NYS Music 20​19

Category: Show Reviews

  • Emerald Quintet Delivers a Gem at Brooklyn Bowl; Welcomes James Casey

    In a collaboration that could’ve only been dreamed up in New Orleans, Emerald Quintet, featuring saxophonist Skerik (Garage a Trois), drummer Stanton Moore (Galactic), keyboardist Robert Walter (Greyboy Allstars/Mike Gordon), bassist Andy Hess (Government Mule, Black Crowes), and guitarist Scott Metzger (Joe Russo’s Almost Dead) took the stage last night as the Brooklyn Bowl channeled its inner Jazz Fest. The group garnered its name as a tribute to the 55th Emerald Anniversary of Jazz Fest earlier this year, where they were formed to commemorate the 20th anniversary of Skerik and Moore’s first time playing the renowned festival together, and on the heels of Skerik’s 1998 debut solo album All Kooked Out. The supergroup treated Brooklyn to a rare and energetic performance on a very limited tour that included a stop in Anchorage, AK in September, and a pair of shows in Ardmore, PA and Denver, CO sandwiching last night’s Brooklyn offering.

    Emerald Quintet

    And they came out swinging! Appropriately opening with “Mardi Gras in New Orleans,” the quintet got right to the funk, passing solos like a baton. Each musician announced his presence in a collective far greater than the sum of its parts.

    “Sprung Monkey” followed, a familiar song that already had the crowd deep into a groove that would never let up. Walter’s solos tickled the crowd while his fingers tickled the black and whites, held down all the while by the best rhythm section in recent memory with Hess’s bass lines and Moore’s funky driving beats. Then Metzger’s turn with the baton, straight ahead guitar solos, no pedals, no effects, purity at the nexus of rock and funk, a touch of his signature blues, taboot.

    How do you follow that? By passing the baton to Skerik of course, a powerhouse saxophonist with not only the chops to pick up where Metzger left off, but probably a large part of the reason why each member of this band pushes each other’s boundaries in all the right ways. 

    Emerald Quintet

    While most of the two-plus hour set was just straight ahead ass-shaking funk, there were moments of delicacy and patience mingled throughout. These intensely brief intervals of darkness, always pulled back by a signature Stanton beat, only served to make the light that much brighter – a true testament to the familiarity and trust shared amongst these musicians. The band was intently listening and reacting to one another, improvising while simultaneously appearing extremely well practiced. Even Peter Shapiro, owner of the Brooklyn Bowl, was on hand, an eager fan like the rest of us, but with an aura of proud papa as he, too, wore a grin from ear to ear. 

    Emerald Quintet

    “Humdinger” was an early highlight from Metzger’s Wolf! Catalog. James Casey, saxophonist (Trey Anastasio Band) joined the stage for a duelling sax number with Skerik that visibly melted the crowd, wrapped up with a spontaneous long note competition that had Skerik checking his watch while he showed off his impressive lung capacity. “Don’t Chin the Dog” highlighted both Robert Walter’s songbook and Metzger’s unbelievable talent. A cover of The Band’s “Ophelia” gave the crowd it’s only chance for a singalong before the set closing “Funky Mule.” “Who Took the Happiness,” also played by Galactic in the New Orleans tradition, was the first of a two-song encore kept the crowd grooving past the two-hour mark. 

    For those smart enough to be there, this was a truly special night in Brooklyn. Top shelf musicians pushing and validating each other, listening and reacting, smiling and having fun, appreciating the rarity of the occasion and the delight of the crowd in equal measure, for what may very well be one of the year’s best sets. 

    Setlist (via Robert Walter): Mardi Gras in New Orleans, Sprung Monkey, Aquafresh, Humdinger, Chalk Giant, Calm Down Cologne, Ironic Twist, Don’t Chin the Dog, Ophelia, Funky Mule, Who Took the Happiness, Kickin Up Dust.

  • Tool Weave Their Allegorical Elegy at Barclays Center

    When you think of a band still touring and releasing new music nearly 30 years since their debut, you might think there is a lengthy discography behind them. That is not the case for Tool, who have just released their fifth studio and first new album in 13 years, Fear Inoculum and performed at Barclays Center. When asked by BBC Radio 1 why it took so long for Tool to follow-up 10,000 Days, Maynard James Keenan cited “crippling self-doubt” about living up to the expectations placed on the band and “paranoia” that the album would not be as good as it could be. After all, their four preceding albums make up one of the most highly regarded discographies in metal.

    Tool at Barclays Center – Photo: Joseph Buscarello

    On Tuesday night, the Fear Inoculum tour hit Barclays Center in Prospect Heights, Brooklyn for a sold out and much anticipated show. Tool have been touring steadily the past five years (this was the first stop in NYC since their headlining Governor’s Ball set back in 2017), but for the first time in more than a decade, the band was directly supporting a new LP.

    UK post-punk band Killing Joke provided the support, playing to less than a half-filled room when the took the stage, but by the time the opening set finished, the arena was packed and the buzz in the room had hit a fever pitch.

    Fans were made well aware of the band’s strict “No Camera” policy via notices taped to seats and security guards carrying signs echoing the rules. The intention was to prevent fans from distracting from the live experience and forcing us to live in the moment; a sentiment that should be more commonplace at modern shows. The policy was heavily enforced by security as a steady stream of fans were ejected throughout the night and flashlights constantly scanning rows of seats for phones. The enforcement in some sections turned out to be more of a nuisance than its intention, and was ultimately undermined during the last song of the night, “Stinkfist” as Maynard told security to “stand down” to allow fans take some photos.

    Justin Chancellor of Tool – Photo: Joseph Buscarello

    As far as shows at Barclays Center, the sound tends to be an issue. Much like the NY Islanders had great trouble adapting the arena to a hockey stadium, sound engineers frequently struggle with the mix, especially in the upper bowls. This was not the case whatsoever for Tool on Tuesday. The engineers came up with a perfect mix that was crisp and had a lot of depth, even in the upper bowl. Every element of Dan Carey’s massive drum set was as clear as it could be, and the deep, boomy bass filled the air. I have never experienced better sound in that arena, and with Tool’s detailed and complex music, it was certainly necessary to achieve perfection.

    Dan Carey of Tool – Photo: Joseph Buscarello

    Drummer Dan Carey is one of the more influential drummers in modern music. His vast drum set is the centerpiece of the stage and he plays with an ease and style that is mesmerizing. Tool are known for odd and complex time signatures, all of which are glued together by the percussionist. The encore began with Carey commanding the stage all by himself. A long gong solo served as a prelude, followed by Carey layering the frenetic and dystopian electronic loops of “Chocolate Chip Trip” before sitting back at the drum kit and ripping off a tight solo. This small part of the show by itself was an intense prog journey that reflects the complex history of Tool.

    It was also abundantly clear that the band was very happy to be touring and playing new music again. During “Jambi,” guitarist Adam Jones crossed the stage to give bassist Justin Chancellor a big hug and a quick laugh and during new song “Invincible” the two leaned against each other as they jammed away. Maynard, who is known to dress in concealing costume and hide in the shadows behind the drum kit, was now on well-lit and elevated platforms; still keeping towards the back but in plain view the whole time. At one point, he went over to Adam Jones’ set-up, unplugged one of the Marshall amps, and carried it across the stage and up the stairs to his platform to be used as a stool.

    Tool at Barclays Center – Photo: Joseph Buscarello

    Tool delivered a career spanning set, playing songs from all of their releases except Undertow (which was represented at other stops nearby). Before playing “Part of Me” off the 1992 EP Opiate, Maynard told the crowd that the song was written before anyone 30 years old and younger “were even sperm yet.” The new songs off Fear Inocolum seamlessly mixed with their classics and it cannot be understated how full and crisp everything sounded. The light show was also impressive, with massive LED screens showing imagery from their groundbreaking music videos, and well timed lasers to amplify the experience. A curtain made of long individual threads was at times in front of the band while a secondary light show was projected onto it. This added another layer of depth to the staging, but also cast interesting shadows onto the band members.

    Before playing “Stinkfist” to end the night, Maynard welcomed longtime collaborator and artist Alex Grey onto the stage to received a warm ovation from the crowd. Alex designed Tool’s iconic album covers and his art is a fundamental part of the live stage show.

    Adam Jones of Tool – Photo: Joseph Buscarello

    The Fear Inoculum tour continues through the New Year, with west coast dates in January and Australia/New Zealand dates in February. This show should not be missed. A band that many thought would not release another album have proven again that they are still one of the most formidable bands in the world.

    Setlist: Fear Inoculum, Ænema, The Pot, Parabol, Parabola, Pneuma, Schism, Jambi, Vicarious, Part of Me, 46 & 2.

    Encore: Chocolate Chip Trip, Invincible, (-)Ions, Stinkfist

  • Goose deliver late-night rager in Buffalo post-moe.

    Goose finished the first leg of their fall tour with a sold out show at Nietzsche’s in Buffalo on Saturday, November 16 after moe.’s hometown show. Coming off an opening set for the Disco Biscuits at the Roxian Theatre in Pittsburgh, and a sold out show at The Summit in Columbus, Ohio, the Connecticut based quartet rolled into Buffalo for a late-night moe. after party. The two-set show ran past 2:30 a.m. and highlighted the band’s ability to dig deep into their funk and folk inspired jams.

    goose buffalo moe
    photo by Zach Todtenhagen

    Guitarist and vocalist Rick Mitarotonda guided the band into the first song of the night, a cover of The Wood Brothers’ “Atlas,” before they segued to “Arcadia.” From their 2016 release Moon Cabin, the extensive jam emphasized many of Goose’s best qualities – ever-danceable rhythms, layered melodies, and a dramatic apex. Following a “Let’s Go Buffalo” chant led by Pete Anspach (guitar/keys/vocals), they launched into the reggae-inspired “Indian River.” A slow building rhythm section illuminated a vocal improv component and carried the band to the set closer.

    “Drive,” the fourth and final song of the first set was snappy and funk infused and took on a life of its own, clocking-in at well over 15 minutes.  An anchored pocket was dominated by bassist Trevor Bass and Ben Atkind behind the kit, while Pete’s rhythm guitar supported Rick’s soaring leads.

    Set two picked up where set one left off, with chants of “goose” blanketing the room. The crowd was immediately captivated by the trancey “Creatures.” Dark, echoing, and reverberating, “Creatures” produced a visceral movement within the crowd. A segue to “Shama Lama Ding Dong,” an elevating cover from 1978’s National Lampoon’s Animal House, clashed artistically with the darkness of “Creatures” and preceded “Slow Ready” – a slower synth-laden version of “So Ready.”

    goose buffalo moe
    photo by Zach Todtenhagen

    The segues continued with a rendition of A-ha’s “Take On Me,” before they closed their second set out with “Hot Tea.” Unable to leave the stage for an encore break, Pete took a moment to show his appreciation and gratitude for the fans. The encore started with a cover of “Short People,” off Randy Newman’s 1977 release Little Criminals, that came before their first ever Hot Tea Reprise – dubbed “Teaprise.”

    Goose will continue their fall tour on December 5 when they embark on a four-night Colorado run starting with the Aggie Theater in Fort Collins, followed by an already sold out show at Cervantes Other Side in Denver, and finally two nights in Steamboat at the Old Town Pub on December 7 and 8. They will then make their way through St. Louis, Chicago, Covington, and Indianapolis, before their sixth annual Goosemas show at the Wall Street Theater in Norwalk, Connecticut. For more information on tour dates and to purchase tickets, head here.

    And just announced this week, Goose will head to Tennessee in March when they tape an episode of Bluegrass Underground for PBS on March 27. The filming will take place at The Caverns of Pelham, TN. A very limited amount of single day and 3-Day Packages go on sale Friday, 11/22 at 11AM CST

    Setlist – November 16, 2019

    Set 1: Atlas {1} > Arcadia {2}, Indian River, Drive

    Set 2: Creatures > Shama Lama Ding Dong {3} > Slow Ready > Take On Me {4}, Hot Tea

    Encore: Short People {5} > Teaprise {6}

    Notes:{1} The Wood Brothers. | {2} “Lets Go Buffalo” chant. |{3} Otis Day & The Knights. |{4} A-ha. |{5} Randy Newman. |{6} Hot Tea reprise, First time played

    Gallery by Matt Shotwell

  • David Grisman’s Dawg Trio Takes Manhattan

    Armed with a new album and a stellar bluegrass catalog to pull from, the all-star Dawg Trio made beautiful music at the storied Iridium Jazz Club in midtown Manhattan. The evening included plenty of intricate songs, a special guest on the “mouth trumpet,” and a cover last played with Jerry Garcia.

    Dawg Trio
    The Dawg Trio

    The band was led by legendary musician, composer, archivist and frequent Jerry Garcia collaborator, David Grisman on mandolin and vocals. Mr. Grisman was joined by a Steve Martin Prize for Excellence in Banjo and Bluegrass Award-winner Danny Barnes on banjo, guitar and vocals. Grisman’s son, Sam Grisman, completed the trifecta on the upright bass and vocals. 

    Dawg Trio
    David and Sam Grisman

    Grisman began the evening with light hearted humor, asking the crowd, “Does anyone own CD’s anymore?”  The band released a new album in October, appropriately titled Dawg Trio. He mentioned that they had CDs to sell, but wasn’t sure where they were.

    Dawg Trio
    Smiles were frequent at the Dawg Trio

    Grammy-nominated Robert Gurland joined the party during the set, playing one song with his “mouth trumpet.” This impressive skill requires no instruments and sounds very similar to an actual trumpet. His skill and adeptness are reminiscent of Keller Williams, who uses this technique in his solo shows. The entire band was all smiles while Gurland was on stage, and throughout the show.

    Dawg Trio
    Robert Gurland on the mouth trumpet

    Sam Grisman took the helm during “Zadeh’s Waltz” from Dawg Trio. He also filled big shoes by singing Jerry Garcia’s part in “When First Unto This Country.” Prior to the song, Grisman announced that the last time he played this song was with Jerry Garcia. Sam’s vocals were a great tribute to the late Garcia, and showed that he looks forward to a promising musical career.

    Dawg Trio
    Sam Grisman on the upright bass

    Danny Barnes showed his wild talent throughout the evening, but particularly shined during “Super Grits,” from Dawg Trio. His unconventional and wild approach was refreshing and made for deliciously detailed jams. The show wrapped up with the intricate bluegrass standard “Things In Life,” proving that mandolin juggernaut Grisman still has still “got it” after all these years.

    Dawg Trio
    Sam Grisman and Danny Barnes sing their hearts out

  • Old Crow Medicine Show Brought Nashville to the Town Hall

    Adorned in denim, button-up shirts and boots, Old Crow Medicine Show delivered their high energy blue-grass, folk and country to The Town Hall in New York City. Last Thursday they successfully transported the city slicker crowd to their hometown of Nashville, Tennessee. They danced, jammed and harmonized with a celebrated Southern spirit, spiked with outlaw charm.

    Charlie Warsham, an up-and-coming Country music singer/songwriter from Grenada, Mississippi – and current member of Old Crow Medicine Show, kicked off the evening. Armed with an acoustic guitar and his excellent vocals, he delivered a mix of originals and covers, as well as plenty of Southern banter and grace. He closed out his solo set with “Oscar the Angel,” a heartfelt cover of Don Schlitz.

    Charlie Warsham opened up the evening.

    After Warsham got the crowd warmed up, Old Crow Medicine Show took the stage with vigor. The current lineup includes Joe Andrews (pedal steel, dobro, vocals), Morgan Jahnig (Upright bass), Ketch Secor (Fiddle, Haromica, Banjo, Vocals), Cory Younts (Mandolin, Keyboards, Drums, Vocals), Critter Fuqua (Slide Guitar, Banjo, Vocals) and Warsham (guitar, vocals). Band members were often seen jamming from the energy of each other, in synchronized dance-step.

    Old Crow Medicine excels at playing off the energy of each other

    The band played a mix of originals and covers. One notable cover was the stoner gospel tune “I Hope I’m Stoned (When Jesus Takes Me Home),” written by Charlie Warsham and Ashley Monroe for his solo act. The entire group gathered at the front of the stage to harmonize on vocals, with Warhsam taking the lead. The lyrics “A little piece of heaven to take away your blues” are an appropriate description for the incredible show that these talented musicians put on. “Tenneesee Bound,” “Tell It To Me” and “Brushy Mountain Conjugal Trailer” were a few of the originals played this evening.

    Charlie Warsham and Ketch Secor include dance moves while they jam

    Old Crow Medicine Show has a limited number of shows left on their 2019 tour. Hop on over to their tour page for more details.

  • Ani DiFranco Interacts with truth in Homer

    Speaking your truth through music is what it is all about and Ani DiFranco does it well, both in her songs and interactions with an audience. DiFranco sold out the Homer Center for the Arts on November 5, 2019. Before Executive Director Ty Marshal introduced Ani, he said that ‘he had the dream of booking her there since he started five years ago.’ It was the fastest a show has ever sold out at the theater.

    Ani’s tour is simply a must see for not only her performance but also for opening act, Gracie and Rachel. Their mellow yet striking sound is unique because of their piano and violin mix. Gracie’s piano and Rachel’s violin compliment each other which felt like a musical conversation as they performed. They joked about their anxiety-driven lyrics, but in reality their music is quite calming and serene. It’s as if they let their listeners know that they aren’t alone in their troubles and let the music soothe them.

    Once Ani DiFranco took the stage she dove right into “Not a Pretty Girl” and the crowd roared in excitement. Ani was all smiles and equally as excited to be playing the very intimate theater as much as the audience was excited to see her.

    Ani’s ability to play guitar is nothing but awe inspiring. She has a fearless fire within her and it pours out with every note. Her unique style of playing goes hand-in-hand with how she holds her own on stage. Her power and inspiration truly touched everyone in the theater that night. Ani is such a strong woman to look up to because of how brave she is. To speak her truth not only in her songs, but in between her songs. And the audience listened with respect.

    It was election day and she had to pause when she found out that a Democrat governor was elected in Kentucky. It was a win close to her heart which she got to share with Homer, NY.

    Ani broke up her performance with a few covers “Why We Build the Wall” by Anaïs Mitchell and “Skinny Love,” by Bon Iver, whom she will be performing with after the end of this tour on November 21 in Eau Claire, WI.

    Setlist: Not a Pretty Girl, Dilate, As Is, Fire Door, Anticipate, Allergic to Water, Genie, Why We Build the Wall (Anaïs Mitchell cover), Woe Be Gone, If He Tries Anything, Reckoning, Skinny Love (Bon Iver cover), Save Me Jesus, Alrighty, Play God, Alla This, E: Which Side Are You On?, Joyful Girl

  • Toro y Moi Unveils ‘Soul Trash’ for Sold Out Run at Brooklyn Steel

    Toro y Moi (aka Chaz Bundick) has been going strong ever since he broke onto the scene at the start of the decade, and 2019 has proven to be no exception. Back in January, Chaz released the excellent album Outer Peace and has been touring on and off since. Now, just as the fall tour was wrapping up with two sold out nights at Brooklyn Steel, Chaz dropped a surprise LP, Soul Trash.

    Toro y Moi at Brooklyn Steel – Photo: Joseph Buscarello

    Support for the fall tour came from exciting newcomer Channel Tres. His infectious blend of hip-hop and deep house kept the packed Brooklyn Steel dance floor moving for the entire opening set. Flanked by two backup dancers and thunderous house beats, Channel Tres performed his entire 2019 release Black Moses, including the hit “Sexy Black Timberlake.” The set was rounded off with other singles like “Topdown” and “Jet Black.” The future is incredibly bright for Channel Tres, including much anticipation for a full length LP. He has several West Coast dates coming up, with a show at Elsewhere’s Zone One next May.

    Channel Tres at Brooklyn Steel – Photo: Joseph Buscarello
    Channel Tres at Brooklyn Steel – Photo: Joseph Buscarello

    Toro y Moi has a very unique blend of styles. One of the few surviving bands from the chill-wave movement, Toro has maintained success by mixing elements of classic R&B and disco with more modern electronica and indie palettes. Each release takes a new approach to these sounds and keeps the ever growing Toro y Moi discography fresh and exciting.

    With so much material to draw from, including the new LP Soul Trash released just two weeks before, the set provided by Toro y Moi was truly representative of his entire discography. The title track “Soul Trash” opened the show, while tracks from Outer Peace included “Ordinary Pleasure” and “Freelance” (which closed out the show). A personal favorite, “Rose Quartz” from the incredible 2013 LP Anything in Return, echoed effortlessly around the room. The band glided through a 21-song set without a single dull moment.

    Chaz Bundick of Toro y Moi at Brooklyn Steel – Photo: Joseph Buscarello

    Saturday night was the last show of the current tour, with a late night DJ set at Elsewhere just to top it all off. Chaz has some DJ sets scheduled out west in December, but for now, we just look forward to what he has in store for 2020.

  • Michael Franti and Spearhead Deliver Positive Vibes to the Wellmont Theater

    The audience was told to hug a neighbor at least five times. Lyrics such as “They say that miracles are never ceasing / And every single soul needs a little release” were heard. This positive vibe radiated from Michael Franti and Spearhead, a hip hop-reggae-funk fusion band from California, as they performed at the Wellmont Theater in Montclair, NJ last week. The band also brought awareness to social issues and sparked authentic human interactions in the Garden State.

    Carl Young and Michael Franti

    The band members include Michael Franti (guitar, vocals), Carl Young (bass), Manas Itiene (Drums), J. Bowman (guitar), Mike Blankenship (keyboards), and an unidentified female vocalist.

    Gun violence statistics of every mass shooting in the USA scroll behind Michael Franti and Spearhead.

    The positive message and awareness to social issues stood out in a meaningful way. Franti’s recent song “The Flower,” a tribute to victims of gun violence, featured a video with survivors and scrolling gun violence statistics. Songs like “Just Work Hard And Be Nice To People” and “Good To Be Alive Today” brought a positive message mixed with short jams.

    Franti and an unidentified vocalist sing “Life Is Better With You”

    Strong musical skills were displayed during a flawless switch from Lionel Ritchie’s “All Night Long” to “Life Is Better With You.” The band was joined by an unidentified guest vocalist for this sequence, which included the original video of “All Night Long” by Lionel Richie on an LED screen behind the band.

    Franti was engaged with the entire audience, not just those in the front row. He sang two songs while on the floor, in the middle of the crowd. He also took a quick adventure to the balcony for a few verses. A myriad number of fans were brought on stage, including a couple who got engaged, and all the children on the floor during “Say Hey (I Love You).”

    The band has a couple of tour dates left in 2019 and will be on tour with Kenny Chesney in 2020. Head over to their tour page for more details.

  • Grateful Shred Opens East West Tour With Three Night Run at Brooklyn Bowl

    With no shortage of bands playing homage to the Grateful Dead catalog, Los Angeles based Grateful Shred is quickly distinguishing themselves in this crowded space. The band welcomed Adam MacDougall, formerly of the Chris Robinson Brotherhood and bandmate of bassist Dan Horne with Circles Around the Sun, on B3 and keyboards to kick off their East West tour last night at the Brooklyn Bowl. This was the first of three consecutive shows at the Bowl and second such run this calendar year after an earlier run this past March. Joining MacDougall were founding members Horne and guitar trio Austin McCutchen, Sam Blasucci, and Clay Finch, along with a pair of drummers.

    Grateful Shred

    The three guitar format is largely responsible for what gives Grateful Shred their signature sound, and likely their name as well, though Horne’s bass is also a driving force. MacDougall made his presence known early and often, treating the crowd to some masterful work on the Hammond and Moog. “Let’s Spend the Night Together,” a Rolling Stones tune from the JGB catalog, got the crowd into an early groove, Sam Blasucci on lead vocals. Like one of those old what’s wrong with this picture cartoons, it might take the casual observer a minute to notice that southpaw Blasucci is shredding his lefty solos on a righty guitar played upside down, a la Jimi Hendrix. “New Minglewood Blues” was next with a fierce solo from MacDougall before a return to the JGB catalog with Jimmy Cliff’s “Harder They Come.” “Scarlet Begonias” > “Fire on the Mountain” preceded the set, closing with “Deal.”

    Grateful Shred

    The second set got underway with a frenzied “Cumberland Blues” featuring gorgeous harmonies from the three guitarists on top of a sweltering bass line from Horne. “Mexicali Blues” was next, the third song of the night with blues in the title. “Reuben and Cerise” was the first JGB cover actually written by Garcia with lyrics by Robert Hunter, though the Grateful Dead did play it four times, as well. A lovely “Mississippi Half-Step” sung by Clay with piercing solos to match was up next before a “Playing in the Band” > “Mountains of the Moon” > “Playing in the Band” combination that went deep and got a little spacey, sans drum solo.

    The set closed with a final offering from the JGB catalog, Allen Toussaint’s “Get Out of My Life Woman” before a fiery “Jack Straw” closed. After a brief respite, “US Blues” took the encore slot and wrapped up the 90-minute set.

    Grateful Shred

    Grateful Shred returns to Brooklyn Bowl to finish their run Friday and Saturday before heading back to California to finish the East West tour. All three Brooklyn Bowl shows have free webcasts on the Relix channel. Check out last night’s stream below.

    Set One: Let’s Spend the Night Together, New Minglewood Blues, Harder They Come, Scarlet Begonias > Fire on the Mountain, Deal.

    Set Two: Cumberland Blues, Mexicali Blues, Reuben and Cerise, Mississippi Half-Step, Playin’ in the Band > Mountains of the Moon > Playing in the Band, Get Out of My Life Woman, Jack Straw.

    Encore: U.S. Blues.

  • Jeffrey Martin and The Sea The Sea Sing for Folks in Rochester

    A Saturday night crowd, on a Monday, settled in for a wonderful night of folk songs in the cozy and warm exposed-brick confines of Restaurant Good Luck. Honest Folk Presents brought in two great artists representing both coasts. The crowd was familiar with Portland Oregon’s Jeffrey Martin, making his third stop at the venue. The Sea The Sea, from the much closer Troy, however, were making their first appearance in Rochester and would open the night.

    A male/female duo, featuring Mira and Chuck Costa, The Sea The Sea moved effortlessly between electric and acoustic guitars, a small percussion setup and an even smaller keyboard, mixing different combinations of sounds. Regardless of the instrumentation, their beautiful two-part harmonies were the true highlight throughout the night. It was remarkable how perfect their voices blended together, making a signature sound. They featured them so regularly that it started to become two parts of a single voice. On the rare occasions when only one voice rang out, it was almost as if one of the channels on the stereo was faulty.

    The pair has spent a good deal of the past year on the road, and also recently relocated to Troy, both of which have been providing inspiration for a bevy of fresh new tunes, some of which they shared, like “Foreign Country” and “Stumbling Home.” Most of the set was filled with their more well-worn material, like the palindromic “Love We Are We Love” and the familial “Good For Something.” They rounded those out with two choice covers, the Bob Dylan deep cut “I’ll Keep It With Mine,” and “No Love Today” from the under-appreciated songwriter Chris Smither.

    Jeffrey Martin was last on the Good Luck stage almost exactly two years to the day from this night. It was in fact the Monday after the end of daylight savings, just as it was on his previous visit. Martin’s music doesn’t really evoke blue skies and sunshine, so the fact that it was middle-of-the-night dark throughout the show, which ended at the Monday-friendly hour of 9:45, was very welcome. Perhaps it was both genius and coincidence.

    For an hour Martin held court on the Good Luck stage, telling stories both in song and out. Though sometimes it was hard to tell the difference, as he noodled on his guitar during his between-song bantering and there was just something lyrical about the way he spoke. Some of the stories spanned the songs that interjected, and the songs always related somehow with the stories. Some of the stories inspired the songs, sometimes real life followed the songs, and other times the story and the song were one and the same. Stories, songs, acoustic guitar and a rich singular voice made for about as pure a folk show as you can achieve. Seems so simple, and yet it’s so hard to achieve, but Jeffrey Martin pulled it off with a natural and unfettered brilliance. It’s no wonder Honest Folk has booked him again and again.

    As for the next Honest Folk show, they’ve just announced twin-brother outfit, appropriately named The Brother Brothers, who will be at The Arbor Loft on Wednesday December 11. Tickets are on sale now at early bird pricing for a limited time.