NYS Music 20​19

Category: Woodstock

  • Hearing Aide: The Drunken Hearts ‘Wheels of the City’

    I can imagine it is sometimes difficult to be called an Americana band. I’ve heard a number of music fans hear that description and respond, “You mean they sound like Mumford and Sons, or The Avett Brothers?” That response is not only limiting, it’s unfair. Listening to The Drunken Hearts pending release, Wheels of the City, dispels the notion that they are a one dimensional entity. There is country, with pedal steel and banjo, as well as elements of soul, some of the classic Laurel Canyon sound, touches of rock comparable to Drive-By Truckers, and alt-country stylings reminiscent of Son Volt.

    The Drunken Hearts

    The album, recorded at Denver’s Silo Sound Studios, starts out with “Fire in a House,” slowly building an intro, leading to a verse, a piano melody, and continuing with layers of other instrumentation and backing vocals. The tune eventually deconstructs to some degree toward the end, sonically arriving back where it began. “Alive ‘n Free” reflects the overall upbeat feel of Wheels of the City, as evidenced by the lyrics

    “Sometimes in life, you get to where you want to / Sometimes in love, you fall just where you’re meant to / Sometimes this world shows you how to be free / Alive ‘n free.”

    The addition of strings and a female accompanying vocal on “Passchendaele” lend a sense of sad elegance to a song about one of the most prolonged battles of World War I, and a soldier discovering lost love after returning home from war. “In the Middle” is an uptempo tune that can easily have the listener singing along, tapping their toes and swaying to the music.

    “Two Hearts (On a Limb)” perhaps best fits the “Americana” genre, although The Drunken Hearts display a much broader range than any one single style. That range is displayed on “Wheels of the City.” The title tune begins with a country music feel, and as horns come in midway through the song, it morphs a bit into a soul sound. That subtle transition reflects the chameleon-like qualities of the songs, and the band as a whole. By virtue of the way the songs take advantage of multiple band members’ instrumental skills, this may well be a group that hits its stride in live performances more so than in a recording studio. That’s not to say Wheels of the City is lacking in any way, it’s simply that some bands build their chops over the course of hundreds of live gigs, and the band took a decidedly different approach to this release – writing and recording eleven new songs in eleven days, rather than recording familiar pieces that had been road tested.

    The album closes with “The Cave,” which begins with a spoken word intro and leads into an instrumental section which is markedly different than the rest of the album. As noted, the band’s novel approach to this recording was a rather daring roll of the dice, with unknown possibilities.

    Wheels of the City will be released on multiple platforms as well as the band’s website on Friday, October 18. For more about the band, click here.

    Key Tracks: Alive ‘n Free, Two Hearts (On a Limb), Wheels of the City

    The Drunken Hearts current tour will provide opportunities to see them throughout New York State. All five of those shows are in support of Yonder Mountain String Band. The Saturday, October 19 show will be a homecoming of sorts for bassist and vocalist Jon Macartan, a native of nearby Guilderland, New York, in the capital region. The New York State days are listed below.

    Wednesday, October 16, at Buffalo’s Tralf Music Hall Tickets here.

    Thursday, October 17, at Center for the Arts of Homer Tickets here.

    Saturday, October 19, at Putnam Place in Saratoga Springs Tickets here.

    Thursday, November 11 at Brooklyn Bowl Tickets here.

    Sunday, November 17 at Levon Helm Studios in Woodstock Tickets here.

  • Marco Benevento releases latest single off ‘Let it Slide,’ announces fall tour with 5 stops in New York

    Marco Benevento has released “Send It On A Rocket,” his self-proclaimed “end of summer anthem” and third single ahead of new album Let It Slide, due out September 20th on Royal Potato Family. In between references to reefer and Topo Chico, deep pockets of bass and spaced-out synths, the cascading composition reveals that behind Marco the bandleader – who covers his piano strings in gaffers tape and enjoys walking his pet goats and peacocks through the Catskill woods – there are patches of sorrow he’s now ready to contemplate more seriously than ever.

    The sounds of “Send It On A Rocket” preview the new territory charted between Benevento and Let It Slide producer Leon Michels, a partnership marking the first time Benevento relinquished studio control of his own music. As evident on the new single, that surrender led to his deepest inward exploration, and spontaneous impulses like taping those piano strings. Read Benevento’s introduction to the song via Talkhouse.

    Introduced via dear friend Richard Swift (who was set to mix the LP before passing), Marco made Let It Slide with Michels (Sharon Jones, Adele, Lana Del Rey, Lady Gaga) and an unexpected, Upstate NY bromance ensued, and Marco’s trust in Leon ultimately informed the album’s core: free yourself to be yourself. Citing influence in Can, ESG, Childish Gambino, and Mulatu Astatke, he dug deep into his lyrics, exploring acceptance, desire, and regret, while embracing the moment – an impulse to cover piano strings in gaffers tape created the LP’s main muted sound (along with the Binson Echorec, the tape machine behind 1970s Pink Floyd).

    This fall, Marco Benevento and his band – including Karina Rykman (bass) and Andy Borger (drums) will make 30 stops from coast to coast, with 5 shows in New York over two weeks in October.

    MARCO BENVENTO
    Tour Dates

    10/10 – Buffalo, NY – Iron Works
    10/11 – Ithaca, NY – The Haunt
    10/12 – Albany, NY – Cohoes Music Hall **
    10/13 – Woodstock, NY – The Colony *
    10/17 – Portland, ME – Port City Music Hall ^
    10/19 – Burlington, VT – Higher Ground ^
    10/20 – Holyoke, MA – Gateway City Arts ^
    10/23 – Fairfield, CT – FTC StageOne ^
    10/24 – Brooklyn, NY – Music Hall of Williamsburg ^
    10/25 – Philadelphia, PA – Underground Arts ^
    10/26 – Washington, DC – Pearl Street Warehouse ^
    11/2 – Shizuoka, Japan – Frue Festival
    11/6 – Pittsburgh, PA – Club Cafe ^
    11/7 – Grand Rapids, MI – Founders Brewing ^
    11/8 – Chicago, IL – Lincoln Hall ^
    11/9 – St. Paul, MN – Turf Club ^
    11/10 – Milwaukee, WI – The Back Room @ Colectivo ^
    11/11 – Davenport, IA – Raccoon Motel ^
    11/12 – Indianapolis, IN – HiFi ^
    11/13 – St. Louis, MO – Old Rock House ^
    11/14 – Nashville, TN – Basement East ^
    11/15 – Louisville, KY – Zanzabar ^
    11/16 – Cleveland, OH – Beachland Tavern ^
    12/5 – San Diego, CA – Casbah San Diego
    12/6 – Los Angeles, CA – The Teragram Ballroom ^
    12/7 – San Francisco, CA – The Independent ^
    12/8 – Felton, CA – Felton Music Hall
    12/9 – Mill Valley, CA – Sweetwater Music Hall ^
    12/10 – Arcata, CA – Humbrews / Humboldt Brews ^
    12/11 – Eugene, OR – WildCraft Cider Works ^
    12/12 – Bend, OR – Volcanic Theatre Pub ^
    12/13 – Portland, OR – Doug Fir Lounge ^
    12/14 – Seattle, WA – The Crocodile ^

    ** w/ Mikaela Davis
    ^ w/ The Mattson 2

  • Mountain Jam 15, Deja Woodstock

    Mountain Jam marked year 15 by migrating to Bethel Woods Center for the Arts, the site of the original 1969 Woodstock Festival. When the change was announced earlier this year, Mountain Jam co-founder Gary Chetkof shared with the Poughkeepsie Journal: “What could be more amazing than Bethel Woods and the home of the Woodstock festival… It was really just a matter of going to the promised land.”

    Driving up on Friday (day two of the four day event) I turned off NY Route 17 onto 17B. Headed down this one-lane road affectionately named “The Woodstock Way,” I started to imagine what it was like in 1969 as people abandoned their cars on the road and started walking the final 10 miles to the festival. The closer I got, I could hear Arlo Guthries’s iconic “THE NEW YORK STATE THRUWAY’S CLOSED, MAN!” in my head.

    Peace flag

    Festival organizers took advantage of the great expanse that Bethel Woods had to offer. The box office was located on the southern perimeter of Bethel Woods in a remote field with tall grass and mud. The flashback was suddenly becoming real. After hiking up a hill toward the festival, I found myself looking out over the site of the original Woodstock. Images of 1969 started flashing before me.

    I was quickly brought back to 2019 as I strolled past campers and RV’s of various sizes and shapes with glamping professionals nestled in their folding chairs, munching on BBQ, and consuming their favorite beverages. At the entrance pockets were emptied, bags checked, and metal detector wanding was carried out by security.

    Phil Lesh & Friends

    Mountain Jam, spelt out in 10-foot tall letters with teepee bookends, greeted me. The sound of music was immediate. The first stage I encountered was the Valley stage, a medium sized stage with a Ferris wheel parked next to it. Acts including The Nude Party, Hollis Brown and Tyler Ramsey performed there. The Valley stage also served as the location for late night jam sessions by Andy Frassco & the U.N. and Consider the Source held on Friday and Saturday nights.

    Headed farther into the festival you came upon the Mountain Stage (main pavilion amphitheater) which hosted featured performers Gov’t Mule, Willie Nelson, Dispatch, The Avett Brothers, and Phil Lesh & Friends to name a few. Add to that the Terrace stage; a performance space with seats built into a hillside, VIP stage where special acoustic sets were performed by acts who had played bigger stages earlier that day, and an event gallery space. With this cornucopia of musical riches it made it difficult to chose who and where to go to listen to music. On Saturday and Sunday the Hudson Valley based band Yard Sale busked throughout the site, injecting a free form feeling reminiscent of 1969.  

    The vibe, the location, the history, the people

    Intended to celebrate radio station WDST/Woodstock’s 25th anniversary, Mountain Jam started as a one-day event in 2005 by principle station owner Gary Chetkof and Warren Haynes. After 14 years at Hunter Mountain the decision to move to Bethel Woods was made. A move of 70 miles from its original location at Hunter Mountain, proving to be light years away from the previous home. The vibe from the original three days of Peace and Music festival was palpable. Tie dye, bare feet, singing and dancing was the norm. A “Wish Tree,” part of Yoko Ono’s ongoing Imagine Peace art installation series invited people to make a wish; write it on a piece of paper and attach it to the tree. The on-site security and support staff wore t-shirts with Peace Patrol emblazoned on their backs. Babbling brooks illuminated in multi-colors, open fields and dream catchers situated throughout the site augmented the vibe.

    Those in attendance ran the gamut from old to young. Parents were there with their adult children, sitting on the hillside, sharing beers together while new parents introduced their young ones to the experience of live music. Many took advantage of the beautifully maintained grounds of Bethel Woods seaking out remote spots, allowing them to chill out and absorb the spirit that was Woodstock.

    Zen moment

    The Music

    In addition to over 40 bands performing at this years Mountain Jam, rock and roll photographer Jay Blakesberg, know as the photographer of the Grateful Dead, shared a slide show telling presentation of his work to a packed event gallery audience. An easy to use Mountain Jam app was available to help you track of all the performers, their set times, locations, and help you plan your daily daily schedule. It also updates you to special activates happening in real time.

    A highlight of the festival was Gov’t Mule’s Saturday night appearance (they played Friday night also) paying tribute to the bands that had performed at the original Woodstock festival. Warren Haynes, backed by percussionist Tato Melgar of Lukas Nelson & The Promise of The Real, opened the set with Richie Havens’ “Freedom.”  The band’s set included The Who’s “Eye Sight to the Blind,” CSNY’s “Find The Cost Of Freedom,” and Sly Stones “I Want To Take You Higher.” Throughout the night Gov’t Mule was joined on stage by special guests including Lukas Nelson, and Arleigh Kincheloe and Jackson Kincheloe from Sister Sparrow and the Dirty Birds. They ended the evening’s tribute with a blistering encore of Jimi Hendrix’s “Voodoo Child (Sight Return).”

    Rain did find its way to the festival late Saturday night and sporadically on Sunday, but with all stages having protective covering (the amphitheater has a permanent roof over the seats) the music never stopped. Being the 50th anniversary of Woodstock, who wouldn’t have expected it to rain at some point. After a successful four days and establishing a new location, Mountain Jam has secured the future of Peace & Music in the Hudson Valley.

    Gov’t Mule
    Toots & The Maytals
    Lukas Nelson and The Promise of The Real
    The Avett Brothers
    Amy Helm
    The Revivalists
    Mountain Jam couple
    Sister Sparrow & The Dirty Birds
    Alison Krauss & Union Station
    Bella's Bartok
    Bella’s Bartok
    Joe Russo’s Almost Dead
    The Big Takeover
    Michael Glabicki
    Bethel Woods security
    Allman Betts Band
    Dispatch
    Michael Franti & Spearhead
    Father and son
    The Commonheart

  • Mountain Man Sold Out Levon Helm Studios for Intimate Performance

    The sun shone across the beautiful woods, and glistened on nearby lakes, surrounding Levon Helm Studios as fans gathered in eager anticipation of Mountain Man. Zephyr, the barn pup, greeted each car at these hallowed grounds. It was peaceful, as the sold out crowd entered one of New York States most treasured venues, last Saturday, June 1.

    Zephyr the barn dog, and official greeter.

    Singer songwriter from Toronto, Doug Paisley, began the evening with a cozy set of original songs from his new album, Strong Feelings, recorded in his hometown. His beautiful imagery synced brilliantly with intricate guitar work. Paisley also charmed the audience with his storytelling, setting the mood for a very intimate show.

    Mountain Man took the stage, surrounding one microphone. Amelia Meath, Alexendra Sauser-Monnig and Erin Sarle all took turns on lead vocals, switching places and positions to find their perfect harmony points. Sarle and Sauser-Monnig also alternated on the guitar for several songs throughout the evening. The performance was stunning and mesmerized the audience. One could hear a pin drop at any point of the evening, excluding a thunderous applause after each song.

    The performance felt like you were sitting around a campfire in the woods, or at a laid back house party with best friends. It carried a wonderful weight and elegant presence that left all applauding and wanting more. Each of the three women made everyone feel comfortable and at ease with laid back jokes and stories.

    The night before they had actually returned to Bennington, VT where they all met eight years ago and began Mountain Man, during College. Judging from the response they received at Levon Helm Studios and their tour dates quickly selling out, we are certainly lucky that they met all those years ago, and have reunited again.

    For Mountain Man tour dates, and to get their new album ‘Magic Ship’ check HERE.

    For upcoming shows at Levon Helm Studios follow this link HERE.

  • Inaugural Hudson Valley Music Summit to Launch in Kingston

    On August 9, the inaugural Hudson Valley Music Summit (HVMS) will take place in Kingston, NY. The new boutique music conference is for ambitious music industry professionals looking to take the next step in their career. HVMS offers more than 50 speakers, catered networking sessions and multiple showcases throughout the day.

    A wide variety of individuals, all from different facets of the music industry, will come and share their insights, strategies and experiences on how to create astounding music and the best ways to share it with the world. Speakers include experienced artist managers like Stefani Scamardo (Warren Haynes, Mountain Jam), professional touring & recording musicians such as Grammy nominee Tracy Bonham, and representatives of national and local record labels including Warner Records and Manic Cat Records. A banquet lunch will be provided featuring an interview between Dean Budnick of Relix Magazine and Pete Shapiro of the Capitol Theater and Brooklyn Bowl. You can even secure a 20 minute one-on-one mentoring session with Geordie Gillespie, the Co-Founder of The Overt Music Group. You can see the full agenda of events here.

     

  • The Big Takeover Announces New Single, Tour Dates

    By Maddi Annunziata, Contributing Writer

    New York seven-piece band, The Big Takeover, perfectly fuses big band Motown with Jamaican pop roots, making it nearly impossible not to dance along. In their new single “Shy.” they offer an upbeat, retro tune that stays with you,  keeping you bopping around all day. This is the first single released from the band’s upcoming fourth album, and it’s filled with powerful horns, a foot-stomping beat, and soulful vocals.


    Despite its cheery, optimistic sound, the single has a rather somber story. Powerhouse singer/songwriter, Nee Nee Rushie, tells us about a love triangle, and everyone involved is too shy to communicate with each other and see their own truth. “I was trying to tell a very specific story, because I’ve written many stories that are left up to interpretation,” she elaborates, “feeling shy is an inexplicable and intriguing human behavior that most humans should be able to relate to.” “Shy” has an incredibly rich, boppy, and sweet sound that flows through you in a way that you can’t help but dance across the room. Listen to the single below or check it out through your favorite streaming platform here.

    The Big Takeover has been making a name for itself recently, sharing the stage with major acts such as The Wailers, Sister Sparrow, Jefferson Starship, and Pete Seeger. In 2018 they completed a 12-state tour and performed at Omaha’s Jazz on the Green festival.

    In addition to writing their new album, which is set to release later this year, The Big Takeover is set to appear at a number of notable music festivals this summer, including  Strangecreek in Greenfield, MA this weekend, Mountain Jam, and Musikfest. Check out the dates below to see when they’re playing near you.

    The Big Takeover Tour Dates:

    May 24 – Strangecreek Festival –  Greenfield, MA

    May 25 – Cisco Brewers – Portsmouth, NH

    May 30 – Lukin’s – Utica, NY

    May 31 – Red Square – Burlington, VT

    June 1 – Newburyport Brewing Co. – Newburyport, MA

    June 2 – Strawberry Jam – Turin, NY

    June 7 – Waterhole – Saranac Lake, NY

    June 8 – Burlington Discover Jazz – Burlington, VT

    June 9 – Earth Sky Time – Bennington, VT

    June 14 – Mountain Jam – Bethel, NY

    June 15 – Clearwater Festival – Croton On Hudson, NY  

    June 23 – Unifier Festival – Tolland, MA

    June 30 – Cisco Brewers – Nantucket, MA

    July 3 – The Promenade at Sagemore – Marlton, NJ

    July 5 – First Fee Friday Eve – Shelburne, VT

    July 6 – Dockside Park – Cold Spring, NY

    Aug. 1 – CFCU Summer Concert Series – Ithaca, NY

    Aug. 3 – Reggae Festival – Woodstock, NY

    Aug. 8 – Musikfest – Bethlehem, PA

    Sept. 7 – Drum Boogie Festival – Woodstock, NY

    Sept. 14 – Gloucester, MA @ Gloucester Harvest Fest

    Sept. 21 – B-Side Ballroom – Oneonta, NY

    Sept 28 – Canjam Festival – Pottstown, PA

  • In Focus: A Benefit for Creative Music Studio

    On Wednesday April 3 The Brooklyn Bowl played host to a Benefit for Creative Music Studio. An amazing lineup of musicians including Billy Martin, Oteil Burbridge, Joe Russo, Marshall Allen, Dave Harrington, Cyro Baptista, Jonathan Goldberg and many more paid tribute to an amazing cause with two hours of jamming – blending of many different styles of music in true fashion of the foundation. The culmination of the performance came when founder Karl Berger conducted this amazing group of musicians, just as he’s done since he began this foundation.

    Karl Berger, Ingrid Sertso and Ornette Coleman founded the Creative Music Studio in 1971. Their Goal was to establish a nonprofit organization focused on improvisation and musical cross-pollination that complemented musician’s academic studies. It’s a place where music as a universal language can be explored and expanded. The organizations main program was a place where over 500 hundred performances were recorded. Hundreds of guiding artists lived, played, and shared musical wisdom with thousands of participants many who went on to become well know musicians.

    Support more of the amazing work being done at Creative Music Studio.

  • Back to the Garden: ‘Barefoot in Babylon’ – the definitive book on Woodstock

    “Woodstock never happened – it was planned.” This phrase sums up the massive effort put into the original Woodstock music festival, and after reading Barefoot in Babylon, you’ll see how much planning, including last minute changes of venue and crises both big and small, went into making Woodstock a pinnacle event in American music history. For those who enjoy a good music festival, there is perhaps no better publication recounting the extreme detail that went into planning this generation-shaping event than Barefoot in Babylon: The Creation of the Woodstock Music Festival, 1969.

    barefoot in babylon

    In reading the 1979 history of the festival, one notices not only the culture of the late 1960s and the prevailing anti-war attitude in the nation, but also the minutia that we commonly overlook when we go to a festival.  Food, security, fences, water, stage set-up, the performers, traffic, bathrooms, medical assistance, and just the all-around aura of each festival is given a full treatment in Barefoot in Babylon.  As problems arose, sleep was lost, people ingested bad acid, a few deaths occurred, camaraderie was had between people from every part of the country, and memories were all that was taken. And a movement of music festivals around the country took on new life.

    The struggles that Woodstock Ventures had in securing the site is a recurring theme throughout the book as they are constantly told there is no room at the inn. Various townships, including Wallkill, found ways to prevent the festival from taking place with only weeks to go before fans arrived.  There is an overwhelming feeling that you are there, and can visualize every moment of the festival, how the stage slipped 6 inches during a torrential downpour, security extorting money from the festival producers, possible mass-electrocution, and the National Guard waiting on standby for what they thought would be a major health crisis.  Regardless, the festival went off, hitches and all, and the legacy of the efforts of two hippies and two businessmen culminated in a weekend we continue to experience in spirit when attending music festivals each year.

    Barefoot in Babylon is meticulously researched, with Spitz working a decade after the festival ended and working tirelessly to track down every member of the original staff that could be found. Stanley Goldstein, headhunter and campgrounds coordinator for the festival, was a major asset to Spitz, identifying and helping to connect him with staff so that he might jog their memories, and then, painstakingly, piece the stories together chronologically. Musicians including Richie Havens, Country Joe McDonald and more filled in behind the scenes details, with a full view of every detail of the planning of Woodstock extensively chronicled.

    Tracking down a copy of this book takes some effort, as the book is out of print, but online retailers have used copies for sale.  500 pages doesn’t seem like enough to tell the whole story of Woodstock from conception to cleanup, but every moment, every individual, every problem that arose – and there are so many, you’ll be shocked they pulled it off – are all documented with great precision.

    Barefoot in Babylon is written by Bob Spitz, author of The Beatles: The Biography, and whose most recent book, Reagan: An American Journey., is now available.

  • Levon Lives On: An Evening With Amy Helm and Cindy Cashdollar

    Amy Helm and Cindy Cashdollar, two heroines of Woodstock, NY, wowed a hometown crowd on Friday, February 8 at Levon Helm Studios.

    The opening act, Freddy & Francine, however, traveled from significantly farther away. An Americana couple from Nashville, they were joined by a big bassist and launched the embarkation of the evening. With only a tambourine, unplugged bass, acoustic guitar and their voices, the trio made significant ripples around the room.

    When Freddy, whose real name is Lee Ferris, spoke between songs, he sounded like a regular guy; when he sang, he sounded like a folk sensation. As they put on a moving cover of Etta James’ “I’d Rather Go Blind,” Freddy and Francine (Bianca Caruso) maintained unblinking, unyielding eye contact that was nearly blinding. 

    Amy Helm Cindy Cashdollar
    Freddy and Francine

    The energy between the couple-plus-one was palpable, their harmonies remarkably in sync. This was the first night of their ironically-titled Summer Tour and the soulful Southerners elicited excited applause.

    Amy, as she’s simply and lovingly known in Woodstock, took the stage following a break and, drum in tow, went right into a cover of her father’s “Feelin’ Good.” Levon’s voice is irreplaceable and unmistakable, but Amy has clearly inherited his amiable presence and musical aptitude – who else can sing the blues so happily? After playing a clip of Levon singing “Little Birds,” dobro maestro Cindy Cashdollar mused, “If my voice could come through half as clear as his, I’d be happy.”

    Amy Helm Cindy Cashdollar
    Amy Helm

    History seeps from the rafters of the Barn at Levon Helm Studios and, with Woodstock’s first daughter squarely in the limelight, the crowd was fully spellbound. It was fascinating to hear the folk gospel of the Mississippi sung to the staunch devotees of Levon Helm, many of whom undoubtedly witnessed him 50 years ago at Woodstock ‘69. Most of the evening’s congregation sat straight-backed, unmoving, eyes glued to the revered Ms. Helm. While I felt my limbs unable to resist involuntarily moving to the tunes, I witnessed much of the crowd sitting immobile, so engulfed by the musicians. 

    The stage was undeniably Amy’s, though Cindy Cashdollar’s genius on the strings was equally unmistakable. Whether it was the lap steel or the dobro she played, her strokes were magical. The twang she inherited from her time in Texas jived with her Northern heritage. She was, at once,  technically flawless and emotionally invested.

    Amy Helm Cindy Cashdollar
    Cindy Cashdollar (left) and Amy Helm (right)

    Between the songs, they sprinkled in the stories: life with Levon and growing up with a legend. Amy and Cindy recalled late night rambles and his infectious affability, how Levon made music look easy and made those around him sound better.  While his presence always lives on in Woodstock, his spirit was prominent this night emanating from his daughter and cascading from his disciple.

  • Sister Sparrow Shines, Dirty Birds Delight at Levon Helm Studios

    Arleigh Kincheloe, aka Sister Sparrow, mesmerized a full house at Levon Helm Studios in Woodstock Saturday night, with the Dirty Birds backing her, as she held the audience entranced, proving one’s presence can dwarf their stature. The setting, a barn-turned-showroom, was ideal as onlookers surrounded the band and Sister Sparrow’s voice reverberated majestically.

    The show, Sister Sparrow & The Dirty Birds’ second at Levon Helm Studios, was long-awaited. SS&TDB were scheduled to make their first appearance in Woodstock since 2012 last December 29. Due to illness, however, the concert was rescheduled for January 26. If good things are worth the wait, the band can be forgiven for the near-seven year hiatus; they were excellent.

    When concert-goers arrived in Woodstock, they waited a little longer for the headliner as Melanie Glenn, Mary Kenney and Allison Olender, of the band Upstate, opened with an a capella set. While they typically play with a backing band, the set highlighting the singers was apropos for the intimate Levon Helm Studios.

    The sincerity of their voices manifested in calls and responses, gospels mixed with folk, and the three young ladies had evident chemistry. Expressive and at ease on stage, each singer had her own style and personality: Glenn took the limelight at one point with an acoustic guitar and Olender later came to the front with her electric Fender. Kenney anchored the set, standing center throughout. While Sister Sparrow would come out to steal the evening, Upstate’s harmonies set the mood wonderfully.

    After a brief intermission, the Dirty Birds took the stage and, with the audience’s enthusiastic encouragement, Sister Sparrow crept up to the spotlight. With a playful look of surprise for the applause (“Who– me?”) and a shake of her long, red hair, she grabbed the mic and it was off to the races.

    She’s tiny. She’s huge. The microphone stand rivals her in stature, but Sister Sparrow’s presence is titanic. With her mother watching from the crowd and her brother Jackson supporting on the harmonica, Sister Sparrow banged her bright red tambourine, swung the mic, and belted out invigorating tunes.

    While Sister Sparrow’s stage presence is as cool as watermelon on a summer afternoon, the band, a menagerie of supporting musicians, has a full, clean rock ‘n’ roll vibe. With his shoulders curling and head nodding, drummer Dan Boyden played with a nonchalance that imbibed the spirit of Levon Helm. During a cover of Toto’s “Rosanna,”  trumpeter Phil Rodriguez and saxophonist Brian Graham turned and nodded to each other as if to say, “Yeah, we’re gettin’ it!”

    The sounds ranged from pop to folk, prominently featuring funk and soul. Sister Sparrow’s candid mien was positive and jocular, her voice captivating. The show was intimate yet energetic, and, from the beginning, there was a feel in the air that something special was taking place: refreshing music created by from experienced entertainers.

    The Barn at Levon Helm Studios had a church-like feel Saturday night. Rows of worshipers sat in awe as Sister Sparrow & The Dirty Birds held the pulpit. The music had a soul-cleansing component and the crowd was a lowercase-c catholic cluster of Dirty Bird disciples. While it was my first time attending a Sister Sparrow sermon, I most certainly hope it’s not my last.

    Sister Sparrow and the Dirty Birds

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