Crumb played some of their classic songs and sold out the Music Hall of Williamsburg on Friday. The show opened with sets from the groups of Shormey and Divino Niño. Both had a similar wavy, indie sound similar to Crumb. Divino Niño delivered a spectacle of a performance with an excess of dancing and tossing roses; their showmanship rivaled that of the headliner.
Crumb donned the stage to “Sweet Escape” and kicked off the show with “Cracking,” the opening song to their full length album Jinx. Lila Ramani delivered her signature sweet vocals and dreamy guitar licks. At some point, she brought balloons to the front of the stage and emptied a water bottle on the crowd. For their encore, Crumb played one of their most popular hits, “So Tired.” When the song picked up, everyone from the opening acts burst on stage to play and dance together.
Brooklyn-based funk band Turkuaz, who recently dropped their roygbiv colors as well as their new EP Kuadrochrome in November, will perform at FTC Warehouse in Fairfield, CT on Thursday, December 5. The show (with special guest Great Time) marks the first of 9 shows in December, which finds the band travel from the Northeast to Colorado, where they’ll perform in Boulder on New Years Eve.
Dave Brandwein, one of the founding members of Turkuaz, produced the tracks that were recorded at Galaxy Smith Studios. Available for download on all major services, the 4-song EP is also set to be released in limited-edition vinyl LP that will include special instrumental versions of the tracks.
Alluding to a more cohesive sound while sticking true to the band’s fusion of funk with elements of R&B, psychedelic pop, gospel, Afro-pop, New Wave, and classic rock, Kuadrochrome is designed to get people dancing. This is evident in the visualizer video released last week for the studio rendition of “Heat Drop.” As many fans are already aware, the “colors” era is forever encapsulated in the band’s feature concert film, None’s a Ton, slated for wide release sometime this winter.
“We’re stripping back to our basics a bit with this release,” explains Brandwein. “We’re revisiting some of the old school elements of funk and soul that we’ve veered away from in recent years. It’s fun to change it up every once in a while and we feel it’s important for us, as well as our fans to keep things fresh. Although we’re playing some different material and sporting a new look — it’s still the same Turkuaz energy, with plenty of material from our whole catalogue. This is just the beginning. Kuadrochrome is the first of many steps into a new and exciting future in the world of Turkuaz.”
To celebrate a new era for Turkuaz they will kick off a short winter tour on December 5 at FTC Warehouse in Fairfield, CT. Touring across the United States they will also be joined by several other bands. Philadelphia native funk/alternative band Great Time will be on stage in Fairfield, CT and Philadelphia, PA at the beginning of the tour. Starting in Kalamazoo, MI, Brooklyn duo Paris Monster is set to rock the stage for three nights. Hailing from Portland, OR, Swatkins and The Positive Agenda will be sure to bring a good time during the middle of the tour before Chicago native Neil Francis and his evolutionary soul-funk sounds from a bygone era finish up the last nine of the tour’s stops.
Find a full list of upcoming dates below and head over to the band’s website for tickets.
Turkuaz Tour Dates: Dec. 5 – Warehouse – Fairfield, CT * Dec. 6- Theatre of The Living Arts – Philadelphia, PA* Dec. 12 – Bells Brewery – Kalamazoo, MI ^ Dec. 13 – The Vogue Theater – Indianapolis, IN^ Dec. 14 –Exit/IN – Nashville, TN ^ Dec. 27 – Aggie Theatre – Fort Collins, CO# Dec. 28-29 – 10 Mile Music Hall – Frisco, CO# Dec. 31 – Boulder Theater – Boulder, CO # Jan. 7-12 – Jam Cruise – Miami, FL Jan. 15 – Saturn – Birmingham, AL ~ Jan. 16 – Victory, North – Savannah, GA~ Jan. 17 – Lincoln Theatre – Raleigh, NC ~ Jan. 18 – Georgia Theatre – Athens, GA~ Jan. 23- Songbirds – Chattanooga, TN~ Jan. 24 – Madison Theater – Covington, KY ~ Jan. 25 – Jefferson Theatre – Charlottesville, VA ~ Jan. 30 – High Noon Saloon – Madison, WI ~ Jan. 31 – Park West – Chicago, IL Feb. 1 – Fine Line Music Cafe – Minneapolis, MN ~
* w/ Great Time ^ w/ Paris Monster # w/ Swaktins & The Positive Agenda ~ w/ Neal Francis
The Tanglewood 2020 season has been announced with a range of festival favorites and brand new faces. The 12 programs start on June 19 and run through the entire summer, wrapping up on Aug. 30.
The BSO’s $25 tickets for attendees under 40 will be available during the 2020 Tanglewood season for select performances; these tickets are available starting at the end of May on a first-come, first-served basis through www.tanglewood.org
Each program is made up of multiple acts that take place over multiple days. Some of the incredible acts to catch at Tanglewood summer of 2020 include Ringo Starr and his All Starr Band, Boston Symphony Orchestra, Judy Collins, Arlo Guthrie, Brian Wilson performing Pet Sounds, Trey Anastasio with the Boston Pops and other Tanglewood favorites like Emanuel Ax, Susan Graham, and Yo-Yo Ma.
Tanglewood is nestled in the hills of the Berkshires of Lenox and Stockbridge, MA and has been the home of the Boston Symphony Orchestra since 1937. The festival was founded and created by Serge Koussevitzky (BSO Music Director 1924-1949) and is not only a place for music but for a variety of performances and multidisciplinary activities from dance troupes to trivia nights. It’s got a little bit of everything.
Year-round Berkshire County residents of Massachusetts may purchase a Berkshire Resident Season Lawn Pass priced at $100. Local residents must show a valid Massachusetts license which is required to obtain a photo ID pass.
There is also an array of choruses and orchestras to catch of course playing everything from classical to pop culture recreations. With acts like Andris Nelsons-led program with Augustin Hadelich performing Beethoven’s Romance No. 1 and Dutilleux’s L’Arbre des songs to Two Boston Pops concerts led by Keith Lockhart: a film presentation of Star Wars: The Empire Strikes Back, with the orchestra performing the score on August 21st Tanglewood covers all the orchestra bases.
There is also ‘Wait Wait…Don’t Tell Me!’ NPR’s weekly news quiz hosted by Peter Sagal with judge and scorekeeper, Bill Kurtis, and the annual John Williams’ Film Night is coming back hosted by Mr. William’s himself. There’s definitely a little something for every music lover out there even if it’s not just music.
Tickets go on sale Sunday, Feb. 9, at 10 a.m and regular-season ticket prices range from $12-$132 on average. For tickets and more information visit Tanglewood’s website or call 888-266-1200.
The Disco Biscuits returned to Syracuse for two nights, their first run in the Salt City since Halloween 2015. The masters of live electronica and improvisation performed four flawless sets to enthusiastic crowds at SI Hall at the New York State Fairgrounds in Syracuse on November 22 and 23.
On Friday, following an energetic “M.E.M.P.H.I.S.” opener, guitarist Jon “The Barber” Gutwillig stretched the intro to “Run Like Hell” out for an extended period before a triumphant burst into the Pink Floyd cover, then took the long route into an inverted “Aquatic Ape.” A full “Hot Air Balloon” closed the five song set, one of the few this tour to feature no new material that the band has been breaking out.
Set 2 opened with a pair of ‘global’ tunes, “Jigsaw Earth” and “Story of the World,” the latter of which sandwiched the remained of the set. “Anthem” and “Rocket Science,” two new originals debuted this tour, filled the sandwich, with an “Orch Theme” meshed in between. With the clock ticking, Men Without Hats’ “Safety Dance” served as an encore, with the show ending right at 11pm. A sweaty and smiling crowd rejoiced at one of the finest nights of the tour thus far.
Disco Biscuits, Syracuse, NY – Friday, November 22 setlist via PhantasyTour:
Set 1: M.E.M.P.H.I.S. > Run Like Hell1 > Aquatic Ape2 > Svenghali3, Hot Air Balloon Set 2: Jigsaw Earth, Story Of The World > Anthem > Orch Theme > Rocket Science > Story Of The World Encore: The Safety Dance
unfinished
inverted version
ending only
The Biscuits’ Saturday performance featured a pair of new songs, a Tractorbeam jam, and one of the best sets from the eight fall shows thus far. Two songs, “Mulberry’s Dream” and “Crickets,” were each interpolated with “Catalyst” and recent debut “4th of July,” respectively. In between these two combos found another new tune, “Electric Slinky,” part of a potential series of ‘Slinky’ songs, including “Freebis Slinky.”
Set 2 was filled with pure heat from start to finish. The four song set featured three roughly-15 minute jams, and one monster jam that went past the half hour mark. Opening with “Clocks,” a debut from earlier this year, the band ventured into “Gangster” which was met with cheers and fist pumps from the audience. What came next was one of the longest jams of the tour (thus far) and the highlight of the weekend. A 30+ minute “Spacebirdmatingcall” featured a Tractorbeam jam on Crackazat’s “Fly Away,” which draws on Earth Wind & Fire’s “I’ve Had Enough” and seemed to never let up as the band dove deep and kept exploring what the jam had to offer. “Little Shimmy in a Conga Line” wrapped up the set nicely, and a pairing of “Frog Legs” and the ending section of “Run Like Hell” from the previous night’s version cemented the night as one of the best of the tour. Setbreak is indeed over.
The Disco Biscuits head south to Florida for four shows in mid-December, then return to New York City where they will close out the year in Times Square at the Playstation Theater, which will close on December 31st following their performance.
Disco Biscuits, Syracuse, NY – Saturday, November 23 setlist via PhantasyTour:
Set 1: Mulberry’s Dream > Catalyst > Mulberry’s Dream, Electric Slinky, Crickets > 4th of July > Crickets Set 2: Clocks > Gangster > Spacebirdmatingcall > Tractorbeam Jam1 > Spacebirdmatingcall, Little Shimmy In A Conga Line Encore: Frog Legs > Run Like Hell2
The energy level at Cohoes Music Hall was infectious on Thursday, November 21. Wax Future set the tone from their first note, that this was sure to be an epic school night. The main event that followed was nothing short of stellar. Lotus curated two sets that flowed seamlessly and had everyone at Cohoes Music Hall sharing the groove. Check out the full setlist and photo gallery below.
Set One: Eats The Light, Livingston Storm, One Last Hurrah, Philly hit>Spiritualize>Contagion>Spiritualize, 72 hrs Awake
Set Two: Move Too Fast>Fortune Favors, Kalea, 128>Comptroller>Echoes, Plant Your Root>128
Chicago’s Mungion, a funk/rock jam band, and the Magic Beans, another impressive jam band from Boulder, Co, delivered funky fall tour heat at the Knitting Factory in Brooklyn, NY. Both bands wrapped up an exciting fall tour on the East Coast together, alternating closing duties nightly. Mungion did the honors at the Knitting Factory. The Bushicks, a local Brooklyn band, opened the evening for these talented bands.
John Adamski of the Busicks
The Brooklyn native Bushicks are a power trio hailing around the tri-state region. The band consists of Jonny Patrizio (Vocals/Guitar), Jessica Bogwicz (Bass) and John Adamski (Drums/Vocals). The trio was joined by a saxophonist this evening for most of the set. They delivered their signature rock, including a sweet cover of “Axilla” by Phish.
Casey Russell, Scott Hachey and Chris Duffy from the Magic Beans are feeling it.
The Magic Beans wove their tasty funk/soul/rock sounds next. The Bean band members include Scott Hachey (guitar/vocals), Casey Russell (keyboards/vocals), Chris Duffy (bass/vocals), and Cody Wales (drums/vocals). The band began by immediately dropping into a deep jam, showcasing their exceptional improvisational skills, and never looked back. This band specializes in space jam funk, and did not disappoint.
Mungion
Mungion picked up the jam vehicle where the Magic Beans left off, and dove into a rocking jam of intricate riffs. This band is made up of Justin Reckamp (guitar), Joe Re (keys), Sean Carolan (bass), and Matt Kellen (drums). The exciting directions, stellar compositions and expressive improvisation were apparent from the first note.
Scott Hachey of the Magic Beans
Both the Magic Beans and Mungion are firing on all cylinders after their 2019 fall tour through the East Coast. Mungion is closing out 2019 by playing December 29-31 at Martyr’s in Chicago, Ill. The Magic Beans are playing one night at the Goat in Keystone, Co on December 28. They resume touring with Snowstalk, their own winter festival in Frisco, Co on January 24-25, 2020. The Colorado based lineup includes Kyle Hollingsworth from String Cheese Incident, as well as skiing at Copper Mountain, and is certain to be a special event.
In a collaboration that could’ve only been dreamed up in New Orleans, Emerald Quintet, featuring saxophonist Skerik (Garage a Trois), drummer Stanton Moore (Galactic), keyboardist Robert Walter (Greyboy Allstars/Mike Gordon), bassist Andy Hess (Government Mule, Black Crowes), and guitarist Scott Metzger (Joe Russo’s Almost Dead) took the stage last night as the Brooklyn Bowl channeled its inner Jazz Fest. The group garnered its name as a tribute to the 55th Emerald Anniversary of Jazz Fest earlier this year, where they were formed to commemorate the 20th anniversary of Skerik and Moore’s first time playing the renowned festival together, and on the heels of Skerik’s 1998 debut solo album All Kooked Out. The supergroup treated Brooklyn to a rare and energetic performance on a very limited tour that included a stop in Anchorage, AK in September, and a pair of shows in Ardmore, PA and Denver, CO sandwiching last night’s Brooklyn offering.
And they came out swinging! Appropriately opening with “Mardi Gras in New Orleans,” the quintet got right to the funk, passing solos like a baton. Each musician announced his presence in a collective far greater than the sum of its parts.
“Sprung Monkey” followed, a familiar song that already had the crowd deep into a groove that would never let up. Walter’s solos tickled the crowd while his fingers tickled the black and whites, held down all the while by the best rhythm section in recent memory with Hess’s bass lines and Moore’s funky driving beats. Then Metzger’s turn with the baton, straight ahead guitar solos, no pedals, no effects, purity at the nexus of rock and funk, a touch of his signature blues, taboot.
How do you follow that? By passing the baton to Skerik of course, a powerhouse saxophonist with not only the chops to pick up where Metzger left off, but probably a large part of the reason why each member of this band pushes each other’s boundaries in all the right ways.
While most of the two-plus hour set was just straight ahead ass-shaking funk, there were moments of delicacy and patience mingled throughout. These intensely brief intervals of darkness, always pulled back by a signature Stanton beat, only served to make the light that much brighter – a true testament to the familiarity and trust shared amongst these musicians. The band was intently listening and reacting to one another, improvising while simultaneously appearing extremely well practiced. Even Peter Shapiro, owner of the Brooklyn Bowl, was on hand, an eager fan like the rest of us, but with an aura of proud papa as he, too, wore a grin from ear to ear.
“Humdinger” was an early highlight from Metzger’s Wolf! Catalog. James Casey, saxophonist (Trey Anastasio Band) joined the stage for a duelling sax number with Skerik that visibly melted the crowd, wrapped up with a spontaneous long note competition that had Skerik checking his watch while he showed off his impressive lung capacity. “Don’t Chin the Dog” highlighted both Robert Walter’s songbook and Metzger’s unbelievable talent. A cover of The Band’s “Ophelia” gave the crowd it’s only chance for a singalong before the set closing “Funky Mule.” “Who Took the Happiness,” also played by Galactic in the New Orleans tradition, was the first of a two-song encore kept the crowd grooving past the two-hour mark.
For those smart enough to be there, this was a truly special night in Brooklyn. Top shelf musicians pushing and validating each other, listening and reacting, smiling and having fun, appreciating the rarity of the occasion and the delight of the crowd in equal measure, for what may very well be one of the year’s best sets.
Setlist (via Robert Walter): Mardi Gras in New Orleans, Sprung Monkey, Aquafresh, Humdinger, Chalk Giant, Calm Down Cologne, Ironic Twist, Don’t Chin the Dog, Ophelia, Funky Mule, Who Took the Happiness, Kickin Up Dust.
When you think of a band still touring and releasing new music nearly 30 years since their debut, you might think there is a lengthy discography behind them. That is not the case for Tool, who have just released their fifth studio and first new album in 13 years, Fear Inoculum and performed at Barclays Center. When asked by BBC Radio 1 why it took so long for Tool to follow-up 10,000 Days, Maynard James Keenan cited “crippling self-doubt” about living up to the expectations placed on the band and “paranoia” that the album would not be as good as it could be. After all, their four preceding albums make up one of the most highly regarded discographies in metal.
On Tuesday night, the Fear Inoculum tour hit Barclays Center in Prospect Heights, Brooklyn for a sold out and much anticipated show. Tool have been touring steadily the past five years (this was the first stop in NYC since their headlining Governor’s Ball set back in 2017), but for the first time in more than a decade, the band was directly supporting a new LP.
UK post-punk band Killing Joke provided the support, playing to less than a half-filled room when the took the stage, but by the time the opening set finished, the arena was packed and the buzz in the room had hit a fever pitch.
Fans were made well aware of the band’s strict “No Camera” policy via notices taped to seats and security guards carrying signs echoing the rules. The intention was to prevent fans from distracting from the live experience and forcing us to live in the moment; a sentiment that should be more commonplace at modern shows. The policy was heavily enforced by security as a steady stream of fans were ejected throughout the night and flashlights constantly scanning rows of seats for phones. The enforcement in some sections turned out to be more of a nuisance than its intention, and was ultimately undermined during the last song of the night, “Stinkfist” as Maynard told security to “stand down” to allow fans take some photos.
As far as shows at Barclays Center, the sound tends to be an issue. Much like the NY Islanders had great trouble adapting the arena to a hockey stadium, sound engineers frequently struggle with the mix, especially in the upper bowls. This was not the case whatsoever for Tool on Tuesday. The engineers came up with a perfect mix that was crisp and had a lot of depth, even in the upper bowl. Every element of Dan Carey’s massive drum set was as clear as it could be, and the deep, boomy bass filled the air. I have never experienced better sound in that arena, and with Tool’s detailed and complex music, it was certainly necessary to achieve perfection.
Drummer Dan Carey is one of the more influential drummers in modern music. His vast drum set is the centerpiece of the stage and he plays with an ease and style that is mesmerizing. Tool are known for odd and complex time signatures, all of which are glued together by the percussionist. The encore began with Carey commanding the stage all by himself. A long gong solo served as a prelude, followed by Carey layering the frenetic and dystopian electronic loops of “Chocolate Chip Trip” before sitting back at the drum kit and ripping off a tight solo. This small part of the show by itself was an intense prog journey that reflects the complex history of Tool.
It was also abundantly clear that the band was very happy to be touring and playing new music again. During “Jambi,” guitarist Adam Jones crossed the stage to give bassist Justin Chancellor a big hug and a quick laugh and during new song “Invincible” the two leaned against each other as they jammed away. Maynard, who is known to dress in concealing costume and hide in the shadows behind the drum kit, was now on well-lit and elevated platforms; still keeping towards the back but in plain view the whole time. At one point, he went over to Adam Jones’ set-up, unplugged one of the Marshall amps, and carried it across the stage and up the stairs to his platform to be used as a stool.
Tool delivered a career spanning set, playing songs from all of their releases except Undertow (which was represented at other stops nearby). Before playing “Part of Me” off the 1992 EP Opiate, Maynard told the crowd that the song was written before anyone 30 years old and younger “were even sperm yet.” The new songs off Fear Inocolum seamlessly mixed with their classics and it cannot be understated how full and crisp everything sounded. The light show was also impressive, with massive LED screens showing imagery from their groundbreaking music videos, and well timed lasers to amplify the experience. A curtain made of long individual threads was at times in front of the band while a secondary light show was projected onto it. This added another layer of depth to the staging, but also cast interesting shadows onto the band members.
Before playing “Stinkfist” to end the night, Maynard welcomed longtime collaborator and artist Alex Grey onto the stage to received a warm ovation from the crowd. Alex designed Tool’s iconic album covers and his art is a fundamental part of the live stage show.
The Fear Inoculumtour continues through the New Year, with west coast dates in January and Australia/New Zealand dates in February. This show should not be missed. A band that many thought would not release another album have proven again that they are still one of the most formidable bands in the world.
Setlist: Fear Inoculum, Ãnema, The Pot, Parabol, Parabola, Pneuma, Schism, Jambi, Vicarious, Part of Me, 46 & 2.
The folk, acoustic-pop siblings from Maine, Oshima Brothers, dropped their new single “Lost at Sea,” Friday, November 22. Inspired by the vastness of the ocean, the song plays like rolling waves, rocking you into a peaceful state with their beautiful harmonies and gentle guitar playing. It’s a lovely song to unwind to, to listen to the verses as they tell a story of love and loneliness.
In a recent show at Caffè Lena, the two brothers spoke of how their music is greatly influenced by the natural world around them, and they marvel at the fact that we are all connected underneath the same night sky, the same constellations linking us to one another.
Oldest brother, Sean, effortlessly tackles opposing roles of the band’s songwriter, publicist, business manager, stylist and chef, while his younger counterpart, Jamie, handles all producing, engineering and filmmaking. Sean sings, plays harmonica, rhythm guitar and cajón, while Jamie plays electric guitar, bass, drums, keys, mandolin, banjo, and fiddle, all while harmonizing vocals. This makes the pair a true statement of DIY music – making what they love on their own terms.
Yesterday, Restless World Music released their third single, “Cyclone,” on the heels of two singles, “Stratosphere” and “Ashes” which premiered earlier this year. “Cyclone” is the third of four singles that precede the group’s EP, due out in 2020.
The Washington, D.C. based group says of the track:
Sometimes love leaves with a whisper, slipping through our fingers. Other times, loves leaves nothing behind but wreckage, and no matter what – or who – we try, nothing can replace it.
No matter how you’ve experienced love leaving your life, “Cyclone” illuminates the feeling that is left behind. Showcased by an inspired male vocal bringing heat over a dark atmospheric R&B/trap beat, lyrics such as “my life’s a ghost town, when you’re not around” will hit home.
Prior to “Cyclone,” songs by Restless World Music have won several songwriting awards, including five years in a row of recognition in the Great American Song Contest, with two first-place wins (in Pop in 2012 and in R&B in 2016). The Great American Song Contest recognized Restless World Music on Facebook for being one of only two songwriters in 17 years to win first-place honors in two of their songwriting categories.
