On Sunday, May 19, Eric Krasno closed out his residency at the famous Blue Note Jazz Club with an amazing night of music and special guests. The eight-show residency concluded with two sets with the house band: keyboardist/vocalist Nigel Hall, drummer Louis Cato, and bassist Chris Loftlin
Krasno welcomed previously announced guest bassist MonoNeon, as well as surprised guest saxophonist James Casey and lap-steel god Robert Randolph to close out this special run. This amazing group of musicians was such a treat and really seemed to be a close-knit group of friends, a quality that shines through in the music.
Brooklyn Bowl was host to the 3rd annual Relix Live Music Conference this past week, featuring speakers from every corner of the live music industry. Attendees gathered, eager to absorb as much knowledge as possible from the scheduled panels, ready to gain inspiration in one of the most iconic venues in the live music scene. Peter Shapiro, Seth Hurwitz, David Fricke and Warren Haynes were a few of the legends that sat on stage to share their insight.
Throughout the two-day conference, there was one common denominator – community. It is clear that the live music industry has created a family comprised of staff, fans and artists themselves. The live music scene provides a sense of “home.”
Day 2- A Conversation With Warren Haynes & Rolling Stone’s David FrickeDay 2- In Conversation: Peter Shapiro & Seth Hurwitz
The Relix Live Music Conference showcased entrepreneurs, activists, journalists and everything in between. One of the conference’s highlights included a panel on social media featuring Roger McNamee, a Silicon Valley venture capitalist and author of the book Zucked. In the panel moderated by Dean Budnick of Relix, McNamee discussed the ubiquity of social media in our lives today and what companies like Facebook and Google do to retain as much data about us as they can. One particular poignant comment by McNamee was that despite his resistance to Facebook, the bands he’s involved in need the platform to stay viable.
Not only did Brooklyn Bowl and Peter Shapiro host a great networking and professional event, they also hosted some incredible bands to close out the event.
Midnight North and Lucky Chops took the stage, one that had just been warmed up by a who’s-who of the music industry, to provide a night of music that certainly did justice. Midnight North is a San Francisco based Rock/Americana band with a tight, timeless sound. Guitar, vocals and charisma from Grahame Lesh led the band through a thoughtful set of true rock ‘n’ roll.
Lucky Chops, a New York City-based brass band with a self-dubbed genre, “Happy Horns,” closed out the night with a huge breath of wind instrument spectacle. Comprised of Josh Holcomb (trombone), Daro Behroozi (tenor sax), Joshua Gawel (trumpet), Charles Sams IV (drums) and the incredible Raphael Buyo, aka Patchy Brian Sousaphone. The band closed out the third show of its Brooklyn Bowl album release residency in support of their soon-to-be-released crowd-funded album with a hefty mix of new songs and their longtime repertoire. Keeping with the beat of the previous two shows, Lucky Chops welcomed several friends to the stage including former bandmates, high school band classmates, and a special guest from Snarky Puppy.
Some say that time is an illusion, a human construct, a shimmer in the otherwise bright light of life. The passage of time, however, is a certainty, leaving its trace strewn throughout the landscape and in between the years as they come and go. After a one-year hiatus, preceded by a decade of non-stop creativity, the jam scene powerhouse quartet Dopapod has set May 24 as the day to unveil to the world their interpretation of this concept, ironically immortalized via their latest album, Emit Time.
Dopapod has always had a knack for tricking time. Odd time signatures, overlapping melodic content, and live improvisation that extends the length of their songs beyond their studio counterparts mark the bulk of their compositions. Their palindromic album titles wink to the infinite nature of time and they’ve broken the rules in the past by performing intricate works in reverse. This new collection is a true emission of time, containing never-before-heard songs among others that have been in the live rotation for a few years. As many creative people will tell you, true artists must have the ability and see the necessity to keep pushing forward, to embrace the inevitability of growth and change. This band has taken strands of their DNA and weaved them into works that feel fresh. They are unfamiliar in their display yet familiar to the Dopapod formula of rock solid rhythms,
The album opens with a lone pulsating organ that bursts wide open into a deep-pocket funk beat with a chomping guitar riff. “Numbers Need Humans” is a testament to the “live in the moment” attitude that energizes so much of the progressive jam scene. As was proven with the first song in the second set at the band’s recent Capitol Theatre reunion gig, this track is a great opener, prepping listeners by reminding them, “Time is all we have / So let’s have a good time.” Placed before a tightly executed guitar solo, the lyrics operate as a thematic entrance for the topic at hand through the rest of the album. “Tick tock, hands move around the clock / On the dot, that’s when time stops.”
Following in the order of when it was released as a single, “Test of Time” comes second. This 7-minute, multi-section, progressive number is evidence that the layers time has piled onto this group are beginning to show signs of evolution. Guitarist Rob Compa leads the way, singing through a “gateway to another time.” Next to a familiar synth hook, sure to cue Eli’s signature head-bop, there is a rocking chorus and expressive singing, something that has made more and more of an appearance in Dopapod music on the last few albums and certainly on this one.
“23 Forever” gives bassist Chuck Jones a turn on lead vocals, bringing his sense of humor to a memorable and extremely catchy chorus. This song feels like the band is revisiting a funny memory and having a good laugh about it. Another new song, “Live In The Dream” offers a consistent mid-tempo groove that gets progressively aggressive leading up to its guitar solo crescendo. A descending vocal round, “..live in the dream, live in the dream, live in the dream,” leads the song down to a decisive close.
For the most part, this collection of songs is the most thematic that Dopapod has released as an album. As mentioned by Eli in the bands press release for Emit Time, “Interestingly, we had been developing a semi-concept album about time and time travel before the hiatus.” In combination with the feelings from that hiatus, a new album about time and time travel feels pretty appropriate.
Still leaving room for some road tested material, “Superbowl” and “Weedie” give the album a taste of the past. “Superbowl,” a song debuted in 2016, slows up the pace but is a well-crafted atmospheric blend of synthesizer, orchestral strings, and resounding guitar. From there, “Weedie” hits with a guitar-heavy rock riff. Again, the lyrical content refers to the mindful present-living ethos, “We have our ups and downs / But life is lived in the now.”
“Landmines” is another debut that starts to bring the album down on its two-song final descent. The bulk of this song is based on a down-tempo 16th note groove, accentuated by a tinge of spy-guitar reminiscent of something to be found in a classic James Bond film. The mid-section, however, creates a distinct change with a straightforward rock progression and brief organ solo. As it peaks, the main theme is called back as Rob plays passionately with a slide. The final track, “Whale (I Am),” is a beautifully executed landing that pairs a drifting and uncluttered tone with delicate keyboard lines and airy vocals.
Though the album seems short in length at 8 songs, it clocks in around 45 minutes in total. It does unload a powerful punch with its production and covers a lot of ground, but it still feels like there is room to tag on one or two more tracks. “Superbowl” begins to feel a tad drawn out at the end and the album’s finale might benefit from a more energetic closing jam. Dopapod fans are a hungry bunch and when you’re as creative as these guys, new songs are always welcomed.
Dopapod has executed their return well. They have managed to keep their fan base interested and committed for an entire year, without playing a single show, just by promising to come back. They made good on that promise, they have fresh material to present, and are keeping their appearances this summer to a unique minimum. The focus on ideas relating to time make this a relatable and inspiring listen. The band does a great job of exploring creative opportunities here, testing the potential of their inventive approach to music by applying it in new ways, taking them in new directions.
Key Tracks: “Numbers Need Humans,” “Live In The Dream” and “Weedie.”
The Magnetic Pull, a post-rock quintet out of Syracuse, put out their second LP in April. There are no vocals over the course of the 40 minute self-titled set, though the visuals are dense and the narratives vivid. Each track plays out like the soundtrack to a short film. Live, they have been know to pull-off an original live score to the 1922 silent film, Nosferatu, so this comes as no surprise.
They leave the stories up to the listener; titles like “Pacipede” and “Know Seas” leave a lot to the imagination. The tracks flow fairly smoothly into each other providing a singular listening experience with multiple movements, perhaps different chapters to a single story. At times each instrument: guitars, keys, drums, bass, various electronics and samples, take on the roles of separate characters. At other times the instruments mesh in a show of force, pushing and pulling the energy as one combined sound.
From heavy-shredding guitar swells and calming melodic piano breaks to reggae infused grooves, this journey has it all. Whichever way you imagine it in your head, it is sure to be a thrill ride of a listen.
For the record collectors, The Magnetic Pull is being offered in limited release on 180 gram, coke-bottle green vinyl, packaged with a download-code sticker and eight-page anaglyph 3D booklet with 3D glasses. Otherwise, you can find it for download or streaming wherever you consume digital music.
“We’re having sooooooo much friggin’ fun on this little run of shows!” quipped Marco Benevento in an Instagram post on the afternoon of May 3. Later that night, the sentiment became overtly obvious as Benevento and Co. brought their colorfully energetic mix of pop and rock to Jersey City. White Eagle Hall, an historic venue is situated in the Village neighborhood of downtown Jersey City, welcomed every note as if it knew Marco came home to play.
Providing a short opening set was New York City native Andrew Fox, a solo singer/producer with a small assembly of toys and knobs but a large sweeping psychedelic soul. Warming up the Jersey crowd with a selection of songs from his recently debuted EP Shock by Shock, Fox sang passionately over a mix of deep bumping bass and sinking synthesizer leads. The live performance of these tracks varies slightly as Fox mixes, filters, and plays keys. A stand out was the funky “John / Candy,” featuring a pop laced guitar riff and chopping snare claps.
In a nod to the oh so obvious theme of welcoming that encompasses Benevento and crew, Fox mentioned that the two had in fact only first met in person just prior to the show. It was just a few weeks ago that Benevento reached out to Fox via the internet and asked him to tag along for a few shows. This speaks volumes to Marco’s openness to opportunity and appreciation.
After a short break, the headliners appeared to an uproarious applause and took a moment to settle in before jumping right into “Free Us All.” Immediately, the rainbow lights began to blanket the room as the crowd swayed in delight. The trio continued on through a mix of old tunes like “All The Other Dreams,” “Greenpoint,” and “Dropkick.” Still, there was room for a new song debut and announcement that a to-be-titled album is on the way, due out in September.
Dressed in silver sequin jackets and white tees reading “We’re using time for fun” (a song committed to tape on 2007’s Live At Tonic) the trio of Benevento, David Butler and Karina Rykman held on to their smiles as much they did the groove for 2 hours straight. There is an incredible enthusiasm in this group that creates an energy so palpable it’s hard to not participate in the celebration. Marco takes every opportunity available to thank the audience, thank his bandmates, and relish in the feel-good momentum that makes their performances uniquely positive.
The mid-section of the set brought more from the recent The Story of Fred Short record with the zany “I Can’t See The Light,” a soaring “Stay In Line,” and the bouncy “Walking With Tyrone.” Benevento jumped back and forth between center stage to dance around and sing and then again to his piano rig just in time to walk up and down a solo.
Just after Rykman removed her jacket, but not the smile, Benevento made banter by recalling a previous show where the crowd roared for 10 minutes when he announced the bassist by name. The audience took this obvious cue and cheered ever more loudly as Marco clapped and yelled “KARINAAA” into the mic. It was a cheerful moment that shined a happily embarrassing spotlight on the youngest band member just before she took a distortedly delayed bass solo. This paved the way for the crowd-pleasing cover of the Butthole Surfers 90’s hit “Pepper,” led by Rykman on vocals.
As is with most musicians, this band and Benevento, especially as the songwriter, gets as much out of sharing in the music as they do playing it. This was evident through the entire set but was most clear when the trio “answered the call” to play “The Real Morning Party,” an infectious pop number that had the entire crowd gleefully singing along to the melodic hook. As the audience bounced up and down in enjoyment, it was hard to tell whether the ground was shaking because of the dancing or because of the powerful rhythm section and soulful jamming.
After one last thank you, the party was brought to a close with the aptly titled finale “At The Show.” Members of the audience were still humming the vocal melody as the three band mates took their final bow at center stage.
Marco Benevento tour continues on May 10 in Washington D.C. with Andrew Fox.
*Setlist was not written down and songs were being called out by Marco. The following list was provided by management:
Free Us All, All The Other Dreams, Solid Gold, Dropkick, Greenpoint, Send Me On A Rocket, Walking With Tyrone, Live a Certain Life, Stay In Line, I Can’t See The Light, Follow The Arrow, Pepper, Witches of Ulster, The Real Morning Party, Oh Baby Can’t You See, At The Show
In a sold out show, a blast to the past of the late ’60s – ’80s progressive rock era, the Alice Frost band had the crowd rocking in their seats to the music of YES! The core of the band started performing in the late ’70s and the friendships made then have endured to this day. The members of this ensemble, original and newly added, have developed a true love for the music and for playing together. The group is composed of experienced area musicians who enjoy the challenge of this complex and beautiful music. On guitars is John Eisenhart who has played in 805, out of Syracuse, Lake City, Blind Design and currently performs around upstate New York as a solo artist.
John Eisenhart – Guitar
John has a diverse background which includes a wide range of musical styles. From 17th century classical guitar to delta blues, as well as more popular music, John adds his own style and the audience loves it. Harold “Clutch” Reiser, on drums and percussion, is a founding member of The Maynard Brothers Band, and also played with The Sundowners, Blind Design and other bands. Matt Donnelly, keyboards, plays with The South Street Saints, The Music Box and hosts the Thursday night jam at the Lawrence Street Tavern.
Matt Donnelly – Keyboardist
Matt brings years of experience on the keyboards to the Alice Frost band. He currently is associated with many other bands in the upstate New York area. Once you hear his mastery of the keys, you can understand why so many bands want to be associated with him. Frank Esposito, the vocalist, played for Howard Stern’s show and works in the Vibratones. Carl DeSantis jr., on basses and a Berkeley graduate, plays in North Carolina in a number of ensembles. Steve Hymowech, the bassist for Dirt Cheap, assists Alice with extra guitar, vocals, percussion and inspiration. The show encompassed music from the Yes Album, Fragile, Close to the Edge, and Relayer.
Playing at a high level of difficulty to bring this music to audiences makes the work enjoyable and rewarding, and it was be a show to remember. The May 3 date kicked off the 2019 season for Alice Frost, ending as the headliner to an outdoor prog music festival in the Syracuse area. They have a Facebook page with videos, pictures and more information.Â
Harold “Clutch” Reiser – Drums
“Clutch” not only sets the beat for the songs, but he did a tympani set which drove the fans wild and onto their feet.
Steven Hymowech – Acoustic GuitarCarl DeSantis Jr. – Bass
Last Pharaoh screamed out melodic power/progressive metal and neo-classical music at Orange County Choppers on Saturday night which left the crowd roaring for more. Influenced by Iron Maiden, Saxon, and Queensryche, Last Pharaoh was signed by Pure Steel Records in 2018. Their first album, “Mantle Of Spiders”, was released last year on September 21. After their ‘blowing off the roof’ rendition of “Bark at the Moon,” they treated the crowd to their soon to be released “Intruders” as their last song of the night (which will be on their new album and first single).
The four band members each bring a rocking history of their own and combine to a fantastic blend of guitar riffs and metal screams, Ron Toth on guitar, Michael James on bass, Ed Shelinsky playing drums, and Tommy Santangelo performing on vocals. They are based in the Hudson Valley, however, they will be coming to the Albany area at Chrome in Waterford, NY on May 25. Look for their music on Spotify, YouTube, Apple music, iTunes, Amazon, and of course, your local record store.
Setlist: Into the Darkness, The Headless Horseman, Jekyll and Hyde, Desert Dreams, Deadly Dreams, Machinic Non-Conscience, Slave to the Kill (The Son of Sam), Mantle of Spiders, Psychohouse, Bark at the Moon, Intruders
Pure emotion carried the crowd away
Michael JamesRon TothEd ShelinskyTommy SantangeloMichael JamesTommy SantangeloRon TothTommy Santangelo
Trey Anastasio Band closed out a long weekend run with the second of two sold out show at Brooklyn Bowl on Monday Night. Playing the beloved Brooklyn venue for only the third time, fans didn’t hesitate on packing this venue/bowling alley to capacity. This is one of the smaller venues TAB will play, but it seemed like Trey’s eight-piece solo outfit felt right at home in this tiny space.
The show began with “Blaze On” a song TAB debuted three nights earlier at Anastasio’s Me and My Mind documentary premier. The band continued in top form offering up TAB favorites Including “Alive Again,” “Night Speaks to a Woman,” “Curlews Call,” and “Dark and Down” before bringing an amazing first set to an end with “First Tube,” the Phish fan favorite.
After a short set break Trey and his amazing band returned with “Money Love and Change” where Anastasio shined with amazing guitar work. The rest of the set included speak to me, the first “The Land of Nod” since 2017, and a fun version of “Alaska” that the entire crowd sand every word to. The set came to a close with a smooth pairing of “Shine” into “Rise/Come Together.” The band returned for a two song encore offering up “Drifting” and “Ghost.”
Trey Anastasio Band Continues with a four night run in the southeast at the end of May as they prepare for a full card of summer dates. See a full gallery from the show Monday below.
Beginning tomorrow, keyboard maestro, Marco Benevento, will kick off a string of 10 summer tour dates with room for more to be added along the way. The experimental rock and jazz pianist will play two dates before hitting White Eagle Hall in Jersey City on Friday, May 3, where NYS Music will be there to catch the set in full review.
Armed with the rhythm section of Karina Rykman on bass, drummer David Butler, and a smile from ear to ear, every one of the trio’s gigs is a celebratory event. With appearances already booked at Mountain Jam and Levitate Music and Arts Festival, Benevento’s summer is sure to be as colorful as the stained striped suits he likes to wear on stage.
A taste of live Benevento
Ahead of the first release under his birth-name, New York City native Andrew Fox has been enlisted to bring his soulful psych-pop blend to both the Jersey City and Washington D.C. dates as the opening act. Be sure to check out Shock By Shock, on streaming platforms now.
Andrew Fox Debut Shock by ShockMarco Benevento
Tour Dates:
May 1 – Wilkes-Barre, PA – River Street Jazz Cafe May 2 – Ardmore, PA – The Ardmore Music Hall May 3 – Jersey City, NJ – White Eagle Hall w/ Andrew Fox May 4 – Greenfield, MA – Hawks & Reed Performing Arts Center May 10 – Washington, DC – Pearl Street Warehouse w/ Andrew Fox May 11 – Harrisburg, PA – The Abbey (Free) June 13 – Bethel, NY – Mountain Jam June 26 – Brooklyn, NY – Industry City July 13 – Marshfield, MA – Levitate Music & Arts Festival August 7 – Big Indian, NY – Full Moon Resort
This past Saturday, Dopapod returned from their hiatus at the Capitol Theatre in Port Chester, NY. Fans flocked from all over the country for the show, which should say something about how anticipated this day has been over the last year. The weather was perfect, spirits inside the Cap were high, and fans were ready to rage. Dopapod was nearly back.
The show started just as any Dopapod show starts: lighting designer, Luke Stratton, playing mysterious-sounding keys from the front of house to set the mood. As the lights came up and the band walked out onstage, the entire crowd erupted in applause. Keyboardist, Eli Winderman, sat down and got right into it, starting into the opening riff of the quintessential “Vol 3 #86,” which had the entire crowd freaking-out from the first note. Right off the bat, the band was very visibly happy to be back onstage playing this music together and they were absolutely locked in with each other. (Stream Matt Moricle’s recording below or download here)
After playing through the main composition of “Vol. 3 #86,” Winderman took the helm with his Moog and the band was off into uncharted territory. The jam in “Vol 3” was very patient and allowed for Winderman and guitarist, Rob Compa, to explore different melodic ideas before locking in on a driving, synth groove that led the group into a mini peak, before dropping back into the “Vol 3” ending, hard. Bassist, Chuck Jones, immediately started into the heavy intro riff of “Nuggy Jawson,” an instrumental that’s very riff-centric and progressive. Following “Nuggy Jawson” came “Mucho,” the mysterious funky jam that provides an optimistic outlook on life. The crowd was getting down and singing along to every word, including the chorus, which is completely in Spanish. Winderman led the group on his Moog. The jam was fairly short and the band sang the last round of lyrics before having some fun with the clapping part, as the song ended.
Compa finally broke the silence and addressed the crowd with a “Welcome back!,” before starting the opening notes of “French Bowling,” a jazzy tune that features a lot of intense melodic lines. “Bowling” would fit perfectly in a spy movie, the vibe is almost Pink Panther-esque in the way it slinks around and leaves the listener wondering where it’s going next. At this point in the show, the entire theater was grooving and cheering at nearly every section change.
The jam in “Bowling” was dark and mystifying, led by Compa with a remarkable solo weaving through each chord change expertly. The group crushed the dubby outro of the song and used the energy to transition into the heavy rocker, “Braindead.” It didn’t feature a jam, but “Braindead” allowed room to breathe, making for an experimental, but tight version of the song. The slower “My Elephant vs. Your Elephant,” was a testament to Winderman’s ability to draw the sweetest melodies out of his synth. The composed section was tight and led the band into a groovy, bouncy jam led by Winderman on his Moog and organ. The jam never reached a peak.
To close out the set, the band dusted off fan-favorite “Trapper Keeper,” with Jones introducing the song as such. “Trapper Keeper” was one of the highlights, featuring the most exploratory jam that tapped into the use of space and ambience to create a wonderfully mystical atmosphere. Towards the end of the jam, Compa took an absolutely beautiful slide solo that seemed to be him pouring out emotions built up over the hiatus. After a powerful ending, the band left the stage and the fans were speechless. In-house set-break entertainment was provided as Stratton projected the movie Shrek the Third onto the walls of the theater.
To kick off the second set, the group broke into their recently released “Numbers Need Humans,” a funkier tune that’s never been played live before. The song translated to the live setting easily and the band was obviously enjoying it. Following “Numbers” came “FABA,” which is arguably the group’s greatest song. The crowd was ecstatic from the opening melody. “FABA” was another one of the night’s highlights; it was absolutely perfect front to back and by the looks on the members’ faces, they thought so as well. The jam explored a bit different territory, with the band locking in on a funk groove before getting into this rising, atmospheric groove that built up perfectly into the crescendo of the jam.
Winderman wasted no time post-“FABA” and started right into “Onionhead,” which was an excellent follow up to the 17 minutes of goodness that preceded it. The intro was extended and stripped down, before the band dropped heavily into the recorded intro and started into the song’s driving, bass groove. Winderman led the jam on piano, working around the grooves that Jones and Evans were laying down. Before starting the next song, Jones addressed the crowd saying: “Luke gets paid way more to light this song,” as the band broke into “Bullet With Butterfly Wings,” by the Smashing Pumpkins, who Stratton has been working for during the hiatus. Apparently the group tricked him by putting a Dopapod song in this spot on the setlist, so Stratton had to light the song on the fly.
Winderman started the opening of “Superbowl,” laying down heavy synth bass notes that literally shook the venue. The jam in “Superbowl” was sweet and succinct, not going far outside the realms of the song. The upbeat “Roid Rage” came next, a fusion-esque tune that quickly got into a jam, which featured an incredibly impressive metal section before Compa took the helm and soloed masterfully through the quick changes. Up next was “Plaese Haalp,” off of the group’s 2017 release Megagem, played uptempo which gave it a funkier feel. “Haalp” didn’t feature a jam section, but featured yet another impressive guitar solo from Compa. Evans started into the groove of “Cloud World.” The song’s jazzy sound served as a nice follow up to “Haalp”’s harder rock sound. The jam section in “Cloud World” was very spacey and had elements of reggae, before the band started rising the groove back into the ending of the song.
Winderman thanked the crowd and introduced his and Compa’s parents, telling the crowd that they decided to play a song they were going to save for the VIP set: “Never Odd or Even,” the secret track off of the 2014 album of the same name. This was the live debut of the song, and it was a very emotional moment for a lot of lifelong fans. There were some heavy emotions flowing out of this performance, and it was the most beautiful part of the show. To close out the second set, the group kicked off “Bubble Brain,” another fan favorite and one of the band’s best compositions. The jam section of “Bubble Brain” carried some of the emotion from the previous song “NOOE,” as Winderman led the charge with an emotional organ solo that was a shining example of why he’s one of the best organ users on the scene right now.
The band took a very quick encore break before returning to the stage, and Jones started introducing the members of the band, asking if “you wanna hear ‘Trapper Keeper’ again? Absolutely not! Shame on you!” Winderman opened with the synth notes of “Freight Train Filled With Dynamite,” a powerhouse of a song that sounds like a freight train barreling down the tracks. Freight Train’s jam section had an overall jamtronica sound, with collaborative electronic grooves. The band masterfully transitioned back into the head of the tune.
This show was incredible. Dopapod was locked in with one another, the jams were fresh and explored really interesting territory and the setlist was phenomenal front to back. Luke Stratton also put on one of the most astounding light shows the crowd had ever seen, seemingly never repeating a single move. It’s hard to put into words the emotions the band conveyed musically, but one thing is very clear: all four of them really enjoyed performing that show and are happy to be back.
Dopapod, April 27, 2019 – The Capitol Theatre, Port Chester, NY
Set 1: Vol. 3 #86 > Nuggy Jawson, Mucho, French Bowling (1) > Braindead, My Elephant vs. Your Elephant, Trapper Keeper
Set 2: Numbers Need Humans, FABA, Onionhead, Bullet With Butterfly Wings (2,3), Super Bowl, Roid Rage, Plaese Haalp, Cloud World, Never Odd Or Even (2) > Bubble Brain
