Saves the Day made an appearance at SkyLoft in Albany on Sunday August, 11. Not only did they deliver a high energy filled performance, but also took the crowd through the last two decades of their amazing musical journey.
The set list immediately caused heads to bob and feet to groove with the unforgettable guitar-riff filled song “Anywhere With You.” Saves The day continued to classics such as “Say You’ll Never Leave,” “The Last Lie I Told You” and “Freakish.”
But it was the songs that were performed from “All-Star Me” to “Suzuki” from their latest album, 9, that audience to relive the bands journey.
All in all, the set list was solid and left the crowd screaming “ENCORE” by the end. Saves the Day not only saved the summer with their performance, but they also saved many emo hearts.
Setlist: Anywhere With You, Bones, You Vandal, A Drag, Say You’ll Never Leave, The Last Lie I Told, Nightingale, Do You Know What I Love the Most?, Jukebox Breakdown; Holly Hox, Forget Me Nots; Firefly, When It Isn’t Like It Should Be, Freakish, Houses and Billboards, Suzuki, Eulogy, Kaleidoscope, Z, In Reverie, All-Star Me, Cars & Calories, Three Miles Down; Sell My Old Clothes, I’m Off to Heaven.
Legendary guitarist Carlos Santana and his band delighted fans at Saratoga Performing Arts Center (SPAC) on Friday, August 23 on part of his Supernatural Now Tour.
Coinciding with the anniversary of Santana’s 50th anniversary at Woodstock, the Supernatural Now Tour initially felt like a substitute for the long-promised (and repeatedly canceled) Woodstock concert.
Playing after the Doobie Brothers, who got the crowd on their feet dancing and singing along for a solid hour before the main event, Santana came out at 8:45 pm after showing a montage of Woodstock photos accompanied by some sultry, jazzy guitar, trumpet and keys. The photos started with a hand-painted sign from the 1969 concert stating “War is not healthy for children and other living things.”
Not only did the photos serve as a reminder that the then 19-year-old Santana shocked the world with his talent on the guitar at Woodstock, but that he has spent the last 50 years impressing crowds – and is still impressing them – with his passionate commitment to using music to empower others to do right by the earth. To top it off, the montage was accompanied by the music of one of Santana’s influences, Miles Davis.
Opening with one of Carlos’s earliest compositions, “Soul Sacrifice,” Santana and the band began the night with a heavy emphasis on jazz fusion with elements of rock. Santana’s soulful signature sound came through immediately as he shared the stage with other incredibly inspiring musicians. His wife Cindy Blackman Santana, a creative percussionist and legend in her own right, was captured by overhead cameras demonstrating precision and strength on drums that was inspiring. Ray Green and Andy Vargas were on vocals, Benny Rietveld, perhaps best known for his touring with Miles Davis, was on bass, and David Mathews was demonstrating how keyboards can lend swing to the melody. Rounding out with Karl Perazzo and Paoli Mejias, also on percussion, and Tommy Anthony on guitar, the Supernatural Now Tour appeared unnaturally gifted with musical genius.
While better known for a few of his popular hits in the 1990s, Santana is powerful in his intuitive fusion of rock, Latin and jazz. He’s expanded interest to African music, recently releasing Africa Speaks. The combination of styles was the right formula to get the crowd dancing, and to show off the creative aptitude of the band. Their performance of “Jin-go-bo-la,” accompanied by a video of African men and women dancing in traditional garb, intensified the high energy of the crowd. Smoothing into “Evil Ways” right afterwards, the vocalists shone while demonstrating flexibility in pitch, style and presentation.
The diversity of music styles kept fans guessing about what would happen next. From hosting the Doobie Brothers back on stage for “Some Kind of Wonderful” to instrumentals featuring Carlos Santana’s ever-evolving but still consistent signature sound, the concert was constantly shifting, expanding musical styles and blowing through boundaries.
Of course, the crowd went wild for “Oye Como Va,” a popular favorite. Dancing in their seats, fans were inspired by the powerful drumming and compelling vocal performances.
And then there was Santana on guitar, vital and creative as ever. The 69-year-old was spry as he moved across the stage, still curious about music, still passionate about sound and movement.
The musicians used bongos, whistles, maracas, tambourines, trombones and, of course, their voices, drum sets and guitars to really shake up the sounds. It was more like attending a world music concert than a pop or rock concert, which is just what Santana wants. Honoring Coltrane and Davis, he reflected on his love of jazz but also moved to include some Latin and African roots music too.
Carlos Santana is passionate about peace, children and saving rainforests. He was proud to have his family on stage with him, and his smile and brief words reflected a man who has found his place in the world. He’s passionate about music and expanding boundaries. And from listening to the songs from his new work, Santana’s passion is keeping him as vital and youthful as ever.
The Knotfest Roadshow came to Darien Lake Performing Arts Center on Sunday with one of the heaviest lineups currently touring the United States, starring Slipknot.
This was not just a tour, but the foundation for a yearly “Knotfest Roadshow” package that could continue to add heavy-hitting bands if Slipknot so desires. The traveling museum with the display of the band’s iconic masks and other items gave fans a much more personal touch and is another reason why this tour is so good.
Fans packed into the nearly sold out Darien Lake Performing Arts Center ready for one hell of metal show. Metal isn’t dead, and this show proves just that.
Behemoth took the stage as “Solve” echoed through the amphitheater with a giant backdrop of the United States and an upside-down cross in the middle of it. Fans unfamiliar with Behemoth were shown exactly what they are about with the satanic imagery, black skull masks, and chanting as the band took the stage. Immediately, Behemoth started their heavy and relentless set with “Wolves Ov Siberia”, which included some great pyrotechnics and followed right into “Daimonos”.
The only real break during their set was when Adam “Nergal” Darski went side stage and grabbed two flaming metal spheres and performed what appeared to be a ritual before blasting into “Ora Pro Nobis Lucifer” – the highlight of their set which was accompanied by tons of pyro.
Behemoth commanded the attention of everyone watching, with Nergal being a charismatic frontman. With the amount of pyrotechnics, showmanship, and overall incredible sound, one would expect this to be direct support to Slipknot. The only downside to their set was that it was only seven songs long.
Closing out with “Sabbath Matter”, and lastly “Chant For Eschaton 2000” – Behemoth left a very good impression. With a loud “HAIL SATAN!” yelled by Nergal the band ended their set and had the crowd on their feet wanting more.
Gojira was up next, and the progressive metallers from France would not disappoint. Opening up with “Toxic Garbage Island”, Gojira delivered a heavy eight-song set. Joe Duplantier displayed his impressive fretwork on the guitar, while still doing vocals throughout the night. The sound was flawless as the band played some of their biggest hits, including “Back Bone,” and the fan-favorite, “Flying Whales”.
While not as theatrical as Behemoth’s performance, Gojira had a stripped-down, raw, and heavy feeling that captivates you and draws you right in. Finishing off their set with “The Gift Of Guilt,” Gojira had an intense performance that left the crowd buzzing.
After a quick set change, it was time for Volbeat. Fans seemed to be pretty mixed on their feelings towards this band. Some really enjoyed them, while others were clearly there for the heavier acts of the night. Once frontman Michael Poulson took the stage, the band kept the spirit alive with “Devil’s Bleeding Crown,” an early rock and country influence with a taste of metal.
Volbeat also played some new material, including the song “Leviathan.” Other highlights from their set included the fan-favorite “Warrior’s Call” as well as the Slayer-influenced “Slaytan”. Ending their set with their most well-known song, “Still Counting,” the audience was very enthusiastic in singing along and seemed to pleasantly surprise even the more hardcore metalheads in attendance.
Finally, it was Slipknot time. After almost five hours from the time the show started (there was also a good 45-minute wait between Volbeat and Slipknot) the headliner was ready to take the stage. With a huge black tarp covering the stage with “Slipknot” written across lit up in an eerie orange glow, the hype was real. Fans were already screaming waiting for the curtain to drop, with the thought of Slipknot performing completely reinvigorating the entire venue.
The curtain dropped giving a view of the brand new stage production Slipknot has brought, and it is big. The new three-tiered stage is almost overwhelming when you first lay eyes on it. There’s so much going on you don’t really know where to start looking first. There’s video panel walls, air vent windmills, a treadmill that Sid Wilson marched on, and a couple of epic drum kits.
Each song was also uniquely lit to fit the mood. The heavy opener “People = Shit” was very red-hued, followed by a relaxing blue hue for “(sic),” and lots of pyro for “The Devil in I”.
With the very recent release of We Are Not Your Kind, Slipknot played a few new songs off the album. The crowd went nuts over “Unsainted,” which sounds amazing live. “All Out Life” was another new one that performed very well, and also included some awesome pyro and explosions.
Clown made his way down from up top with a flaming torch that he used to beat on a steel drum hanging from above during the performance of “Duality.” The performance of “Sulfer” seemed to raise the energy even higher than it already was with Corey Taylor going all out.
They ended their set with an encore of “Spit It Out” followed by “Surfacing.” The crowd did not seem tired at all from the amount of chaos they had been enduring. Corey Taylor is an incredible frontman and is absolutely dedicated to his art and performance. The Knotfest Roadshow is an absolute must-see for fans of metal and rock music. All the bands on the bill bring a unique, fun, and lasting experience. Each of these bands could have easily headlined, and the fact that a tour like this can be brought together makes it exciting for what future Knotfest Roadshows could entail.
NYC has waited for a Rowdytown. We finally got one last Friday as Big Gigantic’s Rowdytown New York 3D descended into the Brooklyn Mirage to a sold out crowd. Hippie Sabotage, Shallou, Louis Futon and ilo ilo were the supporting artists at this high-energy EDM event. The industrial views of Manhattan from the venue combined with the onstage sensory odyssey made for a crazy night of music.
Ashe sings with Big Gigantic
Ilo ilo started off the evening. Little is known about this enigmatic duo, though recently they took Louis the Child on a scavenger hunt through New York City to release the track “come thru.” Their eclectic mix of electro-pop and bass distortion really got the crowd going.
ilo ilo
Los Angeles-based Louis Futon brought his exciting mix of electronic hip hop, r&b and soul to the stage next. He was joined by Hailey Niswanger (flute, saxophone), Jawann Blanchey (drums) and Ariel Shrumpet (trumpet), with Blanchey on stage the entire time. His blend of fresh beats, organic instruments and clever visual displays was particularly tasty.
Louis Futon
Shallou, also from Los Angeles, kept the party going with delicious ambient and house melodies. The venue was almost full to capacity at this point, and the crowd was really digging Shallou’s visual production.
Shallou
Big Gigantic took the stage to a roaring crowd wearing 3D glasses. The band members include Dominic Lalli (saxophone/producer) and Jeremy Salken (drums). Behind the band sat a huge LED screen with vibrant 3D imagery that coordinated with the lights on stage and at high points in the venue. Big Gigantic played new hits and old favorites, starting with songs like “Touch the Sky” and “C’mon.” Halfway through the set, singer Ashe joined the band on stage for their recent collaboration, “Friends.”
Big Gigantic’s Dominic Lalli and Jeremy Salken
Sacramento, California’s Hippie Sabotage provided even more high energy as the late night entertainment after Big Gigantic’s monster set. This indie electro duo isn’t afraid of late nights, as they started at 2:20 a.m. and blazed into the night.
NYC is still reeling from our first Rowdytown 3D party. The outdoor festival feel was well executed, bands were on point, and the venue was perfect for the occasion. NYC looks forward to the next one.
The boys were back in town at the New York State Fair. In 2018, Dropkick Murphys was a last minute Chevy Court fill-in for Dickey Betts, who suffered a mild stroke and was unable to perform. Singer Ken Casey announced at the 2018 performance that it was the band’s first state fair appearance. The Boston-based Celtic punk rock band drew a crowd of 13,000 in 2018. This year, they more than doubled that with an estimated 30,200 in attendance. Casey joked that, “We played here last year as a last-minute addition. They invited us back this year. I can tell you, we don’t get invited back too many places.”
Singers Al Barr and Ken Casey traded vocals throughout the evening as they ran back and forth across the stage, getting the crowd amped up. They brought along their traditional entourage of back-up sounds that included an accordion, banjo, keyboard and of course the bagpipes. All punk music should have bagpipes! The Dropkicks played a nice mix of fan favorites and rebel rousing tunes including, “The Boys Are Back,” “The State of Massachusetts,” “Johnny I Hardly Knew Ya,” “First Class Loser” and their spin on the traditional Irish song “Black Velvet Band.”
The Dropkicks ripped through 23 songs and kept the crowd on their feet and bouncing along to the music. A quick poll of the audience determined there were many first-time attendees. The band ended their main set with the inspirational union track “Worker’s Song” before coming back to finish off the night. For the encore, Ken Casey let the crowd sing along to the catchy hit “Rose Tattoo.” They rounded out the evening with “Until the Next Time” and ended with their biggest sing along hit, “I’m Shipping Up to Boston.” Singers Casey and Barr ran through the crowd high-fiving fans and inviting them to sing along. The band knows how to make their fans feel welcome and that is why the Dropkicks will keep getting invited back.
Thursday morning, just hours before her show at the New York State Fair Grace Potter announced the release of her first new single in four years, the soul wrenching “Love is Love.” Fans in attendance at Chevy Court were the first to hear the song performed live according to Potter. The song is the first single from Grace Potter off her upcoming album, Daylight, set to be released October 25.
Potter told fans they were going to play a few new songs but, “had to get warmed up first.” The band kicked off the set with “Medicine” and played many dance-worthy tunes including “Loneliest Soul,” “Nothing But the Water,” “Alive Tonight,” “The Lion, The Beast, The Beat and the hip shaking hit, “Paris (Ooh La La).”
Potter proclaimed her excitement for “being back in Central New York where she belongs.” She attended college at St. Lawrence University in Canton, NY and recalled visiting Syracuse while she was at school. “We used to go to Syracuse to go shopping and it was the big city.” She told the audience that she has a new appreciation for State Fairs now that she has a kid, “I used to spend the whole time avoiding the fried dough. But now I’m like, yeah I’m having the fried dough.”
Grace Potter and her backup band worked their way through a high energy 95-minute set leaving the estimated 8,700 in attendance dancing as she walked off the stage. Be on the lookout for her new album Daylight October 25 and available for pre-order now.
Beck and Cage The Elephant arrived in Saratoga on Monday night, as it was the next stop in their Night Running Tour, which will conclude at the end of August. The night was kicked off with a bang, as the New York City based Sunflower Beans brought an energetic indie-rock sound, bringing the early-arriving crowd to their feet. Their set was followed up by Spoon, who kept the same pace and energy as the Sunflower Beans, despite being two decades older.
Cage The Elephant took the stage shortly after the Spoon’s set. The lights all fell, and the Bowling Green native band was silhouetted by the surrounding pyrotechnics. Eventually Matt Shultz, the band’s lead singer, emerged wearing an outfit you’d only imagine from a Cage The Elephant frontman— a grey trench coat, a masquerade mask, a straw sunhat and an assortment of accessories on various satchels donned by the singer. This was the outermost of many (and I mean many) layers that Shultz was wearing. Throughout the set he unpeeled each layer, revealing strange outfit after strange outfit, until he was left in a nude leotard and red short-shorts. These layers of clothing didn’t impede Shultz’s mobility in the slightest however, as there wasn’t a single minute in the 19-song-set that he wasn’t running, dancing, jumping, or leaning hard into each and every lyric.
Photo by Jim Gilbert
Cage just released their fifth studio album, Social Cues, this past April, so naturally, they played many tracks from the new record, including; “Broken Boy,” “Social Cues,” “Ready To Let Go” and various others. As the set went on the energy of the band never slowed, keeping the thousands in attendance dancing right along. Playing hits such as “Ain’t No Rest For The Wicked,” “Come A Little Closer” and “Cigarette Daydream,” before finally finishing their set with “Teeth.” However, just because the band was done didn’t mean Matt Shultz was. Midway through the last song the singer left the stage and began to make his way through the crowd, and didn’t stop when the song concluded and his bandmates left the stage. Shultz continued on, making his way through the amphitheatre, eventually reaching the lawn, where he crowd-surfed all the way up to the concourse and eventually made his way to the balcony, embracing and entertaining fans the whole way. It was almost 20 minutes after the set that Matt Shultz made his backstage, however, we hadn’t seen the last of him yet…
After Cage The Elephant’s long and exhilarating set it was hard to believe we still hadn’t seen the main act. But, sure enough, there was another entire set to be seen, and it did not disappoint. Beck opened his portion of the night with an acoustic slide guitar solo, such as one you may hear in an Old Western, that solo transitioned into arguably his most recognized song, “Loser.” Beck’s set was filled with his signature indie-rock-rap music, impressive solos from him and his band, bright lasers and lights, and fans who had not stopped dancing since the night began. The night did slow down for a few minutes, when Beck gave a touching speech, talking about his mother who was in the crowd, the importance of savouring what you have and not taking anything for granted – this did not disappoint the fans though, as they continued to cheer and show their support. Beck then covered the Korgis “Everybody’s Gotta Learn Sometime,” then played his own “E-Pro,” before exiting the stage in preparation for the encore that was surely to follow.
Beck began his encore with the sound of the iconic guitar intro of “Where It’s At,” leaving no one unsure of what song was being played. Once that was over Beck gave an unexpected but riveting harmonica solo, beginning his 1994 song “One Foot in the Grave.” Following this, Beck invited the Spoon singer, Britt Daniel, to come back on stage and asked him what he song he wanted to play, Britt replied, “Pump It Up” by Elvis Costello, and so that became the third song of the encore.
Next, Beck invited yet another singer back on stage, this time Cage The Elephant frontman Matt Shultz (who came out wearing yet another exotic outfit, this time complete with a yellow rain jacket and hat). Beck and Shultz sang their recent single together, “Night Running” (of which the tour was named after), followed by a reprise of “Where It’s At,” during which confetti rained from the amphitheatre before the night finally came to an end.
There is a festival where volunteer staff wear t-shirts that read “La Famiglia” and what better way to encapsulate a feeling of family. Many festivals claim to provide a feeling of family, but none better provides a sense of true community than the intimate Mazzstock Music Festival, where founder Lee Mazzola has graciously opened his back yard for music lovers like himself.
On August 8-11, 2019 the uber-affordable Mazzstock Music Festival took place at Mazzstock Fieldin Marlboro, NY, within the picturesque and bucolic Hudson Valley Region. Conveniently located 1.5 hours from New York City, 2 hours from Hartford, 3 hours from Philadelphia and 4 hours from Boston, Mazzstock celebrated its 12th year (5th year as a 3-day fest) and drew soaring crowds with another very strong lineup.
Photo by Mickey Deneher
With the motto “3 days, 2 stages, 1 love, no worries,” Mazzstock Music Festival is something special. It is so intimate and friendly, one feels that they will meet and get along with any one of the smiling faces on the dance floor, in tent city or at concessions. This year included a variety of strong ascending artists. Festival favorite and Mazzstock veteran Zach Deputy returned as a headliner; while Flux Capacitor, Dark Side of the Hudson, Gratefully Yours, Escaper, Cousin Earth and Hayley Jane are just a few offerings from the festival’s varied lineup – which also featured a number of stylized and talented DJs for a very popular late-night silent disco.An impressive set from Kingston DJ, Joey Hernandez, who brought up-tempo house musings.
The weather was perfect throughout and there was no cell service so patrons were connected without any distractions. Another bonus was that one could clearly hear each set clearly from their campsite! Lee, Vinny and the rest of the organizing team provided a seamless experience with impeccable amenities including clean porto-potties with stocked toilet paper, always – all weekend.
Dave Reiss and I Anbassa proved they are a fun band to watch; Flux Capacitor showed why they are invited to play so many festivals, Tom Clancy and Dave Heinzinger led a feisty Sky Daddy set that ignited a tight “Fire on the Mountain.” Will Hanza guided his ascending band, Escaper, to some monster jams while festival mainstay, Alpha Male Gorillas, brought a heavier but contagious groove.
Photo By Mickey Deneher
Tigerman brought the funky rhythms, and stellar guitar work was showcased by ShwizZ Himsef while he adorned a tiger onesie. Dark Side of the Hudson demonstrated they are a premiere Pink Floyd experience with a professional cover rendition of the album Dark Side of the Moon and an exquisite vocal solo on “Great Gig in the Sky.” There were six artists at large, but those from Nyack (ShwizZ Himsef, Natasha May DiMarco, Dan Rappaport, Danielle Sheri Wasserman) shined brightest throughout their plethora of appearances; the bonfire jams were comforting with many bringing voices and instruments of choice for the familiar festivities.
Highlights of the festival included Cousin Earth, Cosmal and Zach Deputy!
Cousin Earth were a pleasant welcoming committee to the many fans that arrived late Friday evening during the set. Formerly Ukelelian, the quintet has been touring hard over the past year, even doing a vast Southern run, spreading their energetic and innovative sound. The NY based band, (a member of the Jam Band Syndicate), consists of Terry Brennan (vocals/keys/percussion), Melissa Raye (vocals/percussion), Corey J. Feldman (bass/vocals), Joey Calfa (ukulele/vocals) and Nate Searing (drums). The band was a breath of fresh air with their eclectic songwriting and hard to predict delivery. They are a band to watch as they ascend the ranks of our scene with more visibility.
The Mazzstock set was electric – fuelled by soaring harmonies and moments of beautiful jam improvisation. “Can You Get to That” was buoyed by the virtuoso guitar work provided by guest ShwizZ Himsef (Ryan Liatis) and his presence on stage with Calfa, who possesses monster chops, was a music lovers delight. “Super Laser Beams” remains a show staple and for good reason– it really showcases the band at its full power with intricate time signatures, blended melodies and trippy surreal solos as part of a musical package that lures attendees in like a laser beam. A recent release, “Don’t Kill Us” is the song that could be a hit as a released and promoted single. Raye’s vocals lead a pleasurable auditory attack with a seriously addictive chorus on a fantastical lyrical romp.
Set List: Pancakes, Burning Up, Window Video Game, Super Fun Laser Beams, Can You Get to That, Please Don’t Kill Us, Fleshy Car/Spain, Capricorn on the Cob
Hailing from New Paltz with over a decade of experience, Cosmal is well known to music aficionados in the Hudson Valley and beyond. Ryan Coyle (guitar/vocals) and his wife, Ali Laz (vocals/live painter), have partnered to unleash a musical experience like no other. A surreal and trippy exploration to the unknown, the dynamic duo has truly mastered the sharing of downtempo moods. Laz is relatively new to sharing her vocals on stage, but performs like a seasoned pro. She has become the consummate frontwomen – sexy, prolific and with a smooth vocal delivery.
Laz is also an accomplished live painter who creates one of a kind masterpieces on canvas that fans share much adulation for. The Wizard of Cosmal though is Coyle, who harnesses his brilliance to compose a myriad of uniquely contagious and infectious original sounds. The new song, “Snake Charmer” is meticulously crafted with solid guitar fills. However, it is “Caliente” that takes down the house as the highlight of the gig. Laz sultry sings, “I love the way you touch me” with relentless beats supporting the groove and it really delivers a euphoric vibe ala Gilberto in “Girl From Ipanema.” The song isn’t about sexual lust, but rather the yearning to feel someone’s entire soul. Cosmal are a quickly ascending band that I expect many more pleasant surprises from in the immediate future.
Set List: Sumatra, Caliente, Ancient Future, Drishti, Realize, Snake Charmer, Final Gear, Way Down, Encore: Blossom, Moment
Zach Deputy :: West Stage :: Saturday 11:10pm-12:40am
Zach Deputy returned to Mazzstock Music Festival as the headliner and had the prime Saturday night slot at the Main Stage. There is only one thing you need to learn about ‘Zachy Dee’ – he is a Master Looper. If you didn’t know that, his fiery and upbeat set soon would convince you. Hailing from Savannah, GA Deputy honed his chops at Riders Lounge on Hilton Head Island, South Carolina. His unique approach delivered a bevy of bombastic acoustic numbers that inspired the crowd to shake their booty in delight. He shared crowd favorites like the party anthem “Put it in the Boogie,” the infectious “Twisty Twisty” and the rhythmic “Home.” He had the longest set of the weekend and patrons still were boogying at the end and salivating for more. A down to earth, generous, jovial giant of a man gifted fans with an assortment of benevolent ditties and in doing so proved that Santa Claus still delivers.
Sunday evening, Justin and Jennifer Miller opened the doors of the beautifully renovated Lark Hall in Albany, NY to friends and family with My Morning Jacket’s Carl Broemel as the featured artist. Ian O’Neill of Deer Tick opened up the evening on guitar and vocals with help from Dennis Ryan on drums and vocals. They played some originals that were just recorded, songs from their side project Happiness and Deer Tick songs from the album Mayonnaise.
The audience, having just been treated by the Miller’s to a Tex Mex buffet and open bar, was all smiles and an amazing listening room shone brilliantly as the last rays of sunlight came into the hall through the balcony windows.
The invite-only audience of about 70 people was in for a real treat next as O’Neill and Ryan closed their set stating, “Well looks like Carl just got here and we have one more for you, then we are going to come on out there and watch him with y’all!” Carl Broemel, guitar, pedal steel and saxophone player for My Morning Jacket, having just finished a four-night run with his bandmates, had quietly been watching the opening set from the side of the hall. Broemel, who has just released the critically acclaimed Wished Out album in 2018 and 2019’s EP Brokenhearted Jubilee was up next.
We were incredibly honored and grateful to have Carl join us on our maiden voyage… and none of it would have ever been possible without the support and love of our friends who were there to share the experience with us – Truly a dream come true!”
Justin and Jennifer Miller
After a quick stage switch and soundcheck, Carl “Snowy” Broemel took the stage armed with his electric, acoustic and pedal steel guitar and a rig of pedals and loopers. The Miller’s entrusted their close friend Matt Hueston as the event coordinator and the evening was dubbed “A Snowy Evening At Lark Hall.” The sound at Lark Hall was the first thing those lucky enough to be in attendance noticed. The sound technicians and natural wood of the theater made for a crisp and perfect quality as each note rung true. This space is perfect as a listening room, but the hall will surely host some barn burners as well.
Photo by Matthew Golden
Broemel opened the set with “Starting From Scratch” from Wished Out. He moved in and out of his original material from his solo records with the same ease as he moved between looping guitars with harmonies that created a rocking atmospheric funk. Then the pedal steel came in, layered over top. You could hear a pin drop as the audience did not make a peep during this very special set. It is no wonder why Rolling Stone magazine listed Broemel in the top 20 modern guitar players in the world. His command and control of all that was happening on stage was flawless.
Photo by Matthew Golden
Having just finished a solo tour with Tyler Ramsey, Broemel decided to play an M. Ward cover, “Chinese Translation,” that they had done together while on tour. This version soared through the hall and out onto the Albany streets outside like the sweet drops of moonlight touching down through the trees. Another highlight of the evening was “Carried Away” from 2010’s All Birds Say. Finally, Broemel was beckoned back onstage to treat the audience to one more tune and decided to close out the evening with a rollicking version of Tom Petty’s “Last Dance With Mary Jane.”
After the concert, Broemel signed posters, t-shirts and hung out in the hall talking to fans for hours. He even joined fans in a ping pong match in the adjacent Lark Street Yoga Studio run by Jennifer Miller, just voted a Top 5 Woman Operated Business in Albany. All the facilities at the beautifully renovated Hall and Yoga Studio are state of the art. The sound is amazing. The framed posters that line the walls and decorations are incredible. Those lucky enough to attend “A Snowy Evening at Lark Hall” had a once in a lifetime experience and also witnessed the start of what will surely be a successful venture and true listening space for artists to play and feel like family.
Event organizer Matt Hueston said, “What a magical night, and I don’t think there was one second I didn’t have a smile on my face. I wanted to put this event on not only because I love Carl, My Morning Jacket, and Deer Tick, but to show my appreciation for all of the kindness that strangers, who are now amazing friends, have shown me during my musical adventures. Music brings us together in a way very few things can. Be kind, spread positivity, and as always rock on!” Hueston seems to be onto something here, as Broemel expressed his desire to come back and play this brand new venue again. Be on the look out for so much more from the Miller’s new venue Lark Hall! Scroll past the pictures for the venue’s Mission Statement.
Lark Hall is a Historic performance arts and community venue located at 351 Hudson Avenue in Albany, New York. Located in the heart of Albany’s Lark Street neighborhood, this 14,000 square foot building was constructed in 1916 by the Daughters of the Eastern Star as a meeting and performance hall that includes street level retail and meeting spaces and a 3,000+ square foot venue space with 22’ ceilings, proscenium stage, intricate mezzanine areas, and an artist’s green room and living quarters located above the stage. Owned and operated from 1977 to 2017 by Electric Body Arts, Inc., Lark Hall was most recently utilized as a not-for-profit dance and fitness school maintaining all original historic details.
Purchased in March 2018 by a group led by Jeff Buell and Justin Miller, Lark Hall is being developed into a multi-tenanted performance arts and community venue that will build on the neighborhood’s longstanding arts and community-oriented culture. Carefully designed and engineered, Lark Hall will be developed to provide not only an unmatched guest experience, but also to serve as a one-of-a-kind residency for artists to perform, stay and hone their craft in a comfortable oasis from touring.The building’s first floor at street level boasts over 3,000 square feet of commercial space that hosts Lark Street Yoga Studio (1,400 square feet of high end yoga and fitness studio space) and related amenities, along with an additional approximately 1,000 square foot lobby and common space that will host Lark Juice Bar, Lark Hall Box Office and new elevator bay for ADA and load in access to the upper hall.
An additional 1,200 feet of first floor space is under construction to host a locally-owned coffee shop.The main hall currently contains nearly 3,000 feet of main open floor space fronting an approximately 10 x 30 proscenium stage, along with built in mezzanine space on one side that provides incredible sight lines and acoustics in current format. The hall will be upgraded to include expanded mezzanine amenities for reserved-level ticketing with private bar and bathrooms. The main floor level will include a large bar area and new bathrooms to service the main floor area. Among the significant building upgrades to be installed to support the hall and support spaces include a new elevator, extended stage area, bar and related service and office spaces, building-wide sprinkler and fire signaling, HVAC systems and air handling, along with building-wide electrical systems, lighting and tech backbone to support state of the art sound, lighting and front of house equipment.
For first phase of built out, Lark Hall will be rated for ~300+ occupants and feature unparalleled acoustics and unrestricted sight lines for every single guest.The hall also boasts a unique 2-3 bedroom apartment located above the stage that is directly connected to the stage and mezzanine areas. This amenity will be offered to artists and support crew for use during and after performances. This living space will be a one-of-a-kind green room and residency area to attract and retain artists for multi-night residencies and unique performance opportunities. This living space also adjoins approximately 1,200 square feet of practice and recording space that will be offered to artists and recording professionals for use as part of regular bookings and extended practice and recording opportunities.
All photos by Matthew Golden
Facility Highlights: Historic ~500 capacity venue with unique multi-level mezzanine layout, 22 foot ceiling and proscenium stage. The main Hall includes tech and monitor rooms built into the wings of the stage area, with multiple access points from stage to private artist residence areas.Both GA floor and mezzanine levels for reserved ticketing opportunities, along with flexible seating formats to accommodate ADA and general seating preferences for select shows.Artist focused living and practice space to attract and retain local, regional and national touring acts. Living space may be available for short term stays to support community meetings, weddings and other hall offerings.
Practice and studio space will also be available for use as part of enhanced ticketed performances (a la midnight preserves), and for lease and/or management by third-party recording professionals.Built-in flex space on first level that will provide dedicated box office, merchandise counters and flex space availability within yoga studio to support artist meet and greets and integrated gallery space for artist support industry (gallery for pop-up poster artists and photographers, sound check party amenities, and general flex space to support events built around ticketed performances).Designed for both fans and artists, Lark Hall will provide an unparalleled live music and performance experience.
My Morning Jacket finished out their only four shows of 2019 with an incredible East Coast run this weekend at the The Capitol Theatre in Port Chester, NY and Forest Hills Stadium in Queens, NY. After an incredible two-night run the previous weekend at Red Rocks Park & Amphitheatre in Colorado, the gentlemen from Louisville, KY headed east to celebrate with a very special 20th anniversary concert of their first album The Tennessee Fire, plus songs they covered during that era and a very tight set of fan favorites and deep cuts, all played under a perfect summer night in NYC.
The Capitol Theatre was buzzing with excitement as fans gathered early to form a queue wrapping around the city blocks of Port Chester. Many had signed up for the VIP packages which included a BBQ with the band, featuring drummer Patrick Hallahan’s famous smoked meats. When the doors opened, many rushed to get spots on the rail, buy posters or just soak in the majesty of this beautiful theatre. The projectors layered the walls images of the first record and hand written song lyrics and, later, images of space during the first encore – a cover of Elton John’s “Rocket Man” with soaring vocals from Jim James (lead singer, guitar) and wailing pedal steel from Carl Broemel (guitar, pedal steel, saxophone).
Before we even got to that, the band ripped into “Heartbreaking Man,” the first song from their first album released 20 years ago, with a tenacious energy. One could see the smiles on bassist Tom Blankenship’s face as the boys brought new life to The Tennessee Fire. It is incredible to see what they can do as a live band now. Revisiting the first record was not only special for the audience, but James noted that it was an incredible experience to think about where they were, what they were doing and how much has happened since those songs were written.
Even the slower songs like “Old September Blues” and “Picture of You” were given special treatment with wild guitar riffs traded between James and Broemel – and beautiful solos from Bo Koster on keys. Some of the songs featured a few special lyric changes like the last song of the set, “I Think I’m Going To Hell,” which made the experience of being at the venue and witnessing this performance that much more special for the audience.
On Saturday night, the band bid a bittersweet farewell and ended their four-night summer run with yet another incredible performance. Forest Hills Stadium is a beautiful venue located in Queens and the concertgoers could not have asked for a more perfect night. The band sounded tight and packed a powerful punch into the two and a half hour set. “Compound Fracture” was the opening song from their latest album The Waterfall, released in 2015.
As the sun began to set, the band lit fire to the stage with “Victory Dance” from 2011’s Circuital. “Hope to watch the victory dance after the days work is done / Hope to watch the victory dance in the evenings setting sun,” James sang, motioning to the lingering trails of light over the historic stadium. For fans of the band, it was rewarding to see the full band back together as it had been nearly 18 months since their last performances at One Big Holiday 4. The chemistry was still there and when James and Broemel stood together trading and layering licks over the final two songs of the first set “Steam Engine” > “Phone Went West,” you could see the shape of a heart between their nodding heads with Hallahan, Koster and Blankenship between them.
Both performances were exceptional to say the least and gave the audience the best of both worlds with a night of deep cuts in celebration of 20 years together and a night of fun fan favorites. Hopefully, they are back on the road together again sooner than later.
Setlist – Capitol Theatre: Heartbreakin’ Man, They Ran, The Bear, Nashville To Kentucky, Old September Blues, If All Else Fails, It’s About Twilight Now, Evelyn Is Not Real, War Begun, Picture Of You, I will Be There When You Die, The Dark, By My Car, Butch Cassidy, I Tnink I’m Going to Hell.
Encore: Rocket Man, Weeks Go By Like Days, Tyrone, Tonite I Want To Celebrate With You.
Setlist – Forest Hills Stadium: Compound, the Way That He Sings, I’m Amazed, Golden, Mahgeetah, Evil Urges, Victory Dance > Circuital, Gideon, Off The Record, Spring, Smoking From Shooting, Tropics, Lay Low, Steam Engine > Phone Went West
Encore: Wordless Chorus, Touch Me I’m Going To Scream Part 1, Touch Me I’m Going To Scream Part 2, One Big Holiday.
