NYS Music 20​19

Category: Jam/Progressive

  • Umphrey’s McGee Heats Up Albany Fans Amidst Polar Vortex

    In the midst of a polar vortex, fans of Umphrey’s McGee fought through the frigid cold to see the band take to the historic Palace Theatre stage in Albany. This is the group’s fourth performance at the Palace over the past five years, seemingly solidifying it as a staple tour stop in the northeast. Opening up the night, they had Robert Walter’s 20th Congress, featuring John Kimock and Scott Metzger.

    umphreys mcgee albany
    photo by Dave Decrescente

    The first set kicked off with the heavy rocker “Domino Theory,” off 2011’s Death by Stereo, setting the mood for the night with its driving metal sound. Following a type 1 jam, the group played “Got Your Milk (Right Here),” another rocking tune that hadn’t been played since the group’s Red Rocks run. Robert Walter joined the group for “Whistle Kids” from Umphrey’s recent 2018 release it’s not us. Walter took over keyboardist Joel Cummins’ Fender Rhodes for the song and led the group through the ensuing jam with Cummins by his side on the Hammond organ, raising the somewhat downtempo feel of the song into a short, but sweet prog jam. “The Linear” followed, continuing that progginess and going into the first real jam of the set, heavily featuring guitarists Brendan Bayliss and Jake Cinninger working with each other to create atmosphere and bring the song into “White Man’s Moccasins,” a jazzy tune that let Cinninger show off his chops a bit.

    umphreys mcgee albany
    photo by Dave Decrescente

    “Resolution” came next, raising the tempo immensely with its uplifting sound, and leading the group into a full band tease of The Beatles’ classic “Norwegian Wood.” The jam in “Resolution” was very spacey and electronic, creating a similar feel to what they did with “The Linear” earlier in the set but adding in the electronic drum kit from drummer Kris Meyers. Myers and percussionist Andy Farag took a mini drum jam before the group brought “Resolution” into “Upward,” a bluesy ballad by Bayliss that took the energy from “Resolution” and transformed it into the peak of the segment. To close out the set, Bayliss welcomed moe. drummer Vinnie Amico to the stage for a cover of ZZ Top’s “Cheap Sunglasses,” a classic by the Texas hard rock trio.

    Umphrey's McGee Albany
    photo by Dave Decrescente

    The second set was the highlight of the night, starting off with the prog metal masterpiece “Miss Tinkle’s Overture,” which really shows how all 6 members are a well oiled machine when they need to get down and technical. “Miss Tinkle’s” led the group into a dub reggae-esque jam once they had played through the composed sections before Cinninger brought the jam back into a metal sound for the “peak” of the jam. “Walletsworth” followed, continuing the heavy sound from “Miss Tinkle’s,” but not featuring any real jam besides Cummins taking a piano solo before the last chorus. “Waiting Room” kept the heaviness going, with its driving bassline and anthemic lyrics really getting the crowd raging for its brief performance.

    Umphrey's McGee Albany
    photo by Dave Decrescente

    To kick off the best segment of the set, the band started into the familiar opening chords of “1348,” which is always a welcome sound at an Umphrey’s show. The jam in “1348” was really interesting, the group mixed a dance sound with funky guitar riffing and really kept the groove driving until they suddenly broke into “Eat,” which was just heavy guitar riffage front to back. “Maybe Someday” came next, riding the wave of heaviness from “1348” > “Eat” and launching into a heavy metal jam that wove in and out of the composed sections of the song. Ending out the set was “The Floor” back into “1348,” completing the song from earlier in the set. “The Floor” is an incredible song to see live, it’s very dramatic and Middle Eastern-sounding at points, but also brings forth some of the group’s heaviest breakdowns.

    This version of the song didn’t feature any jamming, but was a super tight version of the song and provided the perfect launchpad for dropping back into “1348.” The second half of “1348” was a culmination of all the energy they’d been building up throughout the second set, exploding into one last super heavy runaround of the main riff before ending the set. For the encore, the group sandwiched “Soul Food I” between two halves of “Puppet String.” The group seamlessly dropped out of the composed section of “Puppet String” into “Soul Food I,” performed the song, and then bassist Ryan Stasik dropped back into the “Puppet String” bassline and the rest of the band followed suit.

    Umphrey’s McGee performed a heater of a show on Friday night in Albany, check out the photo gallery below for a taste of what the night looked like. Check back with NYS Music for coverage of the Dookie aftershow.

  • Hangin with Cory Wong for His First Taste of Rochester

    Cory Wong isn’t strictly vegan in case you were wondering. He’s the type that typically won’t pass up the best of anything. Best BBQ in the city? He’ll gnaw through it. But for this night of the tour, a veggie reset was needed, so we plopped ourselves into a corner table at Red Fern to catch up before his first Rochester gig at Flour City.

    Ally Dean: How did Emily Browning become your opener for this tour?

    Cory Wong: Emily C. Browning and I (not to be confused with Emily Browning the actress) met at a house concert in LA. She was playing at my friend’s house and I knew the taco truck that was gonna be there. Taco trucks in LA are really good. House concert at my friend’s house plus sick taco truck means I’m there. There were a bunch of musicians there and at the end of the night the guy coordinating wanted to have a jam session and asked me to lead it and she was there too.

    AD: That’s sweet. I’ve been to a few low key house concerts in Upstate, NY where the crowd seemed to be mostly older folks, not necessarily musicians. Is there anything different about the house concert culture out in LA?

    CW: This show was unique in that it was a well curated show put together by the PickUp community and it was invite only, but I’ve also been to shows in garages so it just depends. I’ve done a few house concerts that my friend hosted in Minneapolis.

    Intimate shows like that definitely make me more nervous than playing to thousands of people at Red Rocks. The energy at a big show is unlike anything else, but in a small room like that you can see every person’s visceral reaction. And it can get weird. One person can throw off the energy and sometimes you have to just turn pro mode on. But it can also be way more fun when you can connect to the crowd at a much deeper level and sort of hang out.

    (Food arrives, interviewing paused to nibble)

    AD: Frank DeBlase interviewed you a few weeks ago for City Newspaper and when he asked “What’s something you always do?” you replied, “I always laugh and smile.” Being the cynical person I am, it made me want to know, what makes you mad?

    CW: Plenty of things. When something is supposed to work one way and does all the time and out of nowhere seemingly just doesn’t, like computer problems. Why does this program not open? I woke up and now it’s not working. What happened over night?

    And in musical settings, recording in studios requires fighter pilot focus in some cases and so much precision but it’s also a very creative process at the same time so it’s a lot to balance. In studio situations if I lose focus I get really frustrated if I mess up a take for everyone by doing something off script. Or we’ve got it really close, last take was amazing but we could make it tighter. So we go to do the exact  same thing again, just better. Except this time maybe the drummer adds a gigantic drum fill that feels really inappropriate and in the wrong spot. So in a group setting someone hijacking the moment through lack of focus, lack of respect for the craft or the goal really frustrates me.

    AD: In recording situations have you had particularly awkward experiences where it seems like one musician isn’t quite getting it? How do you navigate that?

    CW: If that’s happening it takes more patience from everyone else in the room. In a lot of cases that person is also frustrated with themselves. Some people take negative reinforcement better than they do positive reinforcement, so understanding who you’re working with and how to communicate with everyone is important to get through the situation. Sometimes in the end you just have to wave a white flag and be done and know you’re gonna have to come back to do that part with someone else later, but not let the guy feel so bad about it. But then you feel bad when the album comes out and they see someone else’ name on it.

    AD: Is there usually no telling them, they just learn on their own in that situation?

    CW: It depends. I’ve had that happen to me before where someone hired me to play guitar on their record and some of it was good but they had a different vision in mind that I wasn’t necessarily seeing. I’m way better at reading what a producer wants from me now, and also a better musician now than I was ten years ago. But I have had that happen before where someone replaced my parts and I found out by reading the liner notes. The first couple times you get replaced it hurts. And the first couple times you have to do it to someone it hurts. You don’t want them to think it was anything personal. Everyone still gets paid even if their stuff doesn’t get used.

    AD: What new music are you into right now?

    CW: My favorite song of 2018 is “Things” by Louis Cole. He’s in KNOWER. It’s eclectic, fast, hard hitting, electro meets analog. He’s one of the sickest drummers. His solo record has some of that but it also reminds me of the Beach Boys with his singing. I listen to “Things” almost every day.

    AD: Seems like it’s getting harder and harder to attain that high from music that you want to play on repeat.

    CW: Totally. I can’t remember the last time I had that where it’s like “This is my song!” As far as other new stuff, I’m always seeking out what other guitar players are doing. Also recently been into Kimbra and Emily King.

    AD: What have setlists been like on tour? Do you play through the entire album or mix it up?

    CW: Definitely been mixing it up. We normally do some songs from each of my releases There are probably four songs we play most nights but we have a lot of material to draw from. Sometimes a live song will really connect with people even though it’s not one of my biggest Spotify songs so we’ll play it live more often. We’re rearranging and adapting. With Vulfpeck Jack likes to build a show which the jam fans aren’t wild about because they want to hear a different setlist every night.

    AD: Speaking of connecting with people, I saw one of my favorite Rochester bands a few months ago and I was bummed that they barely interacted with the crowd at all.

    CW: People have different comfort levels on stage. I sometimes do a stream of consciousness bit on stage and have fallen flat on my face or surprised myself like “oh that was funny, how did that happen?” But I’m comfortable with that. I’m 90% flaming extrovert. Of course there are still those times where I need to be alone to recharge, but then I’m back. I like people.

    Show Review: Despite our two-hour hangout sesh, we didn’t talk much about what happens at Cory’s shows. I expected an awesome musical display, but what happened on stage that night involved more production than just a band playing through a set.

    Once Cory emerged with his crew, he got right to business, laying out a few ground rules. He denounced how fans can tarnish the evening when “that tough guy stuff starts coming out.” He asserted, “I want that to go out the window. Whether their skin is lighter, darker, looser or tighter, they are no better than you and you are no better than them.” Immediately leveling fans helped connect everyone right from the start.

    Once the show was in full swing, Cory Wong’s stage quirks were as entertaining as his nasty guitar work. His facial expressions made it seem as though he was telepathically carrying out a hilarious conversation with his bandmates as he bounced around stage, toothily grinning.

    His brand of humor also translated to the visuals projected on screen. Before “Pleasin,” Cory announced, “We have a special surprise. We went halfsies with Flour City Station on super fast internet since it’s super expensive, but we have a direct line with someone in an isolation booth.” Before the video began, a man in the crowd sheepishly yet hopefully called out “Antwaun…?” He was not the only one pining for a glimpse of the singing legend himself. Moments later the singer appeared on screen while the band played along live. Though not in the flesh, Antwaun’s universally adored spirit permeated the room as fans joyously soaked in his pre-recorded cameo.

    Later in the set, the commercial for Cory Wong’s “jam starter pack” was a comedic curveball for which the band came to a dead stop to broadcast mid-set. The fanny pack advertised was emblazoned with his logo, and among other things contained a packet of Smucker’s jam and a fluorite crystal. If anyone knows how to market to the jam community, it’s this guy. But you have to go to a show to get one since they’re not available online.

    Aside from the merch commercials (yep there were multiple), their show sprinkled in an amusing array of lo-fi visuals- we’re talkin America Online logos and Tony Hawk Pro Skater demos. They provided an ironic contrast to the technical grooves laid down and created a multimedia experience that left the audience amused and amazed.

    cory wong and the wongnotes

  • Photo Gallery: Mungion Matters to Buffalo

    Chicago groove rockers Mungion stopped at Buffalo Iron Works on January 27, their first stop in Buffalo since the release of their latest album Ferris Wheel’s Day Off. They’ll be hitting the road with Pigeons Playing Ping Pong in February and March so be sure to check them out.

  • Photo Gallery: Pigeons Playing Ping Pong and Mihali

    The Flock was not disappointed at a sold-out Capitol Theatre show with Mihali Savoulidis of Twiddle, Saturday, January 26. The room was packed and a sense of excitement could be tasted in the air. It was funky. Mihali’s set featured new material, as well as Twiddle classics like “Every Soul” and a sit-in on “River Drift,” from Pigeons Playing Ping Pong basist, Ben Carrey, playing a set of whistles! Mihali’s set was unlike the Pigeons, with deep storytelling-like lyrics. This made a more intimate experience where lots of the audience had their eyes closed, deeply feeling the music.

    Pigeons Playing Ping Pong opened with “Time To Ride” and the first set highlights included the beloved “Poseidon > Eyes Of The World > Poseidon,” mashup. Pigeons paid tribute to The Capitol when Ormont changed their lyrics to Wake up to find out that you are the size of a squirrel. The crowd went wild. The second set featured “Yo Soy Fiesta,” one of Pigeon’s newer tunes, “Kiwi” and “Upfunk,” where Jeremy Schon was really shredding, going that extra mile. We have not seen this level of excitement and Schon just kept getting better.

    The encore included a rendition of  Disney’s “Colors of the Wind” during “Schwanthem” and “Doc” with the West End Blend horns sitting in. The Pigeons are building their flock and flying higher than ever.

  • Warm up at the Waterhole during Saranac Lake Winter Carnival

    The Saranac Lake Winter Carnival is a legendary two-week party in the middle of winter, in the most northern part of New York State. This year’s edition, the 122nd, takes place from Feb. 1 – 10. The sometimes blustery elements of this idyllic mountain town take a backseat to celebrate the warmth of music, friends,food and fireworks. The Waterhole Music Lounge is Northern New York’s central hub for the best in live music. The venue historically has played host to a dynamic range of bands, across several genres over ten days. This year’s line up carries that tradition onward.

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    Over the past decade or so some of the best in hip hop, rock, and jam have played huge sets to rowdy crowds coming in off the streets after a day of parades. Some notable names include: The Ominous Seapods, Rubblebucket, Donna the Buffalo, Sophistafunk, Twiddle, Hot Day at the Zoo and so many more. This year’s lineup offers the return of Plattsburgh powerhouse and long standing Winter Carnival performers Lucid. Buffalo’s own and NYS Music 87/90 artist, Folkfaces open up the night on Feb. 2.

    The Waterhole in Saranac Lake has been a big part of what makes the music scene in Upstate New York amazing, a slice of rock and roll history nestled up the mountains. The venue is a three floor experience that has seen some big time names play the stage. Del McCoury, Colonel Bruce Hampton, Gov’t Mule, Bela Fleck, moe., Leftover Salmon, Soulive, and Turkauz have all performed memorable sets here. In continuing with the tradition of bringing quality acts, this year’s line up promises to offer up those “wish I were there” sets from the artists both established and on the rise.

    Other bands making the trip to grace the stage are West End Blend, Barika, Lady Moon and the Eclipse, The Gibson Brothers, The Melting Nomads, The Swampkids, Annie in the Water, Driftwood and Swampcandy. Look forward to special performances in the Downstairs bar of The Waterhole from Kevin Sabourin, Nina’s Brew and Dirty Blanket. There will be plenty of opportunities for entertainment after a day of snowshoe ultimate, skating or skiing. Grab a convenient week long pass for $65 for a discounted way to catch all the music. For more information about live music at The Waterhole check out their website.

    Check out the full schedule below:

    Feb. 1 – Driftwood w/s/g Swampcandy- 8:00 p.m. doors, 9:00 p.m. show; $10.00 advance / $12.00 door 

    Feb. 2 – Lucid wsg. Folkfaces – 8:00 p.m. doors, 9:00 p.m. show; $17.00 advance / $20.00 door  

    Feb. 3 – Kevin Sabourin (Of Lucid) – 2:00 p.m. Downstairs – free show

    Feb. 5 – Nina’s Brew – 9:00 p.m. Downstairs – free show

    Feb. 6 – Annie in the Water – 8 p.m. doors, 9:00 p.m. show – $10.00 

    Feb. 7 – The Gibson Brothers w/s/g Old Sky – 7:30 p.m. doors, 8:30 p.m. show; $18.00 advance / $22.00 door

    February 8th – Lady Moon & The Eclipse, Melting Nomads & Swamp Kids (Feat Members of Big Mean Sound Machine & Chris English) – 8:00 p.m. doors, 9:00 p.m. show; $10.00

    Feb. 9 – Post-Parade Party with The Big Takeover – 2:00 p.m. – Free Show

    Feb.9 – West End Blend w/s/g Barika – 8:00 p.m. doors, 9:00 p.m. show – $10.00 

    Feb. 10 – Dirty Blanket – 2:00 p.m. Downstairs – Free Show

    waterhole

    written by Derick Borst

  • Photo Gallery: Lettuce at Upstate Concert Hall

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

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

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

    Encore: Slap

  • Hearing Aide: Uncle Stump ‘Panacea’

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

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

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

    Key Tracks: “Room”, “Anita”

  • Hearing Aide: Tortoise Forest

    Every now and again, a local NYS band will come from seemingly nowhere to drop an album with next level performances. Come January 12, one such band will release a 5-track album that has potential to impress rock fans not just in NYS, but around the country. Tortoise Forest is a Buffalo-based quartet whose sound resides somewhere in the realm of Porcupine Tree, Dream Theater, and Umphrey’s McGee. A mixture of prog with aspects of jam, dub, and jazz give the group an eclectic sound that departs just enough from its classical music roots to create something exciting and new sounding. Their self-titled release, Tortoise Forest, offers a great re-imagination of the live versions of some of the tracks that the band has been playing for a while. This gives each piece a well crafted structure and a huge range of dynamics and aesthetic. The band’s current lineup is comprised of Dan Gagliardi (drums), Tom Varco (bass), Mike Cassidy (guitar) and Max Davis (guitar). This first release from Tortoise Tree actually features their past drummer, Laith Al-Khalidi, but the chemistry of this group on the album does not waver despite any pending lineup changes that would occur post-production. As far as albums in 2019 go, this is an incredible start and showcases one of the hidden up and coming gems of NYS.

    Tortoise Forest has this very slick way of working in electronic aspects into their music with their use of effects, but even more so, they are able to maintain an untreated sound that borders on a live performance experience. The first song on the album, “140×148,” starts off as a statement for the album in its entirety, offering a smattering of much of what comes later on. This isn’t to say that this reveals too much, but rather that the band does a good job of achieving their sound. A little bit of amp buzz in the background during the opening riff pulls the listener in, and reveals just how real the technical proficiency of the band is. There is no heavy or imposing production here, nor anywhere else on the album. The performances are what take the spotlight. A heavy set of drums give pulse to the groove and cuts up the intro guitar section to create intrigue and some build. A layering of shimmering guitars creates a lush ambiance for a lead guitar to come in screaming over top of the established rhythm. A build about two minutes in takes the song in a more visceral direction, which eventually changes course to a funkier groove with the progressive edge that characterizes the band. Guitar duets develop a smattering of motifs and melodies, giving character and life to each theme that Tortoise Forest explores. A climactic tapping duet between the guitars helps bring the song to a softer ending. From the first song alone, it is clear that the group has set forth on an ambitious project with how clean and well performed the intro song is.

    The other four tracks do not disappoint in any aspect. Every song features a variety of ideas and timbres that keep the songs from getting redundant. The composition of “Mooncones” is a great example of this. The bass in the beginning of the track is subtle, grooving quietly underneath the soundscape set up by the guitar harmonies. As the song builds, the bass becomes more apparent and begins to shape another aspect of the song that wasn’t there initially. They write these builds in that are more angular as opposed to linear, with different instruments coming in and out of focus without ever completely dissipating. Every piece matters in the context of the entire song.

    The guitar duo also do an incredible job of using their effects pedals tastefully. The band is aware of this and leverages it appropriately. The inflections and nuances added to the riffs separate the phrasing of their lines from being clean, sweep-picked arpeggios to pieces of a conversation where every inquiry has an equally impressive and important reply. The timbre of the guitar parts speak just as loud as the content of the notes. Perhaps a bit more bite will be added to a guitar line that sits on a grimier bass; sometimes the use of a whammy pedal will be the driving force of a guitar line. Overall, their usage of pedals on top of the already very proficient performances separates these guitar players from the likes of players such as Plini.

    Much of the album is very serious, even without lyrics. The mood is often heavy and the theory behind some of the modulations can be hard to grasp on first listen. This really only gives the listener a reason to listen again. But don’t be fooled by the heavier tone of the album, the band can have fun and they do a good job of keeping the songs accessible. There are little additions here and there that inject much character to these instrumental tracks. A couple of lines from a well known Aesop’s Fable make an appearance, as well as a tease of “Streets of Cairo.” The band performs without so much as a hiccup. Each song is a combination of a hurricane and a sunset. Tortoise Forest is bound to turn heads in 2019. The album drops on January 12 on all major streaming platforms. Tortoise Forest will be playing their album release show at Mohawk Place in Buffalo the same day and will have hard copy CDs available for purchase.

    Key Tracks: Clouds, Mooncones, Mashkeys

  • Old Friends and New Songs at The 8th Annual Wintercourse

    We’re all lucky it’s been a pretty mild winter so far this season. Even so, Cousin Earth invited some friends to the Knitting Factory on January 5 for their annual Wintercourse celebration and they brought the heat.

    Brooklyn-based outfit Bushicks started the night off strong with their original spread of rock and roll, staying true to the classic genre. Chunky guitar riffs, no-nonsense lyrics, and a hard-hitting rhythm section of John Adamski on drums and Jessica Bogwicz on bass really drive this three-piece. Front-man Jonny Patrizio shredded his way through the ten-song set featuring mostly originals, a song debut, and some special guests. Saxophone player Dan Visintainer lent his horn skills all throughout mid-set on “BioFunk,” “No Goal,” and an ode to the Bushicks music influence in “Rock Rollin’.”

    Former Bushicks vocalist David Schnurman aka “David The Goliath” then took the spotlight behind the mic in his first hometown performance back with them for “No Buts About It.” In a triple threat to close out the set, the trio blasted through their very first single “Truffle Shuffle” before debuting a flawless take on the Rush classic “YYZ.” Finally, Joey Calfa of Cousin Earth appeared on stage while SUNY Oneonta professor Mark Pawkett was brought up for a blazing rendition of Frank Zappa’s “Black Napkin.” As the leader of the SUCO (State University College at Oneonta) Frank Zappa ensemble, Pawkett served as a mentor to Patrizio, Calfa and Nate Searing of Cousin Earth, all of whom were enrolled in the Zappa cover band Mothers of Intention. It was an emotional throwback, solidifying Pawkett’s success as a teacher.

    wintercourse

    Set break music was provided live in the form of a Teddy Midnight DJ set provided by Teddy Midnight bassist Sean Silva, also a student of Mr. Pawkett. In previous years of Wintercourse there has been a comedian MC’ing between bands, but this year, Corey Feldman took the reigns and introduced each band by displaying hilarious photos of their members in front of the stage. 

    wintercourse

    Next up was the incredibly high-energy Funky Dawgz Brass Band of Connecticut. As the rhythm section of tuba and drums laid down the first groove of the set in “I Like It,” the rest of the six-piece horns came out dancing which quickly spread throughout the willing audience. From the bands anthem “Dem Dawgz” to the party track “Beyond the Void,” the Funky Dawgz showcased their infectious mix of NOLA funk, R&B, and twists on classic pop hits. As the crowd inched closer to the stage, an all-out dance party broke out for Michael Jackson’s “Don’t Stop Til You Get Enough” before trumpet player Aaron Eaddy took a turn with vocals on the hip-hop track “Live Ya Life.”

    Each member of the band was given time to shine as they traded solos throughout the hour long set, mixed vocal melodies with horn parts, and hyped up the crowd. Taking advantage of the welcoming listeners, saxophonist Tommy Weeks hopped off stage and weaved his way through the crowd during a peaking solo. The Funky Dawgz didn’t let up once, keeping the crowd moving and energy way up as they closed the set with “Love Don’t Cost A Thing.”

    wintercourse

    After a short break, the night’s hosts “Cousin Earth” quickly set up and opened their Wintercourse set with the Queen staple “Bohemian Rhapsody,” highlighting newest member Melissa Goscinski’s beautiful falsetto, much to the delight of everyone in the room. With their unique ukulele arrangements and stage antics, Cousin Earth provided a set full of surprises. “When The Dinosaurs Come Back From Outer Space” saw the appearance of a dancing dinosaur in the crowd before they launched everyone back into the stratosphere with the dance track “Super Fun Laser Beams.” The funky “Alive,” from the recently released album Human Music, paved the way for former vocalist Tara Lawton to come out and rejoin the group on Aretha Franklin’s “Rock Steady.”

    The whole Cousin Earth family was in high spirits, joyously singing and dancing together before breaking out into an rocking “Outrage” by Soulive which saw Calfa trade his ukulele for an electric guitar. Continuing in their space-themed tradition, a new song was offered in “Please Don’t Kill Us,” a humorous plead to extraterrestrials to spare planet Earth. “Soft Shell Crab Nebula” took things up one last notch before The Beatles’ “Helter Skelter” ended the nearly 80-minute set and brought us all home. 

    wintercourse

    Shortly after midnight, and with the crowd still eager for more, Bella’s Bartok gladly provided. Bassist Dan Niederhouser noted the Massachusetts band’s love of playing in New York City and it was obvious the feeling was mutual with the Brooklyn crowd. Kicking off with “The Strigoi Waltz,” the six-piece band of gypsy-rockers captivated the audience with their speakeasy attire and lively stage presence. It was a fitting set for the late night crowd as fans sang along and swung to “Frankenstein’s Monster” and “The Fiddler and The Devil” as if they were suddenly transported to a dance saloon, if there ever were such a thing.

    Toward the middle of the set in “Satan’s Song” the band had already weaved their way through a genre bending selection of original material, commanding the music like a witchdoctor. Singer Asher Putnam hypnotized the venue during the circusy “Masquerade” and joyously lead the Beetlejuice-infused dance party on stage through “Creepster,” “Bones,” and “Zora.” With such unique theatrics and an array of influence, it’s difficult to describe Bella’s Bartok other than completely original. They have managed to take Eastern European folk sensibilities and mix them with Americana, pop, and punk traits, all while keeping the vibe fun and joyful. 

    The crowd was left fulfilled and spent as the 8th year of Wintercourse proved Cousin Earth knows how to throw a post-New Year’s party. Going on almost a decade for this event, one thing is certain: everyone loves having Wintercourse. 

    Words by Tom Dillon. Photos by Amanda Siedner

    • wintercourse

  • Photo Gallery: Ghost Light at Sony Hall

    On December 30 at the brand new Sony Hall in Times Square, Ghost Light continued their New Years run with a sold out show, capping off an amazing 2018 for this brand new super group.

    Consisting of Tom Hamilton, Holly Bowling, Raina Mullen, Steve Lyons, and Scotty Zwang, these amazing musicians have a clear ambition to take their original songs as far as possible in the realm of improvisation, with each musician bringing their own style to the table. With a brand new album out and a full year of shows and festivals under their belt, Ghost Light is in for a bigger 2019.

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