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  • C.K. and The Rising Tide set to release second album ‘Perfect Stranger’

    Few things are more poetic than the lyrical talent of Curtis Flach. It’s been quite the year for C.K. and The Rising Tide. The band, a five-piece Americana and folk powerhouse, is relatively new on the scene, but they have slowly been playing every major venue and more, grabbing new fans along the way. Flach released a solo EP in 2016 before finding his band members.

    In 2018 the band, then only a trio and managing itself, released American Romance, a 10-track homage to the finer things in Americana. Armed with fun songs like “Friends” and slower ballads like “Road to Damascus,” American Romance ushered in a wave of success, two new members and new management.

    Flach and his bandmates, who include keyboardist and violinist Danny Boudreau, drummer Rob Piccola, bassist Chris Brant and lead guitarist John Lenio (who joined the band in the last few months) are set to release 10 new songs later this month. The album, Perfect Stranger, is said to be more positive, more at peace and quite frankly, “more mature.” Perfect Stranger was released August 16, and followed up with a show at Lost & Found in Albany the next day.

    “With this album, we approached things much differently,” Flach said. “When we recorded American Romance, we all recorded our parts separately and didn’t hear it all together until it was fully mixed. We actively worked as a whole this time around.”

    Boudreau concurred with Flach’s statement. Boudreau, who has only been playing the violin for a few years, was concerned about his parts in American Romance. This is his first time participating in a band, let alone one that’s successful.

    C.K. and The Rising Tide

    “I didn’t understand how I was going to write my parts because I had no idea what everyone else was doing,” he said. “Luckily, once it came together, it all worked. It was amazing.”

    Flach, Brant and Boudreau were the original trio, with some help from Flach’s brother. After recruiting Matthew Copperwheat and Piccola, the band came into its own.

    “I’m no longer handling a lot of production tasks, which gives me more time to write and work on music,” Flach said. “Andrew and Rose are amazing at not only keeping us on track, but they are getting us gigs and marketing us in a way we never could have imagined.”

    Andrew and Rose Gabriel are the owners and managers at the band’s record label, Ambassador Music Group. The Gabriels pride themselves in handling all the business and marketing for their clients so everyone can focus on what they do best.

    “Andrew is really good at keeping us going with deadlines and making sure we fulfill whatever responsibilities we have,” Flach said. Brant added his managers are really good at keeping the group organized. All band members said Rose Gabriel is absolutely amazing with her marketing and social media management, garnering the band significant recognition.

    “Between the two of them, we’ve been able to keep it moving along and stay focused,” Brant continued. “It’s been a great fit for us and I hope for them too.”

    The Management

    Andrew and Rose Gabriel said their business is in “permanent beta” mode. What does that mean? It’s pretty simple; they keep seeing what works for each client and then adjust the business accordingly.

    The Gabriel force, who are also partners in life, has made quite a name for itself in the local community. They’ve worked with many of the acts in the Capital District music scene — including Grape Juice, Sydney Worthley and El Modernist — either through doing business directly or featuring bands on their hit live social media show, “AMG Live!”

    “AMG’s slogan is ‘focus on music, we’ll take care of business,’” Andrew said. “During this album cycle, we did just that. We were pretty hands-off with the artistic direction of the album. We heard a few demos early on and knew that [C.K. and The Rising Tide] had something special in the works, so we got out of the way and did what we do best: take care of business.”

    It’s definitely a lot of work. The hardest part of managing groups like C.K. is no rest. “We get no rest because this band accepts and accomplishes every challenge we throw at them,” Rose said. “We offer feedback one night and the next night they’ve implemented it. We push them to be the best artists they can be and, likewise, they push us to be the best managers we can be.”

    Ambassador and C.K. and The Rising Tide just celebrated its one year anniversary together. Flach said he’s hoping the Gabriels are drafting the second year contract. But that’s the thing — the partnership works for the band as well as it does its managers. Both parties have learned a lot about their respective roles in the past year, but neither would change anything.

    “We honestly wish we found them sooner,” Andrew said. “…this year [has] made our team stronger, more connected and more ambitious.”

    The camera’s eye

    Attend any C.K. show, and you’ll probably see a petite blonde with a camera in her hand. If you’ve seen any artwork for the band, the same woman is behind it. Looking at most photos of the group, an A.K. Photography and Design logo is visible somewhere in the frame.

    Ann Kielbasa is the official C.K. and The Rising Tide photographer and graphic designer. But she’s special — she’s been there since the group was rehearsing in a garage. She’s a critical part of the foundation that keeps it going because she’s spent so much time showing it off in her work.

    “It’s been a whirlwind to watch them grow like this,” Kielbasa said. “It’s very hard to put all of these emotions into words because I’ve watched them blossom into what they are now.”

    Kielbasa, while not a part of the official five-piece group, is considered one of the most important parts of the squad. While balancing her full-time job, she’s essentially working another 40-hour-plus gig keeping up with the men and developing her photography business.

    “There’s such a sense of pride because I’ve seen all of the encouragement they’ve received and how hard they work behind the scenes,” Kielbasa continued. “I’ve only heard snippets of what’s coming and all I can say is wow. I can’t wait to hear the full thing.”

    In regards to her photography, her goal is simple; she aims to visually epitomize the C.K. sound.

    “I want to show people what they sound like and who they are without having to know the context,” Kielbasa said. “I’m so lucky to have such an insider view of this and I want to convey some of that knowledge through my lens.”

    The Gabriels can’t get enough of Kielbasa either, calling her an “incredibly fun and professional person to work with.”

    The Buzzards are Circlin’ ‘round

    Drummer Piccola, who was recruited from Craigslist, said it didn’t take him too long to learn his parts on American Romance. Taking over for Flach, who provided drums on the first album, has been exciting.

    “Honestly, I think Curtis might be a bit better of a drummer than I am,” he said. “But we all have a corner of the group that works best for us.” Piccola added he’s excited about the release because, like his bandmates, he wants to see how people connect with the music.

    A chance to connect came on July 26, when the quintuple-threat released its first single from Perfect Stranger on YouTube, a hauntingly beautiful song called “Follow The Buzzards.” The MP3 track was released several days later. Boudreau explained how “Buzzards” is only a glimpse of what’s to come.

    “I feel like Perfect Stranger is much more excited about the prospects of the future, while American Romance talked about things long gone and bitter loss,” Boudreau said. “One lyric that really stands out to me is ‘Follow the sweet, sweet sound / leave it all in the cold, cold ground’ because it’s kind of a way to break with the past of hurt and move into happier times.”

    The music video for “Follow The Buzzards” reached 1,000 YouTube views within three days. At print time, the video is close to 2,000. Boudreau said if “Buzzards” is good, listeners will love the rest of the album.

    “We’re heading more into indie rock while still maintaining our roots of folk and Americana, which we love,” Brant explained. “This album is definitely a bit different than what we released last time.” Despite the differences, the band assures fans they will still recognize that signature C.K. sound.

    Flach is excited, but he’s cautious. He explained that he’s afraid to really go into how much the band’s sound has matured because he doesn’t want to “shoot [himself] in the foot.” However, he admits he’s stepped up his game. No longer the sit-in drummer with 50 different jobs — he’s now the frontman.

    “Six months after American Romance, I presented some demos and it has now blossomed into this,” he said. “We’re feeling confident that we’ve been able to top what we put out last time in what’s coming soon. We’ve really been working hard on this.”

    The band’s sound has evolved. What was once simple and characteristic of a band getting on its feet is now layered with advanced production and the sound of musicians who know what they’re doing. You can hear the improvement in Flach’s voice, and he’s blessed to have support from four men who are rapidly improving in their own right. It’s a pretty impressive feat, especially when you consider how all five band members work full-time jobs.

    C.K. and The Rising Tide will be playing Rocktoberfest 2019, Ambassador’s one-day music festival, at Colonie Park on Oct. 5. It shares a bill with Madison VanDenburg, El Modernist, Vince Palmeri (another Ambassador talent) and more.

    “I think we’re all excited to just connect with people some more,” Piccola concluded. “We use our music to convey emotions and thoughts. I’m just excited to see how the public will connect with us.”

    Perfect Stranger will be available on iTunes, Spotify and in CD format.

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Chenango Blues Festival Survives the Rain and Finds a Rainbow

    To paraphrase the Downchild Blues Band, the 2019 Chenango Blues Festival had everything you need, almost. The lone exception was a few bouts of rain and lightning. Even then, the staff anticipated the weather, advised festival-goers, revised the schedule, kept things rolling with minimal interruptions, and were rewarded with a spectacular rainbow once the rain subsided.

    Norwich’s native son, Brian Golden, kicked things off on the main stage. Golden has a long history of playing in Syracuse-area bands before eventually moving to Nashville, where he met his wife and band mate, Aletha. The Brian Golden Blues Experiment encompasses his interest in blues, but also makes room for Aletha Golden’s powerful voice on soul/R&B/gospel-styled songs, which included a powerful cover of “I Shall Be Released.” More information is available here.

    Up next on the main stage was a returning crowd favorite, Johnny Sansone. A multi-instrumentalist, Sansone had fans up and dancing with his energetic accordion playing on zydeco tunes, adding Delta blues and swamp rock numbers throughout the set.

    Chenango Blues
    Johnny Sansone

    The tent stage is traditionally where CBF presents emerging solo/duo acts, or artists that might cover different ground than traditional blues. There were a couple of highly anticipated performers there, beginning with Jontavious Willis. At just 23 years old, he has caught the attention of venerable blues men Keb’ Mo’ and Taj Mahal, who combined as Producer and Executive Producer on Willis’ Spectacular Class, released in April of this year and available for purchase here. Willis proved to exceed expectations, showing prowess, showmanship, an easy rapport with the audience, and surprising covers of a roof-raising version of Ray Charles’ “What’d I Say?” and a crowd sing-along on Prince’s “Kiss.” This is an artist not to be missed.

    Chenango Blues
    Jontavious Willis

    “When I heard him play I said to myself: this is how the blues, as I know it, is going to stay alive. Jontavious Willis is the first blues musician I’ve seen in over 30 years that I would pay to see – and he’s only 20 years old! I’ve seen the best. Jontavious is the real deal.” [Paul Oscher, noted blues musician, and former harmonica player in the Muddy Waters Band]

    Multiple Blues Music Award winner and Grammy nominee Danielle Nicole took the stage for an abbreviated set cut short by the first rainfall of the day, which made it impossible for her to continue on the main stage. Still, she displayed the powerful vocals and driving bass guitar that were staples of her debut album Wolf Den and last year’s Grammy nominated Cry No More. Hear her music and check out her tour schedule here.

    With rain falling, the infield crowd shoehorned into the tent stage area to see Pokey LaFarge. A performer with a distinct vintage fashion style, LaFarge’s set had elements of ragtime, swing, country, and certainly blues. He was often hilarious and seemed joyous to receive such an enthusiastic response. A highlight was his very recently penned tune, “There’s Always Something to Drink About.” LaFarge commented that he wrote the song a few days prior to the festival, after contemplating his decision to “try” to quit drinking last month.

    Chenango Blues

    “…those…storms that rip up the world as you know it, and leave, like a sacrifice, a rainbow to make you forget what has come before.”
    ― Jodi Picoult, Picture Perfect

    While festival staff scrambled to protect equipment and clean up the main stage, it was decided not to wait, but to switch the Downchild Blues Band from the main stage to the tent stage. Frankly, it was a stroke of genius as the legendary band, celebrating their 50th anniversary, was able to replicate the feel of pulsating, crowded Canadian venues they had played for upwards of 250 to 300 shows a year for many of those years. Led by top-notch harmonica player and guitarist Donnie “Mr. Downchild” Walsh, with award-winning vocalist Chuck Jackson, the group played songs from throughout their history, including their famous “Shotgun Blues” and “I’ve Got Everything I Need (Almost),” as well as the high-energy “Mississippi Woman, Mississauga Man” from their 2017 release, Something I’ve Done, which features songs written by five different band members. The band’s impressive history and music can be found here.

    Joe Louis Walker had a couple of surprises for fans during his set. Piano player extraordinaire Kenny “Blues Boss” Wayne, easily the best-dressed person in attendance, joined what had initially been billed as a trio. Walker is a familiar face to Central New York blues fans, having played in Utica years ago and more recently at Funk N Waffles in Syracuse. He shared stories of the elder blues men that gave him a chance when he was just starting out and paid tribute by playing a song by Earl Zebedee Hooker. The second surprise was when Walker paid it forward by inviting Jontavious Willis to join him. Willis looked elated as he grabbed Walker’s red and black Greco guitar and smiled all throughout his time onstage.

    Once the rain ended and the rainbow appeared, perennial blues festival circuit favorite Tab Benoit took to the main stage. A dynamic guitar player with a distinct vocal style that mixes his Cajun roots with a whiskey-soaked sound more often heard in country music, Benoit is an original in a genre that often relies on familiar forms. A power trio with just Benoit and a rhythm section, the band had fans crowding up front and singing and dancing along.

    Chenango Blues
    Tab Benoit

    Closing out the day was Mississippi Heat band leader Pierre Lacocque, an impressive harmonic player and singer in his own right, directing a slightly stripped down touring version of the band, which sometimes features a horn section and multiple guitarists. The band still packed a punch and Lacocque was perfectly willing to share the stage and shine a light on the other performers, including the magnetic Carla Stinson on vocals for several songs and very special guest, Chicago legend Lurrie Bell on guitar and vocals.

    Now in its 27th year, the Chenango Blues Festival is revered by fans far and wide. They have a fantastic knack of identifying and presenting emerging artists that create thousands of brand new fans. Valerie June, Ghost Town Blues Band, Davina and the Vagabonds, Southern Avenue, Nikki Hill, and Jerron “Blind Boy” Paxton come to mind in just the last few years. They also showcase known crowd pleasers and veteran acts that deserve an appreciative, responsive audience. They treat fans and artists with respect, pay attention to details, and just do things right. It’s a simple formula, but that doesn’t mean it’s simple to do. However, those are exactly the reasons why it is many fans’ favorite festival each and every year.

    • Brian Golden
    • Aletha Golden
    • Johnny Sansone
    • Jontavious Willis
    • Danielle Nicole
    • Brandon Miller
    • Pokey LaFarge
    • Donnie Walsh and Chuck Jackson
    • Gary Kendall
    • Downchild Blues Band
    • Joe Louis Walker
    • Kenny “Blues Boss” Wayne
    • Lenny Bradford
    • Tab Benoit
    • Corey Duplechin
    • Mississippi Heat
    • Pierre Lacocque
    • Brian Quinn
    • Carla Stinson
    • Lurrie Bell

  • The Disco Biscuits to Play Final Four Shows at PlayStation Theater for New Years Run

    Through a series of photos placed together like a puzzle, dropping clues on Instagram Tuesday morning, The Disco Biscuits have announced a New Years run of shows at The PlayStation Theater. The announcement comes with double duty, not only of the shows on December 27, 28, 30, and 31, 2019 but also of the news that the PlayStation Theater will be closing its doors for good.

    As reported in Variety, “The theater, which is located two stories beneath the skyscraper that houses Viacom and MTV’s headquarters, is closing because its existing lease is up, but its location — in the middle of the always-crowded Times Square and the Theater District — and slightly awkward design meant it was never one of the city’s most popular venues; concertgoers must ride down two long escalators to reach the theater. It also changed its name twice due to sponsorship deals: It was the Nokia Theater upon its opening in 2005, then Best Buy Theater, and since 2015, PlayStation Theater.” See full article here.

    Each ticket purchased will include either a physical or downloadable copy of the band’s upcoming album, their first since 2012.

    BiscoTix presale lottery will be open for entries Wednesday from 10 a.m. – 5:00 p.m.: . Tickets go on sale to the public Friday at 10:00 a.m.

  • Beck and Cage the Elephant Stampede Saratoga

    Beck and Cage The Elephant arrived in Saratoga on Monday night, as it was the next stop in their Night Running Tour, which will conclude at the end of August. The night was kicked off with a bang, as the New York City based Sunflower Beans brought an energetic indie-rock sound, bringing the early-arriving crowd to their feet. Their set was followed up by Spoon, who kept the same pace and energy as the Sunflower Beans, despite being two decades older.

    Cage The Elephant took the stage shortly after the Spoon’s set. The lights all fell, and the Bowling Green native band was silhouetted by the surrounding pyrotechnics. Eventually Matt Shultz, the band’s lead singer, emerged wearing an outfit you’d only imagine from a Cage The Elephant frontman— a grey trench coat, a masquerade mask, a straw sunhat and an assortment of accessories on various satchels donned by the singer. This was the outermost of many (and I mean many) layers that Shultz was wearing. Throughout the set he unpeeled each layer, revealing strange outfit after strange outfit, until he was left in a nude leotard and red short-shorts. These layers of clothing didn’t impede Shultz’s mobility in the slightest however, as there wasn’t a single minute in the 19-song-set that he wasn’t running, dancing, jumping, or leaning hard into each and every lyric.

    Beck and Cage the Elephant
    Photo by Jim Gilbert

    Cage just released their fifth studio album, Social Cues, this past April, so naturally, they played many tracks from the new record, including; “Broken Boy,” “Social Cues,” “Ready To Let Go” and various others. As the set went on the energy of the band never slowed, keeping the thousands in attendance dancing right along. Playing hits such as “Ain’t No Rest For The Wicked,” “Come A Little Closer” and “Cigarette Daydream,” before finally finishing their set with “Teeth.” However, just because the band was done didn’t mean Matt Shultz was. Midway through the last song the singer left the stage and began to make his way through the crowd, and didn’t stop when the song concluded and his bandmates left the stage. Shultz continued on, making his way through the amphitheatre, eventually reaching the lawn, where he crowd-surfed all the way up to the concourse and eventually made his way to the balcony, embracing and entertaining fans the whole way. It was almost 20 minutes after the set that Matt Shultz made his backstage, however, we hadn’t seen the last of him yet…

    After Cage The Elephant’s long and exhilarating set it was hard to believe we still hadn’t seen the main act. But, sure enough, there was another entire set to be seen, and it did not disappoint. Beck opened his portion of the night with an acoustic slide guitar solo, such as one you may hear in an Old Western, that solo transitioned into arguably his most recognized song, “Loser.” Beck’s set was filled with his signature indie-rock-rap music, impressive solos from him and his band, bright lasers and lights, and fans who had not stopped dancing since the night began. The night did slow down for a few minutes, when Beck gave a touching speech, talking about his mother who was in the crowd, the importance of savouring what you have and not taking anything for granted – this did not disappoint the fans though, as they continued to cheer and show their support. Beck then covered the Korgis “Everybody’s Gotta Learn Sometime,” then played his own “E-Pro,” before exiting the stage in preparation for the encore that was surely to follow.

    Beck began his encore with the sound of the iconic guitar intro of “Where It’s At,” leaving no one unsure of what song was being played. Once that was over Beck gave an unexpected but riveting harmonica solo, beginning his 1994 song “One Foot in the Grave.” Following this, Beck invited the Spoon singer, Britt Daniel, to come back on stage and asked him what he song he wanted to play, Britt replied, “Pump It Up” by Elvis Costello, and so that became the third song of the encore.

    Next, Beck invited yet another singer back on stage, this time Cage The Elephant frontman Matt Shultz (who came out wearing yet another exotic outfit, this time complete with a yellow rain jacket and hat). Beck and Shultz sang their recent single together, “Night Running” (of which the tour was named after), followed by a reprise of “Where It’s At,” during which confetti rained from the amphitheatre before the night finally came to an end. 

  • All in the Jamily: Mazzstock Music Festival 2019

    There is a festival where volunteer staff wear t-shirts that read “La Famiglia” and what better way to encapsulate a feeling of family. Many festivals claim to provide a feeling of family, but none better provides a sense of true community than the intimate Mazzstock Music Festival, where founder Lee Mazzola has graciously opened his back yard for music lovers like himself.

    On August 8-11, 2019 the uber-affordable Mazzstock Music Festival took place at Mazzstock Field in Marlboro, NY, within the picturesque and bucolic Hudson Valley Region. Conveniently located 1.5 hours from New York City, 2 hours from Hartford, 3 hours from Philadelphia and 4 hours from Boston, Mazzstock celebrated its 12th year (5th year as a 3-day fest) and drew soaring crowds with another very strong lineup.  

    Mazzstock Music Festival
    Photo by Mickey Deneher

    With the motto “3 days, 2 stages, 1 love, no worries,” Mazzstock Music Festival is something special. It is so intimate and friendly, one feels that they will meet and get along with any one of the smiling faces on the dance floor, in tent city or at concessions. This year included a variety of strong ascending artists. Festival favorite and Mazzstock veteran Zach Deputy returned as a headliner; while Flux Capacitor, Dark Side of the Hudson, Gratefully Yours, Escaper, Cousin Earth and Hayley Jane are just a few offerings from the festival’s varied lineup – which also featured a number of stylized and talented DJs for a very popular late-night silent disco.An impressive set from Kingston DJ, Joey Hernandez, who brought up-tempo house musings. 

    The weather was perfect throughout and there was no cell service so patrons were connected without any distractions. Another bonus was that one could clearly hear each set clearly from their campsite! Lee, Vinny and the rest of the organizing team provided a seamless experience with impeccable amenities including clean porto-potties with stocked toilet paper, always – all weekend.

    Dave Reiss and I Anbassa proved they are a fun band to watch; Flux Capacitor showed why they are invited to play so many festivals, Tom Clancy and Dave Heinzinger led a feisty Sky Daddy set that ignited a tight “Fire on the Mountain.” Will Hanza guided his ascending band, Escaper, to some monster jams while festival mainstay, Alpha Male Gorillas, brought a heavier but contagious groove.

    Mazzstock Music Festival
    Photo By Mickey Deneher

    Tigerman brought the funky rhythms, and stellar guitar work was showcased by ShwizZ Himsef while he adorned a tiger onesie. Dark Side of the Hudson demonstrated they are a premiere Pink Floyd experience with a professional cover rendition of the album Dark Side of the Moon and an exquisite vocal solo on “Great Gig in the Sky.” There were six artists at large, but those from Nyack (ShwizZ Himsef, Natasha May DiMarco, Dan Rappaport, Danielle Sheri Wasserman) shined brightest throughout their plethora of appearances; the bonfire jams were comforting with many bringing voices and instruments of choice for the familiar festivities.

    Highlights of the festival included Cousin Earth, Cosmal and Zach Deputy!

    Cousin Earth  :: East Stage  :: Friday 6:35-7:35pm

    Mazzstock Music Festival
    Photo By Mickey Deneher

    Cousin Earth were a pleasant welcoming committee to the many fans that arrived late Friday evening during the set. Formerly Ukelelian, the quintet has been touring hard over the past year, even doing a vast Southern run, spreading their energetic and innovative sound.  The NY based band, (a member of the Jam Band Syndicate), consists of Terry Brennan (vocals/keys/percussion), Melissa Raye (vocals/percussion), Corey J. Feldman (bass/vocals), Joey Calfa (ukulele/vocals) and Nate Searing (drums). The band was a breath of fresh air with their eclectic songwriting and hard to predict delivery. They are a band to watch as they ascend the ranks of our scene with more visibility.

    The Mazzstock set was electric – fuelled by soaring harmonies and moments of beautiful jam improvisation. “Can You Get to That” was buoyed by the virtuoso guitar work provided by guest ShwizZ Himsef (Ryan Liatis) and his presence on stage with Calfa, who possesses monster chops, was a music lovers delight. “Super Laser Beams” remains a show staple and for good reason– it really showcases the band at its full power with intricate time signatures, blended melodies and trippy surreal solos as part of a musical package that lures attendees in like a laser beam. A recent release, “Don’t Kill Us” is the song that could be a hit as a released and promoted single. Raye’s vocals lead a pleasurable auditory attack with a seriously addictive chorus on a fantastical lyrical romp.    

    Set List:  Pancakes, Burning Up, Window Video Game, Super Fun Laser Beams, Can You Get to That, Please Don’t Kill Us, Fleshy Car/Spain, Capricorn on the Cob

    Cosmal  :: West Stage  :: Friday 12:45-1:45am

    Hailing from New Paltz with over a decade of experience, Cosmal is well known to music aficionados in the Hudson Valley and beyond. Ryan Coyle (guitar/vocals) and his wife, Ali Laz (vocals/live painter), have partnered to unleash a musical experience like no other. A surreal and trippy exploration to the unknown, the dynamic duo has truly mastered the sharing of downtempo moods. Laz is relatively new to sharing her vocals on stage, but performs like a seasoned pro. She has become the consummate frontwomen – sexy, prolific and with a smooth vocal delivery.

    Laz is also an accomplished live painter who creates one of a kind masterpieces on canvas that fans share much adulation for.  The Wizard of Cosmal though is Coyle, who harnesses his brilliance to compose a myriad of uniquely contagious and infectious original sounds. The new song, “Snake Charmer” is meticulously crafted with solid guitar fills. However, it is “Caliente” that takes down the house as the highlight of the gig. Laz sultry sings, “I love the way you touch me” with relentless beats supporting the groove and it really delivers a euphoric vibe ala Gilberto in “Girl From Ipanema.” The song isn’t about sexual lust, but rather the yearning to feel someone’s entire soul. Cosmal are a quickly ascending band that I expect many more pleasant surprises from in the immediate future.

    Set List: Sumatra, Caliente, Ancient Future, Drishti, Realize, Snake Charmer, Final Gear, Way Down, Encore:  Blossom, Moment

    Zach Deputy  :: West Stage  :: Saturday 11:10pm-12:40am

    Zach Deputy returned to Mazzstock Music Festival as the headliner and had the prime Saturday night slot at the Main Stage. There is only one thing you need to learn about ‘Zachy Dee’ – he is a Master Looper. If you didn’t know that, his fiery and upbeat set soon would convince you. Hailing from Savannah, GA Deputy honed his chops at Riders Lounge on Hilton Head Island, South Carolina. His unique approach delivered a bevy of bombastic acoustic numbers that inspired the crowd to shake their booty in delight. He shared crowd favorites like the party anthem “Put it in the Boogie,” the infectious “Twisty Twisty” and the rhythmic “Home.” He had the longest set of the weekend and patrons still were boogying at the end and salivating for more. A down to earth, generous, jovial giant of a man gifted fans with an assortment of benevolent ditties and in doing so proved that Santa Claus still delivers.

  • We Are Golden: Arlo Guthrie Celebrates Woodstock 50th Anniversary at Bethel Woods

    Fifty years after the 1969 Woodstock Music and Art Fair, many original festival goers and younger crowds alike returned to the site of the original festival to mark the golden anniversary at Bethel Woods Center for the Arts. Last night opened the weekend with a performance by Arlo Guthrie, who bridged August 15 and 16, 1969 with a midnight set all those years ago.

    Though a bit scaled down from the crowds of approximately 400,000 in 1969, the few thousand people in attendance brought their old memories back to life (minus the mud and inconveniences); they were able to soak in the atmosphere – breathe air that’s never been breathed before, as Woodstock/Bethel Woods mainstay Duke Devlin said. Guthrie was the only artist to perform, but fellow Woodstock alum Melanie Safka stopped by for part of the evening.

    arlo guthrie woodstock

    Some rain changed the original plans for the night, but the screening of the Woodstock documentary film still took place in the pavilion. This change didn’t dampen any spirits though; while various artists’ performances were shown from the 1969 festival many original attendees were giving as much as standing ovations.

    Check out a few images from yesterday’s happenings at Bethel Woods, and stay tuned to NYS Music for more on this Woodstock anniversary weekend. Bethel Woods continues the celebration with performances by Ringo Starr, Blood, Sweat & Tears, and Edgar Winter (Friday), Santana and The Doobie Brothers (Satruday), and John Fogerty, Tedeschi Trucks Band, and Grace Potter and the Nocturnals (Sunday).

    Tourism at the site this weekend is restricted to only those who have tickets and travel passes specific to each day.

  • So Last Year debut captivating new song ‘Minutes Away, Worlds Apart’

    So Last Year’s “Minutes Away. Worlds Apart” is a song about that moment in a relationship when one person is having to tell the other that things are just not going to work out. 

    The song came to Logan, lead singer and writer, over the course of a week, and after working on the song he realized that the bridge would be the perfect moment to bring the whole scene together. In the bridge, both people are singing to each other at the same time, one explaining how things aren’t working and the other explaining how there’s still hope to make it work. The song really conveys tension between two people that are at two different places in a relationship, both lyrically and musically.

    Logan’s musical theater background leads him to write in story format often, and this song is no exception. Fans of catchy hooks, funky guitar riffs and toe-tapping drums with be in love from the moment they hear the song start.  You can expect it to be featured on So Last Year’s upcoming album.

    You can find So Last Year on Facebook, Instagram, and Twitter. You can find So Last Year on Facebook, Instagram, and Twitter.

  • In Focus: Woods Fest 2

    Woods Fest Music Festival is quickly becoming a “can’t miss” event in Central New York, featuring many of the best emerging and established bands in the region and New England.

    The second annual Woods Fest event at Woods Valley Ski Area in Central New York boasted a lineup that included Annie in the Water, The Old Main, The Black River, Nina’s Brew, Substanance, Les Brers, Los Blancos, Late Earth, and Dark Hollow.

    The all-day festival also featured a Super Jam to finish the night on the big stage. The jam saw members of Nina’s Brew and The Old Main joining Annie in the Water on stage to finish the festival. Following the outdoor festivities, the music continued inside the lodge until sunrise.

    • Woods Fest 2
      Dark Hollow
    • Mark Nanni
    • Michael Vincitore
    • Late Earth
    • Andrea Canale
    • Woods Fest 2
      Bruce Gerow
    • Colin Aberdeen of Los Blancos
    • Bruce Gerow & Booth Johnson
    • Anthony Zee Donaldson & TIm Woods
    • Nina’s Brew
    • Giovanina Bucci
    • Isaac French
    • Les Brers
    • Mike Powell
    • The Black River
    • John Hanus & Mike Powell
    • Joe Bell
    • Dom Scicchitano
    • John Hanus
    • The Old Main
    • Nash Robb
    • Dusty Elmer
    • Annie in the Water
    • Brad Hester
    • Michael Lashomb
    • Ryan Trumbull
    • Throwing posters to the crowd
    • Event organizer Tim Woods
    • Tim Woods & Mike Kohli

  • Renovated Lark Hall Opens Doors With Carl Broemel (Of My Morning Jacket) & Deer Tick

    Sunday evening, Justin and Jennifer Miller opened the doors of the beautifully renovated Lark Hall in Albany, NY to friends and family with My Morning Jacket’s Carl Broemel as the featured artist. Ian O’Neill of Deer Tick opened up the evening on guitar and vocals with help from Dennis Ryan on drums and vocals. They played some originals that were just recorded, songs from their side project Happiness and Deer Tick songs from the album Mayonnaise.

    carl broemel
    Photo by Mathew Golden

    The audience, having just been treated by the Miller’s to a Tex Mex buffet and open bar, was all smiles and an amazing listening room shone brilliantly as the last rays of sunlight came into the hall through the balcony windows.

    carl broemel lark hall

    The invite-only audience of about 70 people was in for a real treat next as O’Neill and Ryan closed their set stating, “Well looks like Carl just got here and we have one more for you, then we are going to come on out there and watch him with y’all!” Carl Broemel, guitar, pedal steel and saxophone player for My Morning Jacket, having just finished a four-night run with his bandmates, had quietly been watching the opening set from the side of the hall. Broemel, who has just released the critically acclaimed Wished Out album in 2018 and 2019’s EP Brokenhearted Jubilee was up next.

    We were incredibly honored and grateful to have Carl join us on our maiden voyage… and none of it would have ever been possible without the support and love of our friends who were there to share the experience with us – Truly a dream come true!”

    Justin and Jennifer Miller

    After a quick stage switch and soundcheck, Carl “Snowy” Broemel took the stage armed with his electric, acoustic and pedal steel guitar and a rig of pedals and loopers. The Miller’s entrusted their close friend Matt Hueston as the event coordinator and the evening was dubbed “A Snowy Evening At Lark Hall.” The sound at Lark Hall was the first thing those lucky enough to be in attendance noticed. The sound technicians and natural wood of the theater made for a crisp and perfect quality as each note rung true. This space is perfect as a listening room, but the hall will surely host some barn burners as well.

    carl broemel
    Photo by Matthew Golden

    Broemel opened the set with “Starting From Scratch” from Wished Out. He moved in and out of his original material from his solo records with the same ease as he moved between looping guitars with harmonies that created a rocking atmospheric funk. Then the pedal steel came in, layered over top. You could hear a pin drop as the audience did not make a peep during this very special set. It is no wonder why Rolling Stone magazine listed Broemel in the top 20 modern guitar players in the world. His command and control of all that was happening on stage was flawless.

    carl broemel
    Photo by Matthew Golden

    Having just finished a solo tour with Tyler Ramsey, Broemel decided to play an M. Ward cover, “Chinese Translation,” that they had done together while on tour. This version soared through the hall and out onto the Albany streets outside like the sweet drops of moonlight touching down through the trees. Another highlight of the evening was “Carried Away” from 2010’s All Birds Say. Finally, Broemel was beckoned back onstage to treat the audience to one more tune and decided to close out the evening with a rollicking version of Tom Petty’s “Last Dance With Mary Jane.”

    After the concert, Broemel signed posters, t-shirts and hung out in the hall talking to fans for hours. He even joined fans in a ping pong match in the adjacent Lark Street Yoga Studio run by Jennifer Miller, just voted a Top 5 Woman Operated Business in Albany. All the facilities at the beautifully renovated Hall and Yoga Studio are state of the art. The sound is amazing. The framed posters that line the walls and decorations are incredible. Those lucky enough to attend “A Snowy Evening at Lark Hall” had a once in a lifetime experience and also witnessed the start of what will surely be a successful venture and true listening space for artists to play and feel like family.

    Event organizer Matt Hueston said, “What a magical night, and I don’t think there was one second I didn’t have a smile on my face. I wanted to put this event on not only because I love Carl, My Morning Jacket, and Deer Tick, but to show my appreciation for all of the kindness that strangers, who are now amazing friends, have shown me during my musical adventures. Music brings us together in a way very few things can. Be kind, spread positivity, and as always rock on!” Hueston seems to be onto something here, as Broemel expressed his desire to come back and play this brand new venue again. Be on the look out for so much more from the Miller’s new venue Lark Hall! Scroll past the pictures for the venue’s Mission Statement.

    carl broemel

    Lark Hall is a Historic performance arts and community venue located at 351 Hudson Avenue in Albany, New York.  Located in the heart of Albany’s Lark Street neighborhood, this 14,000 square foot building was constructed in 1916 by the Daughters of the Eastern Star as a meeting and performance hall that includes street level retail and meeting spaces and a 3,000+ square foot venue space with 22’ ceilings, proscenium stage, intricate mezzanine areas, and an artist’s green room and living quarters located above the stage.  Owned and operated from 1977 to 2017 by Electric Body Arts, Inc., Lark Hall was most recently utilized as a not-for-profit dance and fitness school maintaining all original historic details.

    Purchased in March 2018 by a group led by Jeff Buell and Justin Miller, Lark Hall is being developed into a multi-tenanted performance arts and community venue that will build on the neighborhood’s longstanding arts and community-oriented culture.  Carefully designed and engineered, Lark Hall will be developed to provide not only an unmatched guest experience, but also to serve as a one-of-a-kind residency for artists to perform, stay and hone their craft in a comfortable oasis from touring.The building’s first floor at street level boasts over 3,000 square feet of commercial space that hosts Lark Street Yoga Studio (1,400 square feet of high end yoga and fitness studio space) and related amenities, along with an additional approximately 1,000 square foot lobby and common space that will host Lark Juice Bar, Lark Hall Box Office and new elevator bay for ADA and load in access to the upper hall. 

    An additional 1,200 feet of first floor space is under construction to host a locally-owned coffee shop.The main hall currently contains nearly 3,000 feet of main open floor space fronting an approximately 10 x 30 proscenium stage, along with built in mezzanine space on one side that provides incredible sight lines and acoustics in current format.  The hall will be upgraded to include expanded mezzanine amenities for reserved-level ticketing with private bar and bathrooms.  The main floor level will include a large bar area and new bathrooms to service the main floor area.  Among the significant building upgrades to be installed to support the hall and support spaces include a new elevator, extended stage area, bar and related service and office spaces, building-wide sprinkler and fire signaling, HVAC systems and air handling, along with building-wide electrical systems, lighting and tech backbone to support state of the art sound, lighting and front of house equipment. 

    For first phase of built out, Lark Hall will be rated for ~300+ occupants and feature unparalleled acoustics and unrestricted sight lines for every single guest.The hall also boasts a unique 2-3 bedroom apartment located above the stage that is directly connected to the stage and mezzanine areas.  This amenity will be offered to artists and support crew for use during and after performances.  This living space will be a one-of-a-kind green room and residency area to attract and retain artists for multi-night residencies and unique performance opportunities.  This living space also adjoins approximately 1,200 square feet of practice and recording space that will be offered to artists and recording professionals for use as part of regular bookings and extended practice and recording opportunities. 

    All photos by Matthew Golden

    Facility Highlights: Historic ~500 capacity venue with unique multi-level mezzanine layout, 22 foot ceiling and proscenium stage.  The main Hall includes tech and monitor rooms built into the wings of the stage area, with multiple access points from stage to private artist residence areas.Both GA floor and mezzanine levels for reserved ticketing opportunities, along with flexible seating formats to accommodate ADA and general seating preferences for select shows.Artist focused living and practice space to attract and retain local, regional and national touring acts.  Living space may be available for short term stays to support community meetings, weddings and other hall offerings. 

    Practice and studio space will also be available for use as part of enhanced ticketed performances (a la midnight preserves), and for lease and/or management by third-party recording professionals.Built-in flex space on first level that will provide dedicated box office, merchandise counters and flex space availability within yoga studio to support artist meet and greets and integrated gallery space for artist support industry (gallery for pop-up poster artists and photographers, sound check party amenities, and general flex space to support events built around ticketed performances).Designed for both fans and artists, Lark Hall will provide an unparalleled live music and performance experience.

  • Artists and Industry Execs Connect at the Inaugural Hudson Valley Music Summit

    “Something that won’t necessarily be discussed today, just because we don’t have enough time, is how to do all of this outreach. How do you send that e-mail? How much is not enough, or too much and too annoying? But we should have this discussion, either in a separate function or one-on-one, and you can come talk to me. Because I want this region to do well; there is too much talent here.” Joel Feinberg, CEO of DeWolfe Music, said this at at the end of an engaging panel discussion titled Licensing Update: Moving Beyond Commercials at the inaugural Hudson Valley Music Summit, held August 9 in Kingston, NY.

    Feinberg, who calls New Paltz, NY home, is certainly right: The Hudson Valley comprises the section of New York reaching from Upstate to the the edges of the big city itself. And while that’s a vast stretch, it’s a strongly connected one, with many fast-growing musical and artistic performance scenes burgeoning within them. Representing this area and its continually multiplying numbers of talented, independent artists in the context of the music industry is an important and noteworthy, albeit long term, cause. 

    That’s where the Hudson Valley Music Summit comes in, the single day event planned and organized for as long as over a year by author and independent musician David Hoffman.  

    Beginning bright and early at 9 A.M. and lasting through a more informal, live music event at Kingston’s BSP lounge, the Summit was a chance for local artists and music career professionals to both connect with highly successful and renowned members of the industry and learn trade secrets from them. Across a series of panel discussions, hosted by a moderator and joined by a small handful of talking heads, the summit’s aim was to demystify the often intersecting, co-dependent niches of the music industry, and offer insight into the many diverse ways to achieve financial, creative, entrepreneurial success within it. 

    In that Licensing panel, for starters, Feinberg along with a handful of others, like panel moderator Sharon Tapper, CEO of Pivot Music Group, answered questions about the myths, misunderstandings, and gems of truth about getting one’s content into the hands of publicists, label executives and more. When discussing writing music for commercial, “Upbeat always beats depressed in the numbers,” was just one insight of many upon which the panel unanimously agreed.

    In a panel titled Conceiving a Coherent Image for a Strong Merchandising Strategy, Mara Frankel, Senior Directive Creator of Atlantic Records led a very intriguing conversation on artists’ best approach to visual mediums and making them work for their brand. At one point during this session, John Warner, owner of Hi-Line Merchandising, held up Keller Williams’ newest album, Add, to the crowd and succinctly explained its direct yet effective use of a single title single image to communicate the one-man-jamband’s thematic intention.  

    Some of the day was less study session and more nifty. One of the day’s highlights, for instance, was a lunch hour overseen by an intimate discussion between Relix Editor-in-Chief Dean Budnick and Capitol Theatre owner Peter Shapiro. Budnick pressed Shapiro for details on the recent success of The Cap, Port Chester’s renowned rock music venue, along with tidbits about its sister venues The Brooklyn Bowl and the now-defunct, yet ever famous, Wetlands Preserve.

    One of the more intriguing questions asked of Shapiro concerned how bands might able to transition from playing one size venue to a larger one, to which he offered: “Keep in touch with bookers, and let them know where you’ve played. Also be open to opening, tell bands and bookers you can bring this many people to their show. Go crush Garcia’s and you’ll probably get a phone call from us.” 

    And, in response to a question from the crowd asking, “Why staff at The Capitol Theatre love Shapiro so much?” which is something you don’t see too much,” Budnick actually answered for Shapiro, giving an answer that seemed to fit. “It’s because he’s there, at the shows. He’s down in it, just like any fan watching a show, and I think that’s what anyone should aspire to.”

    In a special panel that closed out the day, Manager’s Roundtable, the Summit gathered together the managers of The Wood Brothers, Wilco’s Nels Cline and others to paint a picture of a day in their life. The four members and moderator Linda Lorence-Critelli (president of the New York chapter of the GRAMMYs) all agreed firmly upon a simple yet paramount idea, one that seemed to sum up the entire day. In response to an audience member’s question about how to make get inside a manager’s door and establish a connection, they said, “It comes from relationships.” Hard Head Management founder and wife of Warren Haynes, Stephanie Scamardo, went on to describe how she recently also became manager of rock sensation The Revivalists, noting that it stemmed from a friendly conversation that led to a lunch date, and then ultimately a strong partnership. 

    Hopefully, that’s what the collection of local musicians, marketers, content producers and more found in attending the Hudson Valley Music Summit: the chance to connect with an industry leader or two, learn a thing or two, and possibly even offer services to one another or vice versa.