cover themes such as infidelity (“Dignity”), infatuation (“Crush”), relationships (“Good People,” “Bad Love”), drug addiction (“Mother’s Love”), Long Island living (“Kit House”) and even political partisanship (“Two Trains”), co-written by producer Mike Nugent and the only co-write on the album.

    The very active live music scene on Long Island, and the abundance of local talent continues to inspire Josie as a songwriter and performer.

    Josie enjoys creating images and telling stories through song and often says, “Hooks are everywhere, you just need to listen”.

    She’ll tell you that she’s been singing every day of her life — around the house and everywhere she’s been since childhood. She can remember her mother saying to her, “Please, try to pipe down, just for a little while”.

    Luckily for local musicinans, Josie is quite active on the Long Island music scene. She runs several open mics: at Urban Coffee in Greenlawn on the 2nd and 4th Fridays of the month and at the Park Lounge in Kings Park on 3rd Fridays.

    Additionally, once a month she hosts a singer-songwriter night at Urban Coffee. Josie performs with her husband Frank Bello as “Duo Bello” at many festivals throughout the island, including their annual hosting of the Long Island Fall Festival Acoustic Stage. She is honored to participate in the LI-based group OOMPA (Organization of Open Mic Performing Artists) and recognizes all the talent and support their membership provides to open mics and musical charitable events throughout the Island.

    Josie’s music is available on most digital distribution platforms such as iTunes and CD Baby. A hard copy of the CD can also be purchased at CD Baby.

    This article was originally published by Under the Radar – Covering the Long Island Music Scene and appears as a special to NYS Music. Under the Radar and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene across Long Island. For more, visit BreslauBombers.com.

  • Hearing Aide: Wavy Cunningham and DJ Mercy ‘The Art of War’

    Wavy Cunningham and DJ Mercy, hip hop artists from Albany teamed up for their second effort, The Art of War, a ten-track album launched on December 28, 2018.

    Wavy wrote most of the lyrics in one sitting, matching them to hooks and audio samples he had on deck; DJ Mercy composed the instrumentals and fused the beats together.

    Photo: Zach Hitt

    The duo raised up a chilled out, yet confident, beach vibe to sit at the core of the album’s sound. They included a lot of work in the percussion department – a welcomed and elemental foundation, since Mercy plays drums by trade. The beats and samples weave together with stitches by Wavy’s urgent vocal style. The opening track, “Ain’t About Me,” claims, no collusion, but the chemistry between the two is too reactive. It can’t be true.

    “Lose Control” has modern, robotically tuned vocals, similar to Atlanta artists Future and Migos. At the same time, the title track and “4 The Gang,” follow old school hip-hop traditions, featuring bouncy drums and turntable scratch tricks. “The Right Drugs,” reminisces on a romantic relationship, lost and highlights the album with its atmosphere and narrative.

    The Art of War is solid, short, and sweet. It runs experiments on its genre without going overboard. However, the mix and master deserve re-evaluation. Lyrical and instrumental subtleties get lost in limited production. Though the politics of how a project should sound are generally opinion based, one thing is for sure: the core writing and composition is an effort that will leave the listener with a smiling new impression.

    Key tracks: Lose Control, The Right Drugs, 4 Tha Gang

    The Art of War is available on major streaming platforms.

  • Hearing Aide: Some Ska Band ‘It’s Going Down’

    Ska has come a long way since its origins in the Caribbean in the 50’s. The upbeat, syncopated style of music has caught on around the globe, adapting to the cultural nuances in places far and wide. It has spilled Upstate with Some Ska Band and their 9-track debut release, It’s Going Down, which shows off how adaptable ska music can be.

    The opening track “Forty Thieves” was inspired by author and sax player, Charles Benoit, who spent  time teaching in Kuwait and absorbing all the cultural influences of the city. The instrumental ditty pulls from classic literature for its title and snippets of Middle-Eastern-style riffs.

    Everything I know about ska, I learned from Benoit, a ska-aficionado (or ska-ficionado, if you will). Benoit is one of eight members of the Rochester-based band. Mary-Jude Vacca and Shad Froman take on the vocals. Will Browar keeps the beat and hits things. On guitars are Joe Sims (bass), David Keller (lead), and Miles Pierce (rhythm). Joining Benoit in the brass section is Neil Pierce on trumpet. After years of playing originals (and some songs originally by other artists), the eight of them made their way into the studio to lay it down.

    All the songs on It’s Going Down are pretty snappy, but a few stand out in particular. “End of The World” is a clever little tongue-in-cheek song, written on January 20, 2017 (if that date doesn’t ring a bell, look it up). The chorus includes the lines “It’s not the end of the world/ But you can see it from here.”

    The title track “It’s Going Down” is another little gem, that demonstrates their musical prowess. The deep, heavy rhythm creates a perfect backdrop to showcase Vacca’s rich, sonous voice. The “Obligatory Drinking Song” is a sing-a-long fan favorite at live shows. The album wraps up with an instrumental version “American Skalines,” a song that usually includes a spoken-word script when played live.

    Whether you’re a ska-ficionado or a newbie to the genre, you’ll get a kick out of It’s Going Down.

    Key Tracks: Forty Thieves, End Of The World, It’s Going Down

  • Japanese Breakfast Takes Over at Brooklyn Steel

    Japanese Breakfast had the crowd dancing, jumping and swaying as they shared the band’s enthusiasm on January 18 at Brooklyn Steel. Michelle Zauner’s solo project has developed a fanbase eager to dive into the group’s experimental blend of shoegaze, indie pop and rock. Joined by drummer and producer Craig Hendrix, Deven Craige on bass and her husband Peter Bradley on guitar, this tour features an expanded live ensemble, complete with NYC-based string section Quartet 121, Aaron Rockers on trumpet and Adam Schatz on sax.

    Zauner has a persona influenced by Bjork and other animated performers. Walking out in a whimsical white dress with coils of fabric attached, her engaging and infectious attitude transformed the stage into her own personal, musical playground. Kicking off with “Machinist” using modulation effects to augment her voice, the set came alive with colorful lights and large visuals as they went into “In Heaven.”

    The band’s energy was dynamic, and Zauner shifted from guitarist to full frontwoman as she sang about lust and indifference to the ethereal, marching groove of “Road Head.” The crowd journeyed from high energy, endorphin-releasing rhythms to the somber admissions of heartache in “Boyish,” a haunting dream-like song, which wouldn’t have been out of place in an episode of Twin Peaks.

    When 2016’s Psychopomp was released, Zauner was dealing with the grief of her mother’s death. She continued to channel her thoughts on love, heartbreak and trauma in 2017’s Soft Sounds from Another Planet. At Brooklyn Steel, she gave us her personal story, alongside projected collages of old family photos and videos during a stripped-down acoustic performance of “Till Death.”

    The night began with a couple of strong openers. Meg Duffy of Hand Habits played an electric solo set blending vocals, effects and guitar prowess into passionate, sometimes melancholic soundscapes and melodies. Things got moving with Cincinnati-based WHY?, as rapper and singer Yoni Wolf led the band through a tight, eclectic mix of alternative rock and hip hop.

    Japanese Breakfast has seen a lot of activity recently including headlining tours, festivals and new releases. The band has also been busy scoring the soundtrack for “Sable,” an upcoming open-world video game, due out later this year. Zauner’s ability to transform her raw emotions into extroverted performances continues to attract and delight new audiences.

  • The Revivalists Sell Out The Beacon Theatre

    On Thursday January 17 The Revivalists closed a sold-out two night run at The Beacon Theatre, bringing that sweet New Orleans soul to Broadway. The high energy critically acclaimed rock band had a packed house on their feet, and in the palm of their hand, as they moved through new and old songs for the entire night. From the first verse of the popular new song , “All My Friends,” the audience was lured to get down with each of the eight band members.

    It’s actually hard to believe that everyone in Manhattan didn’t hear this show. Guitarists Zack Feinberg, two-drummer-setup Andrew Campanelli  and Paulet “PJ” Howard, pedal steel player Ed Willams, bassist George Gekas, saxophonist Rob Ingraham and keys and trumpet player Michael Girardot incorporated the twang from pedal steel, a rich guitar sound, NOLA style horns to roar a full Rock n Roll sound – shaking the hollowed halls of the Beacon Theatre. The extremely talented lead singer, David Shaw made this sold out audience get out of there seats and sing every lyric at the top of their lungs.

    David Shaw is one of the top frontmen in music today; a full package blend of entertainer and musician, with such a powerful voice and meaningful lyrics. He commands and manipulates the audience with ease, having even the casual fan singing their hit song, “Wish I Knew You”. He shined on a cover of The Rolling Stones “Miss You,” adding his own style and sound to the classic. It was a joy to see Shaw perform from a place of joy and share that with a captive audience.

    The Revivalists are a hard working band that embody a direction that music deserves to be going in. Selling out two nights at the historic Beacon Theatre proves they are well on there way to achieving that. I highly recommend their new album Take Good Care and really look forward to seeing where this band goes next.

     

  • Panic! at the Times Union CenterC

    Panic! At The Disco made their fourth stop on the ‘Pray For The Wicked Tour’ at the Times Union Center Tuesday night. Shortly after openers Betty Who and Two Feet performed, all the lights in the arena went dark and a giant 10-minute timer was displayed; the sold out crowd eagerly waited as the clocked ticked down. During this time Weezer’s cover of “Africa” (Toto) was played over the speakers and the 12,000 in attendance shouted every word.  The clock hit 0:00 and the band rose from beneath the stage, followed by Brendon Urie himself, who was shot several feet into the air. Before landing he started the show with their single, “(F*** a) Silver Lining” from their 2018 record Pray For The Wicked.

    Panic! at the Times Union Center

    Brendon Urie is the only original member of Panic! At The Disco, who are entering their 15th year. With people coming and going, Urie has been able to keep his band unique and their sound ever changing:  from the Pop Punk album A Fever You Can’t Sweat Out (2005) to the Sinatra-esque sound of Death of a Bachelor (2016) and experimenting with electronic sounds in Too Weird To Live, Too Rare To Die! (2013).  The one thing that has remained consistent has been the energy and powerful vocals that Urie has always brought.

    As the set rolled on, Urie continually amazed the awe-struck crowd from his smooth dance moves to his impressive falsetto. Around the midpoint of the show Urie made his way through the crowd interacting with fans, thanking them, giving handshakes and hugs as he sang “Death of a Bachelor.” Eventually he ended up at the far side of the arena, where a piano had been placed. He played a cover of Bonnie Raitt’s “I Can’t Make You Love Me,” a song Urie said his mother used to play for him when he was a kid. The piano began to raise up off the ground. When the platform reached its peak, probably 50 feet above the crowd, it began to move back across the arena towards the stage. Urie then performed the soulful “Dying in LA,” from Pray For The Wicked, as he and his piano flew along the rafters of Times Union Center.  

    Panic! at the Times Union Center

    Shortly after the piano arrived back at the stage, Urie picked up the pace moving right into “The Greatest Show,” a cover form the 2017 film, The Greatest Showman. The group continued with their very theatrical performance and more upbeat songs, eventually moving into “Miss Jackson” from Too Weird To Live, Too Rare To Die! During this piece a drum-set rose in the middle of the stage. Urie then played a 2 minute drum solo, finishing it with a backflip off the riser, then immediately moved into the outro of the song.

    A couple songs later a piano reemerged, this time on stage, and Panic! played their cover of the Queen mega-hit “Bohemian Rhapsody.” The crowd sang along with it as loud as the band was playing. Panic! At The Disco closed the night with a three-song encore that consisted of “Say Amen (Saturday Night),” “I Write Sins Not Tragedies,” and lastly “Victorious”. Brendon Urie was determined to impress the crowd at every turn and he never disappointed. It was a night full of theatrical, energetic and powerful music leaving the sold-out crowd begging for more.

    • Panic! at the Times Union Center
    • Panic! at the Times Union Center
    • Panic! at the Times Union Center

  • Photo Gallery: Lettuce at Upstate Concert Hall

    Funk all-stars Lettuce continued their Vibe Up Tour at Upstate Concert Hall in Clifton Park, NY on Saturday January 12. Snarky Puppy side project, Ghost Note, opened the show with an incredibly energetic set.

    After nearly 27 years together, Lettuce still brings an amazing amount of energy and life to their shows. Playing classics like “Lettsanity,” “Fly,” and “Sounds Like a Party To Me,” they played well into Sunday morning, leaving the fans still craving more. You can catch them down the East Coast and then across the country on this tour. And expect new material later this year.

    Setlist: Blast off, N’Dugu, Kron Dutch, Lettsanity, Gang Ten, Remember the Children, Breakout, Shmink Dabby, Squad Live, Chief, Phyllis 

    Encore: Slap

  • Lettuce Reels in While Ghost-Note Unleashes at Anthology

    When my friend first played me a burned copy of Lettuce’s Crush, when I lived in South Florida a couple years ago, I was instantly swept up in the bright, triumphant horns and contagious grooves. It was a new band to me but the music perfectly illustrated a part of my spirit that couldn’t be put into words, something I’d felt for a long time before hearing it played out in song.

    After that initial introduction, my commutes to work for weeks on end involved flying north on 95 in my perpetually overheating 2001 Ford Focus, routinely passed by luxury cars with a death wish, yet feeling my own kind of rich. I might as well have been driving a souped up getaway car fleeing from the authorities after a successful bank heist with Lettuce as my soundtrack.

    Having never seen them live, the January 10 show at Anthology couldn’t be missed. Though I’d largely over-saturated my ears with their sound, as is often the tragic irony for music lovers, I’d hoped a live show would rekindle an old flame and help me appreciate the band in a new way.

    Lettuce played through a bunch of new material, their steady, conquering sound invoking a sense of power in the listener. They were incredibly tight and well-rehearsed, but almost to a fault. Their performance lacked expression, crowd interaction and all the things that separate listening to the album versus going to a live show for the experience. I never felt connected to them.

    While it was a bit of a let down for me, when I looked around the room, my eyes were met by a sea of bobbing heads and contemplative smiles. It certainly wasn’t a bad show, just not what I was hoping for. Being the first night of their Vibe Up tour, maybe they’re still finding their momentum. Who’s to say.

    While Lettuce’s set was polished and serious, the opener, Ghost-Note, danced with creativity, spewing offbeat, avant garde solos, keeping the crowd guessing through their set. Embellishing their songs with humor, drummer Nate Werth pointedly flipped off the crowd midway through “Funk You Muthafunka.”

    Ghost-Note was also playing the first night of their Smack ‘Em tour, supporting their 2018 album Swagism, which is awesome. Taking way more chances on stage, they did get a bit muddy at times, with so many musicians trying to fill pockets. But their set was a nice contrast from Lettuce.

    The Vibe Up tour will see Lettuce dance down the east coast before heading out west for the last few shows. Ghost-Note will follow a somewhat similar trajectory, opening for Lettuce for the first handful of shows before splitting off.

    Lettuce Setlist: 4th Dimension, Blaze, Your Royal Highness, Purple Cabbage, Ready to Live, Silverdome, N’Dugu, Sam Huff’s Flying Ragin’ Machine, Madison Square

    Encore: Sounds Like a Party to Me

    lettuce jesus coomes

  • Hearing Aide: Uncle Stump ‘Panacea’

    Just a little over a year after their debut album Family Tree, The New Jersey-based psych/funk rock band Uncle Stump have released their second studio effort, Panacea. Although officially an EP, this five-song release is jam-packed with the depth and diversity of a full-length album. Avoiding a sophomore slump, the band was able to capture the texture and sound of their live shows while in the studio. Something that can be challenging to artists that improvise as much as Uncle Stump does on stage.

    After the gloomy psychedelia, the record brightens up a bit with “Body Talk”. A lighthearted track with both tropical and jazzy sections, that is sure to end up being a dance-floor favourite for fans to sing along to. The final track of the EP “Anita”, starts as an upbeat and playful romp that finds itself spinning around into a deep groove, complete with vocals parts influenced by the likes of Zappa or Claypool. A catchy little jam you may find yourself humming even after the album is over.

    Uncle Stump has been added to this year’s Sherman Winter Jam at the Sherman Theater in Stroudsburg, PA on February 16th. Headlined by revered Grateful Dead tribute Splintered Sunlight, the line-up promises to be a party full of explorative rock n’ roll.

    Key Tracks: “Room”, “Anita”