After being bought in 2017 by Brooklyn Sports and Entertainment and AEG Presents from long time owners the Ballingers, Webster Hall has announced the reopening of the historic New York City venue with their Spring 2019 lineup. The historic night club was closed for extensive renovations with its last show on August 9, 2018.
The Hall will reopen this Spring with a full schedule of performances, including Patti Smith, who last performed at Webster Hall on December 30, 2014. Joining the lineup for the reopening is the Chris Robinson Brotherhood, MGMT, and Sharon Van Etten among those lined up to perform. While Smith and company are the first scheduled show slated for May 1, 2019, a true reopening date and headliner have yet to be announced. For more information on the reopening of Webster Hall, visit the Hall’s website.
“Our confidence is high, we’re fresh off our third GRAMMY loss.” Joey Ryan, often the chattier of the Milk Carton Kids, greeted the audience with his characteristically dry, sharp humor as the duo made their second appearance at the historic Tarrytown Music Hall on February 24. On the heels of a long tour with a new, full group, Ryan and Kenneth Pattengale shed the larger band for a return to original form, featuring just two guitars and one microphone.
The well-crafted set contained a mix of songs, including those from 2018’s All the Things I Did and All the Things I Didn’t Do. Or, as Ryan put it to the audience, “ATTID and ATTIDD… for short.” Beginning with “Hope of a Lifetime” from 2013’s The Ash & Clay, the audience was lulled into silence by the Milk Carton Kid’s ability to envelop a space in rich, emotional soundscapes through Pattengale’s river-flow, unbounded phrasing, Ryan’s understated, sturdy rhythm and the pair’s seamless harmonies.
They then moved into “Mourning in America,” a song which captures poignant and timely modern themes. Revealing in an interview with Entertainment Voice that the song encapsulates cultural, political and personal struggles, a tear or two was spotted while the duo crooned, “I hear their cries through my window, they’re mourning again in America.”
The duo was able to shift their energy from “Snake Eyes,” the soft, weeping, ode to death which once brought a tear to Marcus Mumford’s eye, to the rousing, joyful pace of “Girls Gather Round” and “Honey, Honey.” Across each song, Pattengale’s impressive lead guitar phrasing was both technical and deeply passionate. His penchant for sweeping, single-note melodies and exploring unique sonic twists by adding out-of-the-box flats, sharps and harmonics shared a particular expressive virtuosity. All the while, his playing was threaded together by Ryan’s patient and supportive rhythmic root note picking and strumming.
Between songs, there was the schtick. Pattengale and Ryan have developed a reputation for combining music with the other aspects which make a performance so memorable — stage presence, banter, and maintaining a connection with the audience. Known for imbuing their shows with comedic tangents, their special chemistry in which they play off Ryan’s cool, confident sarcasm and Pattengale’s charming, observational wit had the audience laughing often.
This particular show included Ryan instructing the audience to put their hands up as he shared plans to include more hip-hop elements into their music (news to Pattengale), a conclusion to the tomato fruit vs. vegetable conundrum, and a particular exchange with a member of the audience accompanied by a service dog. Upon learning the dog’s name was “Daniel,” Pattengale quipped, “What’s your son’s name, Spot?”
Not that they didn’t have touching, tender moments. After sharing Pattengale’s recent journey in which he successfully persevered through a cancer diagnosis and long-term relationship break-up, Ryan softly suggested, “Let’s play your cancer song,” as they transitioned into “Sea of Roses.”
The duo is supported on tour by Vera Sola, an American/Canadian singer-songwriter, poet and multi instrumentalist who delivered a passionate and powerful opening performance, drawing from the moody, fingerpicking veins of Leonard Cohen. Sharing songs from her 2018 debut release, Shades, Vera Sola stunned the audience with strong, feverish storytelling supported by her unique voice which exhibited such a smokey, precise vibrato that it almost seemed like the microphone turned on and off every other second.
The duo ended the night with an encore cover of Pink Floyd’s “Wish You Were Here.” Part of the reason the Milk Carton Kids are so enjoyable to see time after time is due to the earnestness in their desire to provide the audience with a complete experience, without asking for much in return. The only thing The Milk Carton Kids want you to do is listen, and maybe laugh, as they put everything, music and self, on display.
Catch the Milk Carton Kids in New York again later in their tour. For the first time, they’ll also be working with Music Masters Camps by hosting their own summer music retreat and workshop series. Learn more about Sad Songs Summer Camp.
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.”
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 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
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
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
The Great South Bay Music Festival is one of Long Island’s longest running music and arts festivals and have just released their lineup. Long Island’s own Taking Back Sunday kicks off the festival with Glassjaw returning as well. These two bands will be joined by ten other artists on two different stages.
Supporting are Scranton rockers, The Menzingers, and ex-My Chemical Romance and Leathermouth guitarist Frank Iero with his new band, frank iero & the future violents.
Headlining Friday is genre hopping reggae rockers, Slightly Stoopid, along with Sublime with Rome, SOJA and Common Kings.
Saturday and Sunday fest lineup announcements are upcoming, promising to serve up more classic and contemporary rock, roots, jam and Americana. This should be coming in the next week or so.
Celebrating its 13th. Anniversary, the four-day Great South Bay Music Festival runs from July 18, through July 21, and will feature a lineup of over 65 performers on four stages, in classic and contemporary rock, punk, indie, jam-band, reggae, and funk genres. The fest will boast multiple craft beer and wine tents, an artisan and craft market, and food court offering a diverse gourmet menu of funky and healthy fare.
Tickets for Taking Back Sunday, Glassjaw, The Menzingers and frank iero & the future violents are on sale to now.Ticket price includes all concerts and entertainment. Food & beverages not included. Children ten and under are free, except for the Sunday children’s concert
Festival Times
Thursday, July 18: Doors are at 3:30 p.m until 10 p.m.
Friday, July 19: Doors are at 4:00 p.m., until 11 p.m.
Saturday, July 20: Doors are at 1:00 p.m. until 11 p.m.
Sunday July 21: 11:00 a.m. doors for Great South Bay’s annual Kids Concert
Sunday Regular Fest Ticket holders: 1:30 doors until 10 p.m.
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.
As 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.”
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.
Pink Talking Fish has teamed up with the Big Apple Circus to create a new concept called Junta Circus, celebrating Phish’s album Junta, and are bringing the circus to the Capitol Theatre on Saturday, February 23. Greg Ormont from Pigeons Playing Ping Pong has been recruited as ringmaster. The show will feature circus acts both on and off stage. Who better to lead the wacky circus than Scrambled Greg?
Pink Talking Fish celebrates the music of Pink Floyd, Talking Heads, and Phish all on one stage. They have already played two concept shows at The Capitol Theatre, one for “The Wall” and another for “Stop Making Sense.” The energy, artistry, and improvisation are incredible at these shows, and, undoubtedly, they will pull out all the stops to provide a once-in-a-lifetime spectacle. Like other shows, this will be one long marathon set, so you better get ready.
The New Year’s Eve performance from Phish, featuring several suspended aerialists flying around the band, seems like it may have inspired this show even though it was announced before Phish’s New Year’s run. Junta features Phish classics like “You Enjoy Myself,” “Dinner and a Movie,” “Divided Sky,” “David Bowie,” “Fluffhead,” “Sanity,” “Contact,” “Icculus” and more. Some of those feature masterful composition with parts that are difficult to play, so the musicians of “Junta Circus” certainly have their work cut out for them.
Pink Talking Fish team up with Start Making Sense and the ladies of Turkuaz for one of their concept shows at the Capitol Theatre.
On Sunday, February 17, St. Paul & The Broken Bones made their Port Chester debut at the historic Capitol Theatre. Led by the incredible vocalist Paul Janeway the Alabama rock and soul band weaved in out of their original catalog, blessing the audience with amazing versions of “Flow With It” and “Apollo.” The 8-piece soul outfit was in top form preparing for an upcoming performance on Late Night With Seth Meyers. There is something about sweet soul music, having a tight band and a lead singer that makes all the hairs on your body stand with every high note hit. It’s awesome to see good music thrive, and I can’t wait to see what comes next for St. Paul & The Broken Bones.
Setlist: LivWithOutU, Flow With It (You Got Me Feeling Like), All I Ever Wonder, Like a Mighty River, Grass Is Greener, Band Instrumental (with So Fresh, So Clean by Outkast), Mr. Invisible, Convex, NASA, GotItBad Band Instrumental, Apollo, Bruised Fruit
After a raging three night run at Brooklyn Steel Umphrey’s McGee bassist Ryan Stasik brought his new band Doom Flamingo to The Brooklyn Bowl for a late night dance party. Fronted by the dynamic and tantalizing Kanika Moore, her soulful vocals accompanied by rolling bass line, broad horns, and an eerie darksynth soundscape set the night into hyper drive. Doom spent the night weaving through original material and covers including ZZ Tops Legs, the 80’s classic Maniac, and Nine Inch Nails Closer. Support this awesome new band and be on the look out for new singles as they are released.
Setlist: Moonroller, Hot Wheels, F-16, Love On Hold, Replicant (new song debut), Telepathy>jam>Domingo’s Drive, Across The Room, Legs, Maniac, Runaway.
“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.
As 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.
