The funk-rock quartet, ponder, specializes in soulful and original tune-making. Praised for engaging live performances, the group from Buffalo, has been working diligently to shine light on their music in other regions of the state.
Previously, ponder has performed at Buffalove 2016 and Rochester Fringe Fest 2016 & 2017. An extension of the list includes Cobblestone Live Music and Arts Festival. Music is Art Festival, and Rock Autism Music Festival. Additionally, they have been granted the opportunity to open shows for acts such as LITZ, The Werks, Formula 5, and many others.
With the intention of bringing their talent to North America, ponder’s international tour begins in March, kicked off by the decision to release a brand new single today. Titled “Greener,” the tune embodies the multi-dimensional groove rock aura ponder promotes. Harmonies are smartly layered, accompanied by drums and dueling guitar phrases. The thoughtful lyrics in combination with a prominent bass line results in a full body experience for the listener. In reference to previous works, the single offers an uplifting message about staying together through tough times while keeping life exciting through transition and monotony.
This May marks a centennial – 100 years since the birth of Pete Seeger. Although the world lost this preeminent folk singer and activist five years ago, his work lives on. The Egg will host a Pete Seeger Centennial concert on Thursday, May 23 at 7 p.m. Earlier in the month, the Egg will sponsor a “New York Living Legacy” series featuring multimedia performances celebrating the life and works of Seeger.
The Pete Seeger Centennial concert will be an evening of music, dance and poetry. Arlo Guthrie, one of Seeger’s closest friends, will be joined on stage by Amythyst Kiah, Cary Morin, Dan Zanes & Claudia Eliaza, Dar Williams, David Gonzalez, Guy Davis, Richie Stearns & Rosie Newton, Taina Asili, Tony Trischka, Toshi Reagon and Bill & Livia Vanaver. Tickets are on sale now through The Egg’s website, with net proceeds going to support Clearwater, Caffe Lena and WAMC Public Radio.
On May 3, 4, and 5, The Egg will present the program “Wasn’t That a Time.” The multimedia presentation features music writer Jesse Jarnow, author of the 2018 book Wasn’t That a Time: The Weavers, the Blacklist, and the Battle for the American Soul. This volume details the trials of the four singers, led by Pete Seeger. who rose to incredible popularity but whose socialist connections and anti-authoritarian ideologies got them professionally blacklisted at the height of their fame. Live music will be performed by banjoist Richie Stearns and folk fiddler Rosie Newton. Photos of Seeger will be incorporated into the program, as well as recorded music by Pete Seeger and the Weavers. These events are free and open to the public.
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.
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 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.
With The Lightning Thief: The Percy Jackson Musical making its way to Schenectady, NY on Friday February 22 and Saturday the 23, James Hayden Rodriguez took time out of his busy schedule to talk about the performance. Rodriguez was very excited to be touring again as one of the four original cast members from when the show debuted in 2017 Off-Broadway. With a wonderful attitude and a humble down-to-earth personality, the conversation was fluid with a few laughs. To Rodriguez, acting in a show like this or any musical is second nature and something he always knew he was meant to do.
NYS Music was able to speak to James Hayden Rodriguez via phone on February 14 as he was just reaching his next stop of tour in D.C, before the cast and crew make their way to Proctors in Schenectady. Rodriguez plays Luke and Others in The Lightning Thief.
Headshot via jameshaydenrodriguez.com
Shannon Marie Palmo: In the musical you are said to play Luke and others. What are the other characters you play aside from just Luke?
James Hayden Rodriguez: My main two characters that I play are Luke and Ares, who is the god of War, who ends up being one of Percy’s biggest villain in the show.
SMP: I read that you guys used the book as your bible, how do you articulate the books on stage? How does that fuse with who you are as an actor, and the freedom that comes with being an actor?
JHR: With Luke specifically, I really have a lot of freedom to just use a lot of my own personal experience. We are all children of Greek Gods, but we are also still human and we have human qualities so we are able to use our personal experience to create these characters which is pretty cool. We have a lot of freedom.
SMP: What do you think are the disadvantages or advantages? What do you like/dislike about doing the tour verse being at one venue in NYC?
JHR: I don’t think there are disadvantages, I think it’s very exciting for us to be just doing the show again at all and the fact that we are able to bring it to all of our fans who were unable to see it in NYC because our fanbase is really massive and its spread and not just in the United States. We are even surprised by coming to these cities and selling out houses and the kids in the audience have read the books and seen the movies and know these characters. They are just really excited that we are bringing it to them. The great thing about the movie is that it has reached a lot of people, so we have a lot of people who are coming to see the show because they have seen the movie. We have the young book fans, but also the people who are new to theatre. They saw this really awesome film so they want to check out how we put this on the stage.
SMP: What is the balance between stage production between dialogue, there’s fighting scenes and it’s also a musical. So how would you say that balances out because some musicals are non-stop music with very little dialogue.
JHR: There’s definitely a lot of dialogue, and Percy is thrown into this world where he is learning this completely new universe to him. He is also dealing with the fact that his mother was just killed by this monster that he didn’t know existed. But when he gets to these really emotional parts in the story, it turns into these big rock numbers, which is really cool. I think we have a good balance from music to dialogue. There’s definitely a lot of scene work which helps us develop the characters and tell the story.
SMP: What is something that goes through your mind when you’re on stage performing whether it’s an actual performance or rehearsal?
JHR: I try to be as present in the story as I can and actively listening to everything on stage. I can’t concern myself too much with who’s in the audience because then it will throw you out of the world and the more you can focus on what is actually happening on the stage the better the performance will be. I don’t like to know if there’s press, or family, or casting directors in the audience.
SMP: With a show being about Greek Mythology, what’s it like being thrusted into such a world as Percy Jackson trying to portray that world on stage because like you said, you guys don’t have CGI as the movie did.
JHR: Yeah, it definitely allows us to be more creative with how we tell the story and that’s what has always been so exciting about theatre in the fist place, and why I got into theatre. You have to use your imagination to tell stories like this and we have been doing this with puppetry, which is cool this time around. We have a puppet team who has really elevated our storytelling. They are scary when revealed. People in the audience scream when they come out.
Rodriguez in The Lightning Thief. Photo by Jeremy Daniel.
SMP: So, what’s it like playing an antagonist like Luke or a character like Luke. When I saw the movie, and who Luke really was, I was completely shocked – without giving too much away.
JHR: (Laughs) Ares is more of the antagonist of this story. I don’t like to think of Luke as the antagonist because he starts out in the show with really good intentions and he’s just really misunderstood. He’s just dealing with his own insecurities and resentment issues because of the relationship with his dad. He’s a teenager as well and coming of age and learning all these new things and starting to have to make choices for himself. And Luke ends up going down a darker path than the rest of the characters. He doesn’t start off this way so you really get to see his journey from being a really good kid to more of a bad kid. I don’t think Luke is an antagonist, I just think he’s trying to make his own path.
SMP: How do you keep up with the physical demands of the show?
JHR: All of us are pretty good at making sure we are going to the gym, doing physical warm ups and stretching so we are not hurting ourselves in the show because the fights are pretty intense.
SMP: Did you guys have to go through fighting boot camp to train?
JHR: Oh yeah, we have a really great fight choreographer who has helped us through our process, and I’m also the fight captain in the show. I take the fights a little more seriously, making sure everyone is safe and doing what they are supposed to do because our choreographer was only here for rehearsals, he doesn’t travel with us.
“Nothing but love songs, folks,” said Todd Scheaffer last night at Albany music theatre The Egg. Scheaffer and the rest of the formative jamgrass group Railroad Earth were having lots of fun at the capitol region venue, the first stop of their northeast run this weekend. So was Holly Bowling, the well-known pianist opening up for Earth, that also joined the band for most of their headlining performance last night. Bowling and Railroad kicked off the run magnificently, winding through song material ready-made into a bluegrass Valentine’s Day playlist, but also putting heart into all the musical treats of the evening.
Bowling opened up with her own welcomed performance before the two main sets, as is the plan for the rest of the northeast shows. Among the most well received of her Phish and Grateful Dead piano versions was a full-stretched “Divided Sky” on which she put a lot of personal touch. Another highlight was, no doubt, the set ending of “Dark Star” > “I Know You Rider,” where Bowling invited Railroad Earth bassist Andrew Altman and mandolinist John Skehan to play.
Droning cello from Altman, soft strumming from Skehan and piano sound effects from Bowling wound through a wonderful version of the early Dead song that shifted between delicate moments and chromatic, jazzy creativity. The trio easefully guided one another into “Rider.” Holly started to really hammer on the keys and Altman played a cool standup bass solo. From this beautiful opening segment, the stage was set for the magic to be made between Bowling and Railroad Earth.
After Bowling’s set, Railroad Earth descended upon The Egg with a great opening “Hunting Song,” giving this particularly psychedelic original a bit of musical power. When Railroad starts a show off with something extra heady like this, the chances for a strong show are in the cards. Bowling, who joined the band on stage from the beginning, got her first real sounds on “Old Man and The Land,” playing a ragtime-style solo that got a beaming smile from Todd Scheaffer.
Love songs did indeed imbue much of the band’s two sets through the evening, with “Happy Song,” “For Love,” and “Came Up Smiling” following the opener, and these cheerful songs started to get the audience, from the front row to the back of The Egg, out of their seats and dancing. “Raven’s Child” > “Only By The Light” was a powerful combo that saw expert playing from Skehan and Mike Robinson. Robinson was sitting in as special guest for this entire night on banjo, guitar and pedal steel; and he deftly held his own beside Railroad Earth, standing out in multiple moments. On “Dandelion Wine,” the romance number to end the first set, the younger musician picked an incredible guitar solo that elicited not only cheers from The Egg, but a fist pump from violinist Tim Carbone.
The second set kept the welcome love theme rolling, starting with the bittersweet “Been Down This Road.” “Lovin’ You” and “Long Walk Home,” alternatively, brightened the attitude on. “Old Dangerfield” came in the middle of these as a particularly hot version, with Carbone’s fiddle soloing propelling the tune between its breakdown tempo and an Railroad-style funk beat.
The last stretch of the night received the most adventurous musical treatment from Earth and Bowling. “Goat” was standard length, perhaps even shorter than many versions, but it was a rocking version at that. The thing to note about this one was Altman’s mighty standup bass work – huge and resonating. It sounded like a giant tap dancing on the roof of The Egg. Following on his and the drummer’s sturdy backbeat, the rest of the band ditched the song proper for a dynamic, colorful jam, and Bowling and Robinson were both well footed within the fray. “Jupiter and The 119” took this energy and ran away with it, for a very special version of this Railroad classic. The band showed their fearlessness in furrowing through an uptempo jam segue, and made a seamless and uplifting transition into “Butterfly and The Tree.” The playing from everybody on stage was a thing of progressive bluegrass beauty.
While the band soared from the one song to the next, there was one particular moment in which Bowling and Skehan’s soloing linked up, and the two complimented one another musically much in the way they had in the opening Dark Star segment, only this time at a breezy speed. If anything best presented how well Bowling fit into Earth’s melodically dramatic and unpredictable style, it was here.
Many fans are understandably buzzing about the night’s encore as much as anything else in the show. “Said What You Mean” is definitely on the rarer side of Railroad Earth originals, having been performed only twice over the last two years. A song that sounds like it could have been co-written between Sam Bush and The Band (but it’s all Scheaffer, a genius in his own right), this was maybe the best loved hit of the night.
Proctors is thrilled to announce that THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, an “electrifying” (Newsday) musical adaption of the New York Times best-selling novel written by Rick Riordan, will play Schenectady, 8:00 p.m. Friday, Feb. 22; and 2:00 and 8:00 p.m. Saturday, Feb. 23.
As a son of Poseidon, Percy Jackson has newly discovered powers he can’t control, monsters on his trail, and is on a quest to find Zeus’ lightning bolt to prevent a war between the Greek gods. Based on the best-selling novel by Rick Riordan and featuring a thrilling original rock score, THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL is an action-packed theatrical adventure that has been celebrated by audiences and critics alike.
Tickets, which range from $20–$50, are available at the Box Office at Proctors, 432 State Street, Schenectady; by phone at 518.346.6204; and online at the Proctors website.
Slow down, stay a while and unwind with something like you have never heard before. Troy, NY natives, BURLY, have created a lush, warm and plain relaxing collection sure to help you let go of the days struggles – sinking into your chair for a spell. You won’t find anything else like it, and it just might be your odd cup of tea you never knew you needed.
The album is laced with jazz, folk and indie influences with poetic lyrics layered over the top of each track. They’re literally poems. The “Infinite Broken” lyrics are lifted directly from one of the non-performing member’s own poems. Lyrically, it’s intriguing. But what really sets this group apart is the instrument arrangement: jazz inspired percussion, airy guitar, breathy saxophone, thoughtful bass and mellowing vibraphone. This ensemble is reminiscent of pivotal jazz groups and it’s warming to see a modern revival of this set up. That being said, the group is still in their grassroots stages, so there is a lot of experimentation happening here. We find rockish songs, ones with a western feel and some that are plain melancholy.
We start out with “Branches of Blood” and to be honest, the whole song is perplexing. Highly interpretive lyrics, unique instrumentation and odd time signatures and tempos make the song intriguing, and a bit discomforting. But it’s still very good. It’s obvious that everything is done with intention and diligence. The fact that the group can evoke so many emotions within the songs is incredible. It’s a great way to kick off the album, but as stated before, things keep changing.
Another one of their best is “Happy Birthday 2001,” a song about a “half-remembered birthday party of a high school friend.” Lyrically, it’s pretty comical because we’ve all been to those awkward parties, finding the piano in the basement and “stabbing at the piano keys,” playing video games and “smoking weed out of a corn cob pipe” and “talking to cousins, trying not to seem like a kid”. Beyond that, we find a style that’s high energy and rockish, a much different feel compared to the rest of the album. Yet, it still holds a jazzy feel thanks to the vibraphone and sax. “Happy Birthday 2001” gives an otherwise cringeworthy story, a light hearted and airy feel. It’s just fun to listen to.
“Kent Lame” brings the vibe down. Way down. We’re told a story about, what we can only suspect, is drugs use and the effect it has on people. “I met crystal hazard… two days with two friends of mine confused on acid.” One can only assume. It’s accompanied by a very fitting tone – a soft bed of slow and deliberate instrumentation. This is the vein of the group and they’ve mastered it.
This is one of the most interesting albums I’ve heard in a long time. And although BURLY has done an incredible job creating such a unique atmosphere, I would hope to see more work like “Happy Birthday 2001” in the near future. And whatever you do, don’t get rid of that vibraphone.
Key Tracks: Branches of Blood, Happy Birthday 2001, Kent Lame
Soul and hip hop group, Entreband from the Albany area booked their first multi-date tour which starts March 13 at SUNY Oneonta college. They will be joined by hip hop artiasts D3v and B. Chaps at ten dates including shows in Pittsburg, Cambridge, Brooklyn and Albany.
Entreband houses Souly Had with other producers and vocalists. His songs such as “Deja Vu” have collectively received over 1.5 million listens after an unexpected boost from being added to a highly-visited public Spotify playlist. Amongst the ranks are Mac Moon, Deo Worldwide, and MostlyEverything with Tomcbumpz and DJ Siroc handling many of the instrumental beats. The group has also built a following by performing live along side artists such as The Age and Clear Mind.
Openers D3v and B. Chaps also find themselves rising in popularity. D3v just launched a provocative new music video “Mad @ Me,” while B. Chaps has a project out called “Clips” which experiments with a plethora of genres. Delirium Entertainment will run point on the tour and has all information available on social media and internet platforms.
School of Rock: The Musical takes Schenectady, NY by storm with its five-night performance at Proctors in the heart of downtown. Based on the Paramount film, written by Mike White and starring Jack Black, the musical follows suit. With lyrics by Glenn Slater and new music by Andrew Lloyd Webber, in addition to director Laurence Connor’s vision, this musical takes the movie into a completely different light.
School of Rock follows failed rock star Dewey Finn, played by Merritt David Janes, as he takes a class of straight-A prep school kids and turns them into rock stars. With the pressure of needing to pay rent from his roommate and best friend Ned and Ned’s bossy girlfriend Patty, Dewey finds himself in an unusual predicament. With Ned being a substitute teacher, the principle of Horace Green Prep School calls in need of a fill-in. And thus, the kids at this prestigious prep school go from model students to rock and roll stars, playing in battle of the bands and learning to go outside their comfort zone.
Opening the show was an announcement allowing the audience to know that the children in the musical do play their own instruments. Right in tune with the opening announcements, the musical was treated as a live rock concert and began with a performance in which Dewey was originally in – which was refreshing compared to most musicals.
Throughout the show there was a balance of musical numbers and dialogue that both adults and children were able to enjoy. Keeping up with the humor that fans of the movie came to enjoy, the musical had plenty of laughs for everyone. With jokes referencing Harry Potter and making light of hot topics like, “the man” can also be a woman, it kept the crowd pleased and laughing.
The show also had songs that everyone could relate to and enjoy. One song sung by the students called “If Only You Would Listen,” allowed children in the audience to relate to what the actors were saying. The song featured four of the students and showed us what home life was like with their parents, and the expectations parents had for their children. This song resonates not only with the children watching, but even adults because at some point we have all felt the pressure of our parents. Another song that also was relatable and hilarious was when Dewey was teaching the students to learn to relax. “Stick It to the Man” rang through as more of an anthem for the musical as a whole; the idea behind it was to teach the kids to loosen up – what rock and roll is all about. Throughout School Of Rock the audience watched how these kids went from being shy and rule-bound, to loosening up and having fun. But it’s not just the kids who go through a transformation, Dewey does as well. He goes from being a selfish, fame hungry, failed rocker to someone who realizes what it’s like to be in a band and part of a team. Dewey becomes someone the students can confide in and trust.
The stage set up and lighting was just as impressive as the cast. The backdrops for each scene was easily movable by either sliding up, or to the side and even turning around. For the opening number and the finale of the show, the audience gets thrusted into a rock and roll concert. The kids performing for battle of the bands had their parents in the audience watching in awe, as well as us being a part of the show. With the lighting matching to that of an actual concert, bright and flashing, we were part of the show, cheering on the band of students aptly named School of Rock.
This show was both engaging and fun. With a great cast and song selection to keep the audience both engaged and interested, School of Rock knocked it out of the park. It is both a new and inventive show, fun for all ages. The music was meaningful and there are songs that will resonate with each person. School of Rock: The Musical enhances the movie to a whole new level of interactions. Altogether the show was enjoyable and kept you laughing at every turn.
Performances will take place at Proctors in Schenectady Tuesday through Sunday. Following the Capital Region, the tour will makes its way to Boston.
