NYS Music 20​19

Category: Genres

  • JJ Grey & Mofro bring Florida Roots to the Rocky Mountains and head to the Northeast

    Frequently I am asked what genre of music JJ Grey & Mofro falls under. I always find myself fumbling for words but end up with something like “bluesy, jazzy, Florida Swamp funk.” I am usually met with a perplexed look, and I always add, “You have to go. You have to see for yourself and then you’ll understand.”

    JJ Grey & Mofro

    I have watched this band grow, develop, and change over the course of almost 20 years. As a Jacksonville native myself, it was never difficult to find what was then Mofro floating around town from one venue or another. They were a bit gritty and unrefined in the early days but still put on a fun show. I moved to Colorado in 2004 and would see them any time they came near or when I returned to Florida. Their shows remind me of my roots and what I refer to as “the real South” — the South that most people do not know or understand. Their music would make me homesick and long for the days of Old Florida.

    Now that I am back in Florida, I still find myself traveling for their shows and encouraging any true music lover to do the same. Although Florida has changed, the group still reminds me of the Florida I grew up with – the food, the swamps, real people, and the deep soul. The current configuration of JJ Grey & Mofro is my personal favorite. Each musician is topnotch alone but when combined, the depth of their music knows no bounds. The fluid combination of these seven men is nothing short of incredible.

    JJ Grey & Mofro
    JJ Grey & Mofro getting “Janky” at the Upstate Concert Hall 10/19/17. Photo by Eli Stein

    I was fortunate enough to catch the final two shows of a rather long tour that ended in Boulder (Boulder Theater) and Fort Collins (Washington), respectively. Knowing JJ was sick as he entered these shows and had been forced to cancel the Frisco show the previous night, I wasn’t exactly sure what to expect. Musically, Colorado is a finicky area that has high expectations when bands roll into town, but I was cautiously optimistic as I watched them take the stage. They opened with “99 Shades” to “Sweetest Thing” and into “Somebody Else.” I scanned the crowd and saw a few mouths dropped as JJ belted out notes as only he can do. As the show progressed, the crowd was enamored with what they were watching as they sang and danced along. Always a personal highlight for me is the drum solo (Craig Barnette) for “Ho Cake”; it does not matter how many times I hear that song, it is always a little different and always fantastic. (If you don’t know what a Ho Cake is, check it out and make it! You can thank me later.) The show wound down with a little help from a few of The Commonheart members. Nate Insko (trumpet), Abby Gross (saxophone), and Lucas Bowman (keyboard) joined for an “Ol’ Glory” encore that did not disappoint.

    Prior to the Fort Collins show, I was speaking with guitarist Mike Minda from The Commonheart, and he said to me, “We love touring with them. We learn so much musically, personally. We admire them.” There was a bit of a student-master appreciation that I could hear while listening to him speak. As the show began, the Mofro band came out swinging to “Junior” with Dennis Marion (trumpet), Todd Smallie (bass), Marcus Parsley (trumpet), Craig Barnette (drums), Eric Brigmond (keyboard), Pete Winders (guitar), and JJ (vocals and whatever other instrument he can get his hands on). I could see the steam from the tea to help JJ’s throat, but if you couldn’t see that or didn’t know he wasn’t feeling well, you certainly would not have picked it up in his voice or enthusiasm. Fort Collins fans were treated to a smoking “Gal Young’en,” “Orange Blossoms,” and “Lazy Fo Acre” to name a few. As “Ol Glory” began for the second encore, Eric brought an unwavering depth to a song filled with soul that resonates with any music lover. One by one, the members of The Commonheart joined JJ & Mofro on stage for a third and final encore with “On Fire.” Seventeen musicians joining forces and not skipping a beat is no small feat. I know of very few artists who would even attempt to tackle such a challenge.

    Although I may always struggle to pinpoint a genre to appropriately describe what I would consider a music lover’s dream band, I can tell you: “If you haven’t been, go.” This is some of the best music out there right now. As they say, “Buy the ticket, take the ride.” You won’t be disappointed. As I overheard leaving Fort Collins, “It’s like being taken to church … you walk out better than you came in.”

    The Northeast is in for a special treat when they roll thru Port Chester, New York on March 1st with Big Head Todd and the Monsters.

    For your own taste of this Florida Funk visit their website and check out all upcoming dates around the Northeast.

    February 8, Boulder, CO

    Setlist: 99 Shades, Sweetest Thing, Somebody Else, Every Minute, Jookhouse, Fire Flies, Junior, Gal Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Slow Hot Sweaty, Ho Cake, Shining Down

    Encore: Brighter Days, Ol’ Glory

    February 9, Fort Collins, CO

    Setlist: Junior, Everything is a song, Sweetest Thing, Circles, Every Minute, Florabama, This River, Gal Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Lazy Fo Acre, Ho Cake, I Believe

    Encore: Shining Down, Ol’ Glory, On Fire

  • Interview: Mike Robinson Talks Debut Album, Railroad Earth Tour and More

    Last week, NYS Music covered staple jamgrass group Railroad Earth during the incredible northeast run of their 2019 winter tour. While all musicians put on a strong showing every night, one performer stood out in particular: Mike Robinson, special guest musician for the run that shined on pedal steel, guitar, and banjo.

    Many music fans may have discovered Robinson during this tour, or maybe already knew him from his days with the progressive grass outfit Jeff Austin Band. Yet, soon enough, the musical world will get to know the singer-songwriter in his own right, when he releases his debut EP, Clevidence, on March 7. Featuring five emotionally and sonically rich songs, Clevidence comes as a great introduction to not only Robinson’s prolific talent across a number of instruments, but also his natural affinity for songwriting and singing.

    mike robinson

    The album’s release on March 7 will be celebrated with a special performance at Owl Music Parlor in Brooklyn NY, with singer songwriter Emma Frank opening up the show. In anticipation of the date, NYS Music talked with Robinson about the making of the record, his musical upbringing and more.

    Miles Hurley: My first question is on your experience with working in the studio. Being that Clevidence is your debut solo EP, was the making of this album a new kind of experience to other recording stuff you may have done in the past?

    Mike Robinson: Recording almost all of this project at home was a big departure from other studio experiences I’ve had. I was able to give everything the time it needed without the pressure of the clock that comes with being in an expensive studio. I find that in fancy studios with high hourly rates I am never I able to fully relax. Doing a majority of the recording in my home studio in Brooklyn made it possible for me to focus on the nuances that might have been otherwise overlooked.

    MH: One thing that stands out on the EP are the lyrics, which are pretty intense throughout. Do you feel like you were able to express the ideas or messages behind the songs in the way that you wanted?

    MR: In the process of writing, I found that using hyper-specific language was a potent way to paint a clear picture of an emotional situation. My goal was to give a listener clear mental images to hold on to. I think the specificity of the lyrics contributes to the ability the songs have to convey an emotional message. This can make things seem especially intense and revealing personally, but not sharing the whole story would feel fake. Songwriting is cathartic for me and can be super helpful for me if I’m struggling in my life. Hopefully it can also be helpful to listeners struggling with their own experiences.

    MH: Listening to “How Do You Know” in particular, I’m interpreting a sense of something like self-doubt, or worry. Would that be a close guess? Could you comment on what this one means to you?

    MR: “How Do You Know” is about a generation that is terrified, broke, and leaning on substances to deal with it. I’m twenty-six and I’m struck by how many conversations I have with people my age evolve to this conclusion. I don’t want to get into the politics of the specific things that could be to blame for a generation wide problem, but I do want to address that it is a real thing that many people are going through. From lack of health insurance, to being buried in student loan debt, to facing an uncertain collective future, there is a general sense of uneasiness in the air. And I see those around me relying on substances to cope. I don’t know if these are new problems. I just know that they are real ones.

    MH: The range of instruments you perform, in general and on this record, is nothing short of impressive. Did you develop an interest towards learning these instruments around the same time in your life, or has your progress as a multi-instrumentalist been more spread out across your career?

    MR: My dad plays a few instruments so I grew up with guitars, fiddles and mandolins around. My older brother played bass and drums in high school and my grandpa is a classically trained pianist and even played the cello for a while. I started guitar at age six and it has always been my main instrument. But being surrounded by different types of instruments, I wanted to learn how to play more of them. My first serious double was banjo which I picked up around 15. I didn’t become interested in the pedal steel until a few years ago, but I really got into it. That thing will make you crazy! I was listening to these lush records from the 60s and 70s and wanted to be able to relate to those sounds on a deeper level.

    MH: Follow-up question to that, asked by a non-musician interviewer: how hard is pedal steel to learn?

    MR: My cousin is studying to become a helicopter pilot and it sounds similar to that with lower stakes. The toughest thing for me was to be able to establish independence in all of my limbs. your left leg is responsible for 3 or 4 pedals and 2 or 3 levers, right leg is on a volume pedal and 2 levers, right hand is picking and stopping strings from ringing and the left needs to make sure the bar is in the right place and in tune. Physically, it’s a very complex instrument to master. While it’s also challenging mentally, it would be even harder if you are a non musician to start. Most of my knowledge came from guitar and I was able to transfer the theory to steel.

    MH: There are some great harmonies on the album. Can you give a little background on who’s there with you?

    MR: I sing all of the lead and some of my own harmonies, most of the female vocals are an amazing singer and composer based in Brooklyn named Emma Frank with the exception of “How Do You Know” which is sung by Abby Hollander.

    MH: Speaking of the pedal steel, it sounded great in the Railroad Earth setting—I caught The Egg show and you sounded fantastic! You’ve been on tour with the band and have performed many shows with them now. Can you speak a little to what that’s been like? Has playing with them met or been different from any expectations?

    MR: I did three shows with them that week: Albany at the Egg, Boston at the Wilbur, and the Capitol Theater in Port Chester. That’s been it so far, but I will play with those guys whenever they want. That band and crew are incredible. The songs are great, the players are great, everyone was very supportive and positive. It was a complete lesson in how the business is done and how to keep the music as the focus. The fans are some of the most genuine music fans I’ve had the pleasure of playing for and I would be very fortunate to do some more work with those guys. One of the highlights of my career so far, without a doubt.

    MH: You moved to New York at an early age, and is where you are based now, if that’s correct? Have you found NYC to be a fruitful creative environment towards your career as a performer or songwriter?

    MR: I’m from Colorado. I moved out here at 18 for college. I was pretty overwhelmed by the city but determined to study with all the inspiring New York musicians I grew up listening to. I had every intention of moving right back home to Colorado when I was done with school but right about when I graduated I had just started seriously gigging in New York. I decided to give being a full time freelance musician a try for a few months. One thing led to another and I found myself living with some of the most inspiring musicians in my generation, touring in several bands and growing as an artist. My life was working too well that I didn’t have a compelling reason to leave. I’m constantly pulled towards a the desire to live somewhere more calm and connected to nature. But 8 years later, New York has yet to let me down in the ways I’ve feared.

  • Pink Talking Fish Burn Down The House with Junta Circus Spectacular

    Pink Talking Fish literally brought the circus to the Capitol Theatre with Greg Ormont from Pigeons Playing Ping Pong stepping in as The Ringmaster. There was talk of circus performers and antics happening during the show, but what occurred can be described as nothing short of a spectacle!

    Scrambled Greg was the perfect fit for the role of ringmaster. He stepped up whole heartedly and was silly, incredibly enthusiastic and hilarious. It appeared that he was having the best time out of anyone in the theatre. Greg sat in on guitar for a couple of songs, doing vocals on “Icculus” and even manning a trampoline during “You Enjoy Myself.”

    Pink Talking Fish burned down the house with an incredible musical performance featuring amazing takes on Pink Floyd, Talking Heads and songs off Phish’s Junta including “Y.E.M,” “Divided Sky,” “David Bowie,” “Fluffhead” “Fame,” “Foam,” “Dinner and a Movie,” “The Great Gig in the Sky,” “Brain Damage” and so much more. There was even a memorable sit from Ben ‘Junta’ Hunter, the first manager of Phish.

    The Big Apple Circus featured an eclectic group on incredibly talented performers featuring clowns, aerialists, and a woman who could hoop ten-thousand hula hoops. The circus kept the show incredibly visually stimulating while PTF kept the jams going all night long.

    Seems that this display is a notch up for PTF. Undoubtedly, this show took an immense amount of preparation and coordination by everyone involved from lighting designer to clown. They’ve showed that with a lot of dedication, with the power of music, and a little help from your friends incredible spectacles can be created.

    “The circus is the place for me with bears and clowns and noise. I love the shiny music that descends from overhead”.

    Pink Talking Fish: Junta Circus ft Greg Ormont 2/23/19

    Set 1: Fee > Once in a Lifetime, You Enjoy Myself > Learning to Fly > You Enjoy Myself, Free Four, Esther, Life During Wartime, Golgi Apparatus

    Set 2: Foam, Have a Cigar, Dinner and a Movie, Cities > Divided Sky > The Great Gig in the Sky > Divided Sky > David Bowie > Fame > David Bowie, This Must Be The Place > Fluffhead > Contact, Union Federal, Brain Damage > Sanity > Brain Damage > Eclipse > Icculus

    E: Burning Down The House

    Photos by Filip Zalewski of Essence Photography

  • Hearing Aide: Joe McCann ‘Chase the Sunset’

    Places, moments and memories seem to be muses for Chase the Sunset, the instrumental guitar-centered album released by Joe McCann on January 1. Hailing from Upstate New York, McCann is a studio based BMI artist and multi-instrumentalist with a love of melodic, ambient and evocative sounds.

    In his first release of original material, McCann explores various ranges of mood and tone. “East Berlin Bridge” features a swaying melody over jazz-influenced chords and rhythms, while “Cool Breeze” explores wavy, echoing guitar effects over a light, almost shoegaze-influenced sound. The moving, soft quality of “Cool Breeze,” along with the sunny, pleasant mood of “Fingerwalk” invites listeners to sit back and momentarily let McCann’s soothing guitar serve as the backdrop to the day’s activities.

    McCann exhibits a clear passion for setting scenes with his music as he places us in a barroom evening with “Double Duty,” or drops us in the middle of a person’s quest for ascension in “Chase the Sunset.” Following this stripped-down debut, it will be interesting to see McCann expand his musical universe with other instruments or even vocals in his next release.

    Key Tracks: Chase the Sunset, Dwell, Cool Breeze

     

     

  • Hearing Aide: Consider the Source ‘You Are Literally a Metaphor’

    Consider the Source’s sixth studio release, You Are Literally a Metaphor is a creative picaresque, flushed with cultural influences, brought together in a thrilling narrative of layered instrumentation. The title, not to mention the playing, invites a literary reading and the expansive territory it explores, invokes the realms traveled by a surreal “hero” in an epic tall-tale of love, loss and weird trips around the sun. The real-ish universe stages a synastry of sketchy archetypes, faceless figures with obscure motives whose actions we recognize. You are Literally a Metaphor is a totem of the band’s figurative playing, evocative songwriting, and exacting range. It is musical treasure trove too rich for a non-musician’s explication, that journeys expressively through numerous genres, wistfully transitioning from prog rock to jazz-fusion, Middle Eastern sci-fi and blues over the course of nine tracks. “Sketches from a Blind Man” opens the album with painterly, cinematic playing, provoking listeners to see scenes from this cryptic odyssey as they unfold. The sound is atmospheric and spacey, imbued with foreboding and a breakneck beat. The chase is on, as guitarist Gabriel Marin, bassist John Ferrara, and drummer Jeff Mann, compete in a frenetic dance of ecstatic playing, weaving intricate lines into complex progressions. “The One Who Knocks” is a song akin to the work of Primus, and Bela Fleck the Flecktones, that spins folksy guitar lines and lean bass leads into a dark, heavy march, eventually escalating into a turbulent guitar section, before turning gracefully toward a triumphant, soaring conclusion. “It is Known” is a wild cruise. It begins as a red-eyed, breezy ballad with a hint of the blues, reminiscent of The Flaming Lips, but it lurches into a moody groove, ả la Eddie Hazel, before finally shapeshifting into a speed rock meltdown that recedes into blissful contemplation. The dignity with which CTS so casually blends these traditional elements with their own math rock sensibility, daredevil technicality, and genuine style, all while connecting each track purposefully with the others, is proof that Metaphor represents a peak for the band.

    Playing Twister with genres and influences seems to be Consider the Source’s way of taming the art of songcraft. These tracks sound like stories: rooted in place, with a beginning, middle, and end, repeated themes and motifs, and the hint of emotional development. Taking advantage of the familiar rituals inherent in a given genre provides CTS with the canvas on which they sketch their impossibly skillful illustrations. “When You’ve Loved and Lost Like Frankie Has” is a refreshing take on the blues. Mournful leads linger over an alluring pocket and hip-hop beat, as the tune’s bluesy restraint coolly displays the profound sadness portrayed in Marin’s playing. “Enemies of magicK” is a fitting finale to Metaphor, as it highlights CTS’s prog rock prowess, bringing the album to an anthemic close, while also recapitulating many themes, changes, and elements developed over the course of the album.

    You are Literally a Metaphor is a project articulated in full, an album seemingly without misstep or omission, on which the playing is peerless and without arrogance. The songs are delicately arranged and wisely executed. It draws on influences ranging from Mars to the Middle East, from Mississippi to Mahavishnu, from Dixie Dregs to King Crimson, and from ELP to epic psychedelia, but over the course of the album, it is Consider the Source’s immense originality and intrepid style that ultimately shines with the highest definition.

    Enemies of magicK,” the first single from the album is available to watch, below. The full album is set to release March 1, on all digital platforms.

    Key Tracks: Enemies of magicK, Sketches from a Blind Man, It Is Known

  • Hearing Aide: Bruiser and Bicycle ‘Woods Come Find Me’

    This is Bruiser and Bicycle’s second stab at an album and they have found something worth sticking to. Nick Whittemore and Keegan Graziane decided to make a change of tone and left their first albums, post-punk basement-core group with dark undertones and synesthetic lyrics, as they described it on their Promo Juke Box page. Now, they are pursuing an indie, psychedelic and eccentric writing style that keeps the album spicy and plain fun to listen to.

    They burst out of the gates with a quintessential indie and energetic tone in “The Train,” which is broken up by odd vocals choices. As for as an intro goes, it’s definitely exciting but feels like a big tease. A huge build up, and then drop off. No big jumps or launches. But listen on and you’ll see it’s not their style.

    “Casper” moves into their straightforward, folky roots and we begin to realize how their vocal style and tone separates this group from others. It’s not too deep in terms of production – we hear straightforward instrumentation, but also an omnidirectional and engaging sound. The duo showcases their lead guitar skills with a call and response from two very different voices. Static and distortion precedes a clean and spacious sound but both work over just the a-persistent, folksy guitar riff. It’s brilliant!

    “Woods”  is about as mainstream as the group gets. Without the electronic and quirky touches, we can see how well tuned into the music industry these two are. They know what works and they can recreate popular sounds but make it their own. That’s not a skills everyone has. However, we find ourselves on the other side of the spectrum with “Yonder”  – it’s an acid trip compared to “Woods.” We get very trippy and lazy vocals, omnidirectional and experimental instrumentation and some guitar licks that are plain discomforting. Lets just say the chorus isn’t something you’ll be whistling along to at work.

  • Steve Vai to hold Vai Academy 5.0 in Glen Cove

    Guitar legend Steve Vai’s annual four-day-and-night guitar clinic Vai Academy returns to The Mansion at Glen Cove on Long Island July 29 – Aug. 2.

    Featuring Vai leading classes and workshops, the event will include appearances and classes from amazing guitarists, including Joe Satriani, Andy Timmons, Devin Townsend, Larry Mitchell, Plini and more. Vai Academy 5.0′s schedule features a wide range of guitar-related activities to improve your guitar skills, including a special focus on signal path, effects and achieving the sound and tone guitarists crave.

    If you’re not a guitar virtuoso, no worries; The Vai Academy is an event for players and music-lovers of all ages, levels, interests and tastes. Whether you are a master player, a beginner, or just an enthusiastic fan, the four day program offers activities and workshops for everyone. The environment is non-competitive and is strictly about immersing oneself in the joys of music.

    Vai AcademyAs intimidating as Steve Vai can be (just watch the ending of the movie Crossroads starring Ralph Macchio below), attendees should feel welcome. “One thing that I think makes Vai Academy so special is that I jam with each and every attendee,” Vai shares.

    “This might be my favorite aspect of the camp. Connecting with another person on a musical level is an intimate space I love embracing. We musicians are always learning something on some level, and I believe I learn something every time I jam with a student, no matter what level they are at. I can make music with someone even if they show up with a dime and a rubber band.”

    Register here.

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

  • Hearing Aide: Karolina Rose ‘Invicta’

    Karolina Rose and her synth pop EP, Invicta, hold many certifiably commendable moments. The singer has racked up a few thousand plays and some rotation on radio. The January 31 release features present, sugary alto melodies combined with synth waves and booming, faithful drumlines delivered by producer Andros Rodriguez (Shakira, Florence and the Machine). For those involved, the talent is clear. Rose’s voice is built for power along the lines of singers such as Amy Lee or Lynn Gunn, while the instrumental composition will attract fans of Daft Punk and John Carpenter (Dir., Halloween).

    Invicta is a set of songs you wish you could enjoy more.  While it is obvious everyone involved is passionate about the project and that the talent is there, the elements therein (instrumentals, lyrics, melodies, and other aspects) are a mismatch. Many things may be causing this: one is the synth instruments chosen just simply don’t match the singer’s vocal tone especially on songs such as “Going to Berlin” and “Crystal Gem.”

    Another issue could be that the melodies she uses don’t always connect with the lyrics, or they need more of a dress-up. Speaking of lyrics, the singer’s narrative/analysis style distracts from the flow of the EP, and a few dashes of overused song concepts are a bit too sprinkled throughout (“just go with the flow,” “Love, it makes you do crazy things,” and “What will be, will be”). “Crystal Gem” throws a volley of statements at its listener but lacks direction. “Check my pulse to see if I’m alive,” is a statement made on “Move With Me,” which prompted this thought: “If you have the ability to check your pulse, wouldn’t it be obvious that you are, in fact, alive?”

    A quick Google search lands live audio and video of Ms. Rose on acoustic guitar in Hollywood. She’s clearly a multidimensional artist with much potential. Invicta could have had a lot of unique flavor by adding acoustic elements, but the quiet guitar strums at the opening of “Love Crazy” is all we get. What Invicta misses is less production. Sometimes, it is best to strip things down; this is one of those times.

    This music is adaptable, though. On the highlight tracks like “Downhill,” Rose’s voice weaves around a quiet synth beat and stays followable, while on “Goodnight, Mr. Moon,” the music quiets down and allows Rose to expose the subtler qualities of her voice. As a first effort, Invicta leaves room for growth and also shows many aspects of Rose’s artistry, but misses the mark as far as connection.

    Invicta is available for listening and downloads on all major platforms.

    Key tracks: Downhill, Goodnight, Mr. Moon, Love Crazy

  • The Elements of Aqueous: Part Two – Evan McPhaden

    Night two of the five night Colorado run took place at a hip little venue in Avon, located in the Vail Valley.  Agave, a traditional Mexican restaurant by day – live music venue by night, hosted Aqueous and BIG Something for an intimate show. The welcoming vibe continued with a crowd of Colorado residents and again, familiar faces from back East. Agave filled up while the band completed soundcheck; the excitement from fans was palpable. Situated on a cozy corner stage, Buffalo’s groove-rockers were ready to get the crowd moving.

    Holding true to their “cant stop, won’t stop” mantra, it was only fitting that the set opener was “Strange Times,” from the 2012 album Willy is 40, which segued beautifully into a highly anticipated “The Median.”  Next up was an exceptionally fun bust-out of the Gary Numan song “Cars,” played only one other time 467 shows ago on 7/28/14.  The set concluded with a soaring, extended “Kitty Chaser (Explosions).”

    Evan McPhaden aqueousAfter the set concluded and Aqueous load out was complete, the opportunity arose to sit with Evan McPhaden (Bass/Synth) for a conversation about touring, songwriting and his roots as a musician. The exchange started, Evan spoke about how it felt to be back in Colorado and being on tour with North Carolina’s BIG Something. Very happy to be back in CO, Evan said he’s been excited to be playing new venues and sharing the tour with BIG Something. Stating that a perk of a co-headlining tour allows time to enjoy the show as well as perform.  Delving a bit into his involvement in the creative side of things, it was uncovered that Evan contributes heavily to the songwriting process. On Color Wheel,  he wrote “Weight of the Word,” the music for “Split The Difference” and “Mandela Effect,” which was a NYS Staff voted Best Album of 2018. When asked about McPhaden’s hand in songwriting, he humbly downplayed his efforts even though he is known as a gifted writer and composer.

    Evan began playing music at a young age.  Encouraged by his father, whom played bass, Evan picked up the guitar to join in on jams with his dad.  He gave it his all, but one day he picked up a bass guitar and he said it just “felt right.” As far as bass-lines go, McPhaden pulls out some low end grooves that provide the heartbeat for both melodies and jams that Aqueous is known for. Giving credit to his rhythmic partner-in-crime Rob Houk, Evan explained that since Rob joined the band he feels much more confidence and flow when performing, and this is certainly apparent on Color Wheel.

    The conversation with Evan concluded with some real love for the AQuantainces.  Evan shared his appreciation and respect for their fans, stating that watching a fan sing “every single word to every single song” was incredibly moving. Looking forward to the next stop on the tour, the band prepares for more travel through the mountains and more adventures at new venues. Next stop, Winter Park at Ullrs Tavern.  These shows will be available on Nugs.net for streaming with a subscription.  Full set list for the Agave set can be found below.  Tour dates for the Aqueous/BIG Something tour can be found here.

    February 14, 2019    Agave, Avon, CO

    Set one: Strange Times > The Median, Say it Again > Cars1 > Kitty Chaser (Explosions)

    Notes:1 BUSTOUT: LTP 7/25/14 (467 shows)

    Catch up with Dave Loss HERE.

  • Chateau Shows in Albany meld Professional Practices with DIY Methodology

    Among the network of musicians in Albany, there are select venues that are known to be “off the beaten path” but still provide the listener with the intimate experience many are searching for from live music. Since the unfortunate closure of Valentine’s in 2014, the need for these spaces has increased, leading to house venues popping up across the area to cater to fans. With no particular venue picking up where Valentine’s left off, the mission of getting a PA and inviting your friends over for a show got the ball started for house venues such as the Chateau. One of these artists, Girl Blue, was recently profiled by NYS Music, and we present the premiere of Girl Blue’s Chateau Shows performance.

    The Chateau was born in 2014 with the first show in 2015, and since then, roughly 15 shows a year, or 1-2 a month are held at the house. Dan Maddalone says of Chateau, “It’s not a money maker, just something for fun and a sign of the healthy and continually growing music scene, both above and underground, in Albany.”

    Albany native turned international performer Meg Duffy (Hand Habits) and beloved DIY stalwart Lomelda have both performed at Chateau, making it a utility space for musicians on their way up. More established acts like Spoon, White Denim, and White Reaper have also performed in the space due to Maddalones previous involvement with the radio station WEQX.

    Thanks to venues like The Chateau, bands can build an audience in Albany and branch out to other towns without traditional airplay and booking. “House shows are an incubator for a small part of the scene, for a talented group of people who do a lot of great art and create amazing things.” As the industry has broken down, artists have found a new way to prosper and The Chateau is but one small part of an international movement. But make no mistake, Maddalone says, “This has always been happening in Albany and abroad, and will continue to happen forever. We are but one tiny part of a long running DIY methodology.”

    Chateau Shows

    Chateau is one of many house venues in Albany. Normally, house venues last between six months to two years, depending on who manages them. Traditionally, it is college students who take on the practice and either move on or pass the house onto another group when their tenure is up. Chateau has such a long legacy due to it being owned and operated by the same persons year after year.

    These venues are all several steps above house parties due to the focus being put on the music. The setting typically involves a house kit, PA system, with some lights and decoration in the ‘venue’ part of the house, which is often an attic or basement. In non-venue parts of the house lie comfortable living quarters for bands to rest before moving on to other shows. Between bands, guests are typically welcome to wander about the house sipping whatever they brought with them, and chatting with friends.

    The atmosphere of the Chateau and other house venues offer a different musical experience than what you typically find at a club or bar. Performances at clubs can foster a passive and inattentive crowd, but at house venues, the focus is intently upon the performer with a small audience of 30-80 people gathered to see something new, special, and intimate.

    All around Albany, a music scene continues to thrive in venues of all sizes and styles. The Capital Region has produced nationally touring bands already because of venues like The Chateau, Valentine’s, and The Hollow. Supporting artists from the ground up ensures a healthy breeding ground for future musicians down the road. House venues like The Chateau may be the place to catch your new favorite band.

    Girl Blue video was produced at The Chateau by Chris and Brian Leary of Chrome Glass Productions along with Dan Maddalone. Girl Blue audio was engineered, mixed, and mastered by Troy Pohl with engineering assistance from Judybelle Camangyan.

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