NYS Music 20​19

Category: Uncategorized

  • Jackson Browne and Lucius Bring Classic and Indie Rock Together at SPAC

    It was a humid Friday night in Saratoga Springs, where people of all ages were buzzing in anticipation for a throwback experience from singer/songwriter Jackson Browne at the Saratoga Performing Arts Center. “Have you seen him before?” was one of the questions floating around the amphitheater and the responses varied from person to person. Many different dates of shows spanning from the early ’70s and onward came from the mouths of dedicated fans, proving the long-lasting impact Browne has had in his career. The show started right on time at 7:30 p.m. with the Brooklyn-born indie pop band Lucius.

    Jackson Browne
    Photography:  Carl Scheffel

    Lucius opened the show with a chilling a capella rendition of “A Dream is a Wish Your Heart Makes” with the women fronting the band wearing matching red ponchos and body glitter on their faces and palms. Jess Wolfe and Holly Laessig stood around one microphone at center stage facing each other and immediately caught the attention of the crowd with their powerhouse harmonies. Though the stage setup allowed for the singers to be intimate and have a clear way to communicate cues for each other, it took away from the audience engagement and closed off a relationship fans desire from a live performance. The one microphone did aide the duo in creating a fading or floating audio and visual effect during their last song  “Woman” which played with the depth of the dynamics of the song nicely. The show heavily featured the two fronting ladies, however, the group consisted of three other band members playing their share of instruments, swapping between percussion and guitar frequently. Jackson Browne joined them in the middle of their half hour set to perform “Willin’,” entrancing the amphitheater with their three-part harmonies. Lucius released a compilation album of their back catalog, new songs, and a duet with Roger Waters in 2018 called Nudes. 

    Loud cheers from women and men alike echoed through the walls of SPAC when Jackson Browne and his band took the stage to close out the show with an impressive two hour set. Browne’s performance was filled with many of his classics that were easy to sing and dance along to even if you didn’t know the words. “Take It Easy,” which Browne co-wrote with The Eagles, was the second song in the more than 20-song set and it brought everyone to their feet. Browne’s easy-going vibe on stage seemed to take the edge off the heat and provided a relaxing atmosphere after the excitement of the 4th of July the day before. Browne joked about his age after there was a guitar mix up, saying to the stagehand, “I think you brought me the wrong guitar,” followed by the stagehand coming back out with the supposed right guitar and a sense of confusion. After a few seconds of conversation and bending down to read the setlist, Browne admitted that he was wrong and that he should have brought his glasses with him on stage. Many of Jackson Browne’s songs relate to immigration and issues that America deals with today. He played songs such as “Walls and Doors” that was written by Cuban singer/songwriter Carlos Varela and “Lives in the Balance” which were both in reference to South America and its culture. “Lives in the Balance” featured a very soulful performance from one of Browne’s backup singers, Chavonne Stewart, whose beautiful voice brought new life to an old classic. Lucius came out to help Browne on the last four songs and it was the perfect climax of vocal harmony and instrumental genius. The two acts were clearly very close and the respect and love for one another made for a really enjoyable performance. 

    Jackson Browne
    Photography:  Carl Scheffel

    Lucius setlist: A Dream Is a Wish Your Heart Makes (Ilene Woods cover), Tempest, Right Down the Line (Gerry Rafferty cover), Something About You, Go Home, Turn It Around, Willin’ (Little Feat cover), Two of Us On the Run, Woman

    Jackson Browne setlist: I’m Alive, Take It Easy, The Pretender, Enough of the Night, The Long Way Around, Tender Is the Night, You Love the Thunder, These Days, Mohammed Radio (Warren Zevon cover), The Dreamer, Lives in the Balance, Walls and Doors (Carlos Varela cover), Doctor My Eyes, Somebody’s Baby, I’ll Do Anything, In the Shape of a Heart, Running on Empty, Dusty Trails (Lucius cover), City of Immigrants (Steve Earle cover), I Am a Patriot (Little Steven cover)
    Encore: The Waiting (Tom Petty and the Heartbreakers cover) 

  • RATT Rocks the Skyloft

    RATT’s In Your Direction Tour made its eighth stop of the 17-show tour at the dazzling new Skyloft in Albany, NY on Friday, July 5 and did not disappoint. Rumors were swirling, claiming the show might be canceled due to poor ticket sales, but there was no evidence of that. The Skyloft, the new venue at Crossgates Mall in Albany, NY was packed with cheering fans. The volume was loud, and the vibe was energetic.

    The crowd was pumped when the first notes of the opening song “In Your Direction” rang out. Without a break, the band then went into and wailed on “Wanted Man.” The show came to a close with the wildly anticipated “Round and Round.” See the complete setlist below.

    Stephen Pearcy of RATT

    Perhaps the band is falling into place with the new members, now that they have played half of their tour. Things will only get better so check their website for upcoming shows and cities.

    https://www.therattpack.com/


    Setlist: In Your Direction, Wanted Man, Dangerous But Worth the Risk, You Think You’re Tough, Walkin’ the Dog, Way Cool Jr., I’m Insane, Lack of Communication, Lay it Down, You’re In Love, Lovin’ You’s a Dirty Job, Slip of the Lip, Nobody Rides for Free, Body Talk, Back for More, and closed out with the fans wildly anticipated Round and Round


    Ratt consists of lead vocalist Stephen Pearcy, bassist Juan Croucier and “new breed” members — drummer Pete Holmes (Black ‘N Blue), and guitarists Jordan Ziff (Razer) and Chris Sanders (Britny Fox, Knight Fury)

    Chris Sanders
    Jordan Ziff
    Stephen Pearcy

    Juan Croucier

    Pete Homes
    Pete Homes

  • A Trip through 1969 with Author Sea Gudinski

    Each new day is carved under the shadow of yesterday in the light of our hope for tomorrow. Our environment, society, and culture are forged and shaped by memories, some more recent than others. In 1969, I lifted a single snapshot out of the photo album of time, one that depicts a critical juncture in the world’s recent past.

    Sea Gudinski

    Music is a medium that transcends time, culture and the stories kept – then transformed into song. The crossroads of 1969, music, pop-culture and the political climate grew into a timeless entity for millions – in particular Woodstock. A lifetime spent obsessing over every minute detail of the era would still not prepare you for what author, Sea Gudinski has done with her first novel, 1969: A Brief and Beautiful Trip Back. The high school graduate opted out of college, and in result, this book appears inevitable from her birth. 

    Both Gudinski’s parents lived through the 1960’s; her father was a veteran, musician and immersed in the counterculture of that time. In fact, the 1969 Woodstock experience was “an event that he felt dramatically influenced his life,” said Gudinski in an article by Susan Murphy (seagudinski.com). But how can a young author depict events decades before her time? Perhaps, her parents and surroundings sparked the flame, but six years of calculated, and frankly impressive, research led to all 569 pages appearing in print. It is something your high school curriculum of Jack Kerouac’s On The Road, or Tom Wolfe’s The Electric Kool-Aid Acid Test could not prepare you for. Gudinski was lost in an era, between the pages, and soon, you will be too.

    1969: A Brief and Beautiful Trip Back begins behind the eyes of  the naïve Rhiannon Karlson, a female drummer, dreamer and typical-teenager. In the first few pages Karlson lost herself in a dream amongst the Fresno heat. My daydreams always begin with a drumbeat: slow, concise–like a heartbeat manifesting the imagery I conjure up into the realm of reality. At first, that is all I hear–my drumbeat–and then quickly, quietly, the rest of the band begins to fade in. 

    Gudinski overloads the readers stimulus with the precise details and feelings of each object, and character. Tangents on the soup-like air, introspective assumptions of her friends thoughts, and the powder-blue bubble letters on her band’s flyer seem unnecessary or irrelevant. However, the reader soon will lose sight of the words and become lost, dead-center of Karlson’s world. These details paint a tapestry of emotion as they reel on vividly in your mind – the key that will soon unlock Karlson’s world, and yours. 

    Desperate to land a record deal with her band, The Descendants, Karlson is a music-junkie through-and -through, that is, when she is not bickering with her mother. The clash drives Karlson to take a magical crystal substance out of a pink baggie. A silver pipe ‘intricately decorated with motifs that had been rubbed smooth from use,’ sparks Karlson’s imagination as to who used it before her; and where it had taken them. Rightfully so, she is swept up in a dream. For the reader it is hard to differentiate between Karlson’s daydream, a trip or reality. Gudinski does a beautiful job creating a fervor in the hearts of each reader for what is to come. And down the rabbithole we go.

    A specially curated playlist highlighting the music of Gudinski’s novel.

    For NYS Music fans, and musicians alike, 1969: A Brief and Beautiful Trip Back delves into the greats: Janis Joplin, Hendrix, the Grateful Dead, The Beatles, Clapton and more. Hints of Karlson’s musical quest mirrors that of the musicians she idolized and tastefully sounds an era that undeniably shaped the industry for the better.

    Gudinski is passionate and unyielding in her quest to turn ever pebble in the sea of 1969. Nothing goes unnoticed and is explored through a kaleidoscope, ever-changing and beautiful. This book is great for anyone curious – a young teenager, aspiring musician or someone who wants to relive their formative years in the 60’s. It is relatable and enjoyable to the masses. 

    Although,  it would be interesting to debate the thoughts of those who shaped the 1960’s counterculture against Gudinski’s work. All of which would seamlessly collide.

    Not only did the popular books on 1960’s counterculture and beat movement shape Gudinski’s novel, but also films: Michael Wadleigh’s 1970 documentary, Woodstock; Easy Rider (1969); Twilight Zone; and Authors: William Brautigian, Michael McClure, Horatio Alger and more. Remarkably, 1969 hinges on the personal encounters and stories of Gudinski’s loved ones and peers – which makes each page so addictive.

    Although this is Gudinski’s first published work, she has written a total of six books. An impressive debut novel only begs the question: what will Gudinski reach for next? When? Looking up at the stars, limits simply do not exist for the creative mind of Sea Gudinski.

  • Chris Fisher and Conehead Buddha Gifts Hometown Reunion

    Virginia, there is a Santa Claus; and he has granted all of the good and bad children of the Capital District a very precious present, a Conehead Buddha reunion show! A night filled with frolicking funk and ska that only this classic jam band, formed in the mid-90’s, can provide. Conehead Buddha, once a mainstay of the NYS music scene, will be reuniting for a once in a lifetime spectacle at The Marble Rock House located in Leeds, NY on Saturday July 13 at 9PM. The musical establishment is co-owned by Neil Murphy and long time Conehead Buddha Trumpet player, Terry Lynch, so it will definitely be a hometown performance with their loyal fans in attendance.

    Chris Fisher Conehead Buddha

    Founder of Conehead Buddha and front-man Chris Fisher has traveled back to New York State from his new home base of Brentwood, Tennessee, and along with Lynch they have organized a gathering of Conehead Buddha members, from various iterations of the band’s lineup throughout their 25 year + run. A notable exception to the band’s roster will be the absence of longtime Buddha saxophonist Shannon Lynch whose indelible presence will be missed. Her duties will be expertly filled by Neal Spitzer, who is also a Conehead Buddha alumni.

    The night will be a retrospective of Buddha’s extensive catalog mined from their six LP’s of original material released over the years. Tickets are $15.00 and are expected to sell out for the show, so make sure to purchase them prior at the Marble Rock House website.

  • Vans Warped Tour: Sunday on the Beach

    The sun was hot, quickly rolling into sets, swimming and hanging at the beach with friends. The pressure of squeezing so many good bands into a single Sunday of Vans Warped Tour grew daunting, but others vibed out. Nearly every band was packed – both Full Sail and Blackcraft stages shared adjoining beach and in the end, the mass of people merged as if they were one. 

    California’s Atreyu took Van’s “Off The Wall” mainstage at doors. Over the past 15 years the band, who has preserved a near original lineup, pulled out all the stops from favorites “Becoming The Bull” and their cover of Bon Jovi’s “You Give Love a Bad Name,” with a metal twist, of course. 

    Guitarist Travis Miguel in his comfort zone. Photo by Chuck DeFilippo.

    Guitarist, Travis Miguel, was hyped on the gig. “It’s not every day that you literally get to play on the beach. Usually when you’re at a big festival like this, nine times out of ten it’s in the middle of nowhere in some field. It’s nice to see the Atlantic Ocean from the stage.” This energy and consciousness allowed longtime brotherhood to shine though in the delivery of their material from intense oldies like “Blow” or the more cinematic “House Of Gold,” from their latest album, In Our Wake.

    “Vans Warped Tour is pretty surreal; I remember my first Warped Tour was 1998 and Deftones played, CIV and Rancid. Incubus played on this little flatbed-truck-stage before anyone knew who they were. It was a long day, I remember getting sunburnt and the Deftones went on – everyone lost their minds in a dirt field in Orange County. It was gross, pulling dirt buggers out for two days and beign sunstruck… but with that being said I had the fucking time of my life,” said Miguel.

    “I’ve gone to Warped Tours since then, but in 2005 we actually played and that was surreal because not long before that – I was the kid going to Warped Tour having the time of my life. To be asked to play the 25th Anniversary is cool because it is like bringing back old memories: seeing crew people, friends I haven’t seen in years, and you pick up right where you left off. It’s sensory overload because there’s so much going around: press, a half pipe out there, a human cannonball, music everywhere – it’s a fun day for sure.”

    Travis Miguel, Atreyu.

    “Now that I’m older, looking back, it’s safe to say that everybody in the band’s view is: we’re extremely lucky to be doing this. We don’t take it for granted. There’s a lot of bands we came up with back in the day that are long gone and the fact that we still get to do this, essentially the same five members for 15 years…I’m definitely proud of that.”

    Atreyu embodies the morals of Warped, fans and crew alike. “We’ve all seen each other at our best and our worst. It’s very much a brotherly relationship between the five of us: we get on each others nerves just as much as actual brothers would, I’ve been in two of their weddings and we’ve been apart of each other’s big life moments. It’s definitely a family vibe,” said Miguuel.

    Sunday kicked in, full force from the start, making it difficult to navigate through all the great bands playing. The beaches were packed – a sea of people relaxing or constantly shifting from stage to stage. Mid-afternoon highlights included Circa Survive frontman, Anthony Green, crowd-surfing his way from the mainstage into the Atlantic. 

    Punk-rockers, Keep Flying, dominated the Monster Energy stage early on in the day with their addictive horn lines and heart-racing tempos. The sextet blew up at last years Warped Tour, and if you didn’t know any better, you would think they had been there from the start. They controlled the crowd with showstopper “I Always Knew,” both visually and musically overstimulating. Not to mention the electrifying horn section, intricate harmony and energy from each member. 

    Keep Flying, dominating the Monster stage with furious drums, punk-horns and electricity.

    The day carried on with Worcester, MA veterans, Four Year Strong. Contrasted by their laid back vibe and over-familiarity with Vans Warped Tour, the four piece pulled out all the stops. Opening with “Heroes Get Remembered, Legends Never Die,” FYS set the bar with signature double-bass, dueling-guitar and dueling-vocal exchanges. The crowd was absolutely insane.

    There was just too much to digest: Big D and the Kids Table, Dirty Heads, The Used and Bowling For Soup – but the day rolled on. The Skatalites changed the pace on The Blackcraft Stage with authentic reggae flare. As the sun set and punk-rockers grew tired, a solid crowd swayed for Kingston, Jamaica’s finest. Atlantic City was blessed by none other than “The Queen of Ska,” Doreen Shaffer, who soulfully harmonized with the band. Born in the 1940’s, Shaffer filled the crowd with a youthful energy, and soul.

    NYS’ Zach Belfer capturing the Vans crowd in full force. Check out the full photo gallery.

    Cusped between electronic, pop and rock genres, Andy Black turned heads for unfamiliar listeners, drawing them to the Monster Energy stage as they passed on the beach. His most explicit example, the album titled track “Ghost Of Ohio” fuses these elements into something obscure and refreshing. Fans of any taste can harmonize with his energy and showmanship. 

    Taking Back Sunday warmed up the main stage for Warped closers’ Blink-182 with driving tracks like “What It Feels Like To Be A Ghost,” while lead Adam Lazzara strut the entire length of the stage, twirling his microphone like a noose. Later in the evening, ska legends, Reel Big Fish, drew attention from the Full Sail stage as the crowd shifted angles to The Blackcraft stage for an epic RBF Set. Kicking of the set with “Asshole,” turning backstage into a skank-inspired dance party. 

    Vans Warped Tour did an amazing job attending to sparse incidents in the pits or those who needed medical attention. Surrounded in a mosh-pit or relaxing by the beach was one in the same, because everyone truly had each other’s backs. The mass of Vans Warped Tour cannot be defeated, as we all plead for another year. 

    Reel Big Fish skank-party as the sun set on the Atlantic.

    Interviews with Atreyu, Matt Butler, Kaleido and Shiragirl spoke on behalf of the festival as a whole: its status, impact, family vibe and overall positivity. Regardless of why you were there, who you were with and who you saw, Vans Warped Tour’s 25th Anniversary Tour was the necessary cap to years past.

    Check out Saturday’s Warped Tour Coverage and Interviews Here

    “It’s amazing to see how the tour has grown and affected so many people,” said Brooklyn’s Shiragirl. “To be apart of this is a huge honor – there are so many amazing bands. We are super stoked to be apart of the final chapter. Last year we were lucky enough to bring back the stage for the final full cross country tour. I just have nothing but great things to say about Kevin Lymann. I wanna be like him when I grow up.”

    Stay Tuned for the full Post Warped Tour interview with Shiragirl.

    Reminisce with highlights from the bands of Vans 25th Anniversary Warped Tour.

  • Lil Wayne and Blink-182 immerse New York State in an Enema

    SPAC’s jam-packed July schedule kicked off Monday night with Blink-182 and Lil Wayne coming into town.  The contrasting styles of the iconic pop-punk band and hip-hop legend, Lil Wayne, made the night all the more interesting, bringing in thousands of fans from each performer. Blink-182 is celebrating the 20 year anniversary of their most notorious album, Enema of the State.

    Lil Wayne and Blink-182

    The night kicked off with Welsh punk band Neck Deep.  After their brief, eight song set, there was a 15 minute turn-around before Lil Wayne emerged from the giant Young Money logo at the center of the stage accompanied by a 4-piece rock band. The set was filled with impressive raps with a voice that is identifiable to only as Lil Wayne, solos you wouldn’t see at most hip-hop shows and an audience that was shouting out every bar through the hour long set. However, Lil Wayne never made the night about himself, constantly shouting out his band, fellow rappers and showing love to his loyal fans.

    Lil Wayne and Blink-182

    The intermission between Lil Wayne and Blink-182 was cut off when all the house lights came down and the voice of Jules Winnfield (Samuel L. Jackson) came over the speakers reciting the now iconic Ezekiel 25:17 from Pulp Fiction.  The moment at the end of the passage when the gunshot a fired, the lights shot on and Blink-182 began playing “Dumpweed,” the first song from Enema of the State. The band played the album straight through, as they have at each show throughout this tour. The album is one of the genre’s greatest, including hits such as “All The Small Things,” “What’s My Age Again?,” and “Adam’s Song.” After playing the record in its entirety, Mark Hoppus (bass) came out into the crowd and played a brief acoustic set. Following this, the band paid tribute to Nipsey Hussle, a rapper who tragically passed away earlier this year.

    Travis Barker and his drum set were encapsulated by a spherical cage.  Barker proceeded to play a two-minute solo and began spinning and flipping in the sphere, accompanied by a mini light show.  Blink-182 finished off the night with a few more of their hits, including “I Miss You” and “The Rock Show, before finally closing the show with “Dammit.” Blink-182 brought the same energy they’ve been showcasing for over 25 years, the same energy their fans have come to know and love.

  • This is what SPAC Sounds Like – Phish returns to Saratoga Springs

    With a summer tour progressing steadily along, and each subsequent venue seemingly raising the bar higher at each stop, expectations for the upcoming set of Phish shows at Saratoga Performing Arts Center were at a fever pitch. The band never seems to disappoint at this classic Upstate NY shed, showing us this is what SPAC sounds like when the boys from Vermont come to town. Coming off of three stellar shows in Camden, marked with a notably missing “Tweezer Reprise” from the final night, expectations about the SPAC opener (and rest of the show) were rampant and lofty.

    what SPAC sounds like
    Photo by Dave Decrescente

    In vintage Phish fashion, the band bypassed the “Tweezer Reprise” opener many expected to happen as a nod to the unfinished business in Camden and replaced it with a first-time-played cover of The Everly Brothers’ “Cathy’s Clown,” leading to a confusing and somewhat mellow start. Afterwards, the expected “Reprise” was delivered in full force which fired up the crowd instantly and began a long stretch of high energy rock anthems, including “Carini,” a song that’s already opened two previous shows this tour. A silky smooth transition of funk from “AC/DC Bag” to “The Moma Dance” then followed before a mid set “Theme From the Bottom” that served as a respite of sorts. A rare performance of “Home” was a welcome surprise in the first set and set the waves in motion for the powerful “Bathtub Gin” that followed. That would have been more than sufficient for a complete first set, but Phish had other ideas and tacked on the perennial “Walls of the Cave” set closer in typical high octane, raucous fashion.

    what SPAC sounds like
    Photo by Dave Decrescente

    After a brief “Cool Amber and Mercury” to open Set 2, Mike Gordon provided the opening bass slaps to “Down with Disease” and with that we were off and running with a 21 minute gem of a jam. This instant classic found its way into the full “Scents and Subtle Sounds,” complete with intro which was soundchecked earlier that night, then dipped into “Twist” to continue a set of deep exploration. From there, the energy was sustained with “Wilson” > “Scent of a Mule” and “Fuck Your Face,” before a mild breather in the form of “Halley’s Comet.” The set closed out with a “Harry Hood” that closed out yet another Phish set that sustained the all killer/no filler trend that has been steady since Camden.

    For the encore, much discussion led to Fishman tapping the kick drum to signal the start of “Fee,” which found Trey having megaphone issues but still pushed through with the help of the audience. “A Life Beyond a Dream” from Ghosts of the Forest, built up towards a pleasant landing ground, and after slight discussion, Phish wrapped up their second 3-song encore in a row with “First Tube.” Trey ran around the and marched from stage left to stage right hamming it up with the fans as he burned through the pinnacle show closer.

    what SPAC sounds like
    Photo by Dave Decrescente

    Setlist via Phish.net

    Soundcheck: Home, A Life Beyond a Dream, Scents and Subtle Sounds (intro)

    SET 1: Cathy’s Clown[1], Tweezer Reprise > Carini > AC/DC Bag > The Moma Dance > Theme From the Bottom, Meat, Home > Bathtub Gin > Walls of the Cave

    SET 2: Cool Amber and Mercury > Down with Disease[2] > Scents and Subtle Sounds > Twist > Wilson > Scent of a Mule[3], Fuck Your Face > Halley’s Comet > Harry Hood

    ENCORE: Fee, A Life Beyond The Dream, First Tube

  • Joywave Captivates Hometown Crowd at Premier of The Possession Sessions

    Joywave made their triumphant return to the Bug Jar on June 29, their first headlining show there in four years. The performance, the first in their intimate The Possession Sessions series, sold out in 45 minutes. A second set was added later in the evening, which also sold out.

    The excitement was palpable on Saturday evening as fans lined up around the corner to get inside. Most were die-hard fans, longtime supporters of their hometown heroes, with a light sprinkling of first-time show goers. 

    The Possession Sessions

    There were no support acts on this show. Joywave took to the stage and started off the night with the live debut of their new release “Like A Kennedy.” The audience stood in rapt attention during the heartfelt anthem. “My TV’s talking to itself again. Do we shoot ‘em all dead? Or should we let ‘em all in?” Daniel Armbruster pondered in this poignant, introspective song about media burnout. 

    The Possession Sessions

    The crowd went wild when they launched into “Blastoffff.” Despite the heat of the midsummer day and the sweltering stagnant air in the venue, the band was wearing coordinating track suits – all in white except Daniel’s red pants. Drummer Paul Brenner went at the kit so hard that he cut his thumb, splattering blood onto his outfit. Rounding out the alt rock quintet were Joseph Morinelli (guitar), Kevin Mahoney (bass) and Benjamin Bailey (keyboards and guitar).

    The Possession Sessions

    Armbruster used every inch available of the stage (even when the corners made his mic squeak). His hand movements and sweeping arm gestures whipped the audience into a frenzy as he worked the crowd the way a conductor leads an orchestra. Mid-set, they shared another new song – never before heard by fans. “Obsession” is aptly named. Immediately, we were infatuated with the song’s fixating beat and twinkly synth interlude. 

    Between songs, Armbruster filled in the audience on recent events, announcing that they just flew in late the night before from filming a new video, dropping the bomb that The Possession Sessions is so named because it’s a reference to the name of an LP, and that the full length album would be out next year. To this last bit of info, some impatient fans expressed their discontent, in the Bug Jar tradition of good-natured heckling. “Are you booing me?” Armbruster shot back incredulously. 

    Everyone was singing along to crowd favorites like “Parade” and “Traveling at the Speed of Light,” but not as many people were familiar with the words to “True Grit.” The song from their 2012 EP Koda Vista hasn’t been played live often in the past few years. Just before starting “Content,” Armbruster asked the guys in the booth to make the next one “extra spooky.” They delivered an amazing light show, cranking the strobes during the breakdown. It feel like we were in the midst of a stop-motion video. 

    An avid supporter of the hometown music scene, Armbruster encouraged the crowd to continue to come out to see live music and to support other local musicians and acts, like Ishmael Raps, The Demos, Mikaela Davis, and Maybird. (Fun fact: Armbruster recently produced The Demos’ latest EP If You Only Knew.)

    The rest of the show ran together as the adrenaline hit full force. The camera got packed away, and I let myself get swept up in the waves of euphoria. Fellow Rochesterians, friends old and new, jumped up and down and sang along to beloved Joywave hits in unison. The show culminated in a finale featuring “Tongues” and “Destruction.” With a final wave, they made their exit.

    The outro playing as people reluctantly shuffled out was the recorded version of two of the songs off the new album, including “Obsession.”  Remnants of items from their last album Content were on sale by the door and people were glad to help clear out the inventory to make way for merch promoting the new album. 

    A second set (also sold out) was slated to start later that evening. The Possession Sessions will also be held in LA on July 9 (sold out), July 11 in Brooklyn (sold out), and November 20 in London. Joywave is also on the bill for several summer festivals throughout the US. Information and tickets are available at JoywaveMusic.com.

    Setlist: Like A Kennedy, Blastofff, Somebody New, It’s A Trip, Obsession, Parade, Traveling at the Speed of Light, True Grit, Now, Content, Shutdown, Doubt, Nice House, Tongues, Destruction

  • Live Nation Buys Out Superfly’s Bonnaroo

    Next year will see a new Bonnaroo as the festival changes hands from Superfly, who founded the festival back in 2002, to Live Nation. Back in 2015, Live Nation bought a controlling stake in the festival, and Superfly’s influence in the festival has since dwindled. According to Billboard, Live Nation told minority owners in Bonnaroo that it plans to exercise a buyout clause in the 2015 agreement to purchase the rest of the festival, effectively ending Superfly’s role as the festival’s producer.

    Read Part One Of NYS Musics’ Bonnaroo Coverage

    When the festival started, the lineup mainly consisted of jam bands, but eventually started expanding into a variety of genres. Bonnaroo took place on June 13-16 this year, and headliners of the sold out festival included Phish, Childish Gambino, Post Malone, Odesza, and The Lumineers.

    Superfly will continue to be owners and operators of other events like Clusterfest and Outside Lands, both taking place in California. A joint venture with Comedy Central, Clusterfest, brings together music and comedy. With three nights of live comedy acts, live music with ridiculous themed dance parties, recreations of iconic television sets, and hilariously themed food and drink, the festival creates a new way to experience comedy. Outside Lands is a San Fransisco cultural experience featuring an eclectic line up of live music, show cases of the Bay Area’s finest artists, and a unique GastroMagic experience where chefs pair up with musicians and comedians to put on whimsical and unpredictable performances.

    Read Part Two Of NYS Musics’ Bonnaroo Coverage

  • GEM Fest celebrates Glens Falls’ wide-ranging Arts Scene

    Glens Falls will become a mecca for the arts, with the return of the 4th annual GEM Fest on July 26 and 27. The Glens Falls Entertainment and Music Festival brings together bands from across the greater Glens Falls area, as well as national acts, and combines comedy, live art, film, theater, photography and more at venues around Glens Falls for a FREE two-day event.

    gem fest

    The focus on the arts started when Brian Michael visited Gugs in April of 2016. “Gugs is the central venue in Glens Falls where a ton of bands were just starting to cut their teeth at the time – Candy Ambulance, Joe Mansman, William Hale, Asa Morris and The Mess, among others. Mike Rios put together an open mic night on Thursdays, but Gugs was only open from Thanksgiving Eve until April 20,” said Michael, GEM Fest Director. So with the venue closing for the season, and there being very few places in the city of Glens Falls for live music, Brian and Joe Mansman had an idea to hold a Venue Festival in Glens Falls, where venues would host music throughout the day.

    The organizers went to the owner of Mean Max Brewing and asked to back him on the festival concept. That led to the owner of 190 Grill and Cinema (now the Downtown Social) getting on board as well. From there, GEM Fest was born and the event became a one-day street fest in the Summer of 2016, which was entirely free to the public. It featured a art gallery presentation at the two venues, and several local bands.

    gem fest

    From there, a team effort has helped bring GEM Fest for four consecutive years. Local venues are on board, and local businesses see better business on the day of GEM Fest than they do any other day of the year, according to Michael. With the help of Candice Frye, the Executive Director of LARAC (Lower Adirondack Regional Arts Council), which supports the in Warren and Washington counties, Brian was able to secure grant funding. The ever growing event received maximum funding for this year, and with sponsors on board, the fest remains free for the fourth year in a row, accessible for everyone who wants to attend.

    The impact of GEM Fest can be seen already. In 2016, there was one venue in town with regular music, plus Gugs was only open part of the year. Now, in 2019, there are four venues that book bands on a regular basis, with a fifth soon to open. Michael says of this development, “GEM Fest helped clue the local businesses in on the music in the region, and certain niche markets – Helping to elevate the visibility of the music & arts in our city. The integration of this festival into an organization called Art in the Public Eye has also further solidified our commitment to creating platforms for local / and now regional musicians – as well as many other forms of art – to be seen and heard in the heart of Hometown USA.”

    Since 2016, GEM Fest brings an immense crowd out in support of the arts, with a benefit to local businesses, who are patronized by those who attend. The direct support of local businesses is supplemented by the careful selection of craft vendors – while encouraging patrons to eat and drink at local businesses, due to a markedly low acceptance of food type vending.

    gem fest

    Thanks to grants and sponsors, GEM Fest is 99% free, with a fee charged only for the comedy shows each day. Since events are free, venues don’t sell out, although last year three venues reached capacity, a sign of growth after only three years of GEM Fest. In order to bring fans out, Michael says GEM Fest “keeps a high level of integrity, adding the best local musicians and a few national headliners. Getting the local support and financial backing is key to maintaining the fest, and we’re glad to have that for four years now. We are a destination event and it helps grow the scene and throws art in the public eye.”

    There is history in the area as well, as plenty of art to be found that GEM Fest has brought greater attention to. The Hyde Collection, which includes work by Rembrandt, Picasso and Edward Hopper, is one of the greatest collections of art in the 518. The Park Theater has recently undergone a $13 million dollar renovation, and the Charles R. Wood Theater in downtown Glens Falls plays host to a wide variety of arts, from plays to concerts to comedians.

    With the support of LARAC, Glens Falls can be viewed as always having been an artistic town, with a great deal of artists and painters emerging from the Lower Adirondack area. “There might be five different artistic communities within the city and we want everyone to work together on that day to exhibit what we’ve got as a community.”

    GEM Fest is designed so that everything is going on at once, making it a challenge to decide what to see. “What we are encouraging people to do is to come out and see art they may not see otherwise. The music draws them out – if they like comedy, they can check that out, and maybe they see more comedy that year. Some kids might walk by a live painter and be inspired to become a painter. Everywhere you look, there’s something else going on. Walk about the whole city because for the two days, it’s an artistic showcase of Glens Falls.”

    In just a few short years, GEM Fest has established itself as a destination event where music and art collide. Find out more at the official website for the festival and check out the music artists who will be performing around town July 26-27.

    2019 GEM Fest Music Lineup

    • Chestnut Grove
    • Joe Mansman and the Midnight Revival Band
    • Between Now and Forever
    • Lock 9
    • Paradox Saints
    • The Lucas Garrett Band
    • Switch Mob
    • Zach Matari
    • Sly Fox and the Hustlers
    • Ampevene
    • Timbre Coup
    • Tambourelli & Her Supertrips
    • Safety Meeting
    • Peter Annello
    • Brain Medicine
    • Ugly Muppets
    • Arch Fiends
    • Iüdica
    • Lollygagger
    • Candy Ambulance
    • No More Death Stars
    • Anamon