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  • Greg Haymes: Remembering a Life of Words, Art, and Music

    Family members, musicians, and guests holding up signs, playing instruments, and holding up umbrellas as part of a New Orleans funeral tradition, second line. The memorial was held at the Swyer Theatre for Nippertown founder, artist, musician, and poet, Greg Haymes on Sunday, May 19, 2019.

    It was a beautiful Sunday afternoon in the city of Albany. The hot sun shone brightly along the Empire State Plaza grounds and the wind gusted heavily through tree branches that swayed in full velocity.

    Along the beauty that was glowing along the grounds, there was also a bout of celebration, love, and deep sadness inside The Egg Performing Arts Center. A few hundred guests were in attendance to celebrate and honor the memory of a true local legend, a cheerleader to many visual artists, photographers, writers, musicians, bands, and music fans who needed to be heard and supported in the Capital Region. Through his contributions to The Times Union, Metroland, to founding Nippertown with wife, Sara Ayers, Greg Haymes was truly a ray of sunshine and a mentor to so many creatives whose lives he had touched for many years. The Capital Region was fortunate to have a man who dedicated his time to share his knowledge, express his creativity, and provide insight into the Capital Region’s lively creative scene as great as Haymes.

    Greg Haymes was a musician, poet, artist, painter, photographer, actor, and journalist. He was multi-talented, entertaining, and genuine, always giving others a helping hand during a time of need. Haymes, also known by his aliases, Sarge Blotto and Wild Bill Hayes, was involved in various musical projects like The Star-Spangled Washboard Band, Blotto, and Ramblin’ Jug Stompers. Haymes was a lover of animals, New Orleans culture, and all things revolving around the arts, music, and theatre that he would cover in newspapers, publications, and his blog, Nippertown, for nine years until his passing on April 10.

    A month has passed since Haymes’ passing. The impact that he had on his family, friends, co-workers, and his fans was enormous, and his passing has left a huge hole in all our hearts. No longer are we able to read a blog post containing information about community happenings that would occur daily, read previews about art exhibitions in “ArtBeat: What to See,” and learn about the artists, bands, and other happenings that were seen and heard in the Capital Region through the reviews and previews that were written by contributors who were involved with him. Haymes was the ultimate positive cheerleader, often giving praise about upcoming events, previews, and reviews about an artist, band, musician, or event in his work. He was a mentor to all who knew him in the scene and would encourage others to contribute and create their craft that would be shared to the greater area. Haymes was present to lend a helping hand to those that were in need, even performing at a benefit event at McGeary’s for the late Caroline Mother Judge who passed away a month before Haymes. McGeary’s would be the location for Haymes’ memorial after party, a month after Mother Judge’s passing.

    Along the fourth floor of the E.P.A.C., event attendees took part in an hour-long reception that commenced the memorial. The room was flooded with a who’s who of artists, musicians, journalists, contributors, music fans, friends, family, and Haymes’ band members who united to share a toast, donated money towards the Mohawk Hudson River Humane Society in exchange of music memorabilia ( Blotto vinyl records, Ramblin’ Jug Stompers CD, Blotto pins, and artist postcards), signed a guest book to leave a message, and placed a dab of sunscreen on their nose, a nod of respect to Haymes who played the titular role of ‘life guard’ in the song that first garnered attention on MTV, “I Wanna Be A Lifeguard.” Hundreds of attendees were sharing their memories, exchanging hugs with one another, snapping selfies, and capturing and recording moments with one another on their camera and cell phone. It was next to impossible to converse with all the attendees one would know in the community at the reception. There were many patrons whose lives were touched by the generosity, love, and support of Greg Haymes at the reception and inside the Lewis A. Swyer Theatre during the memorial program.

    The lights flickered on and off, signaling the notion for the attendees to leave the reception and head inside to the Lewis A. Swyer Theatre to attend the memorial service. A PowerPoint slide show began, sharing photos of Haymes as a young child with his sister, Yvonne, with family members, friends, Haymes holding a pet dog, Haymes with his band mates, and other candid moments that were taken throughout the years as patrons were being seated. Once the presentation ended, Peter Lesser, Executive Director of The Egg rose to the podium to welcome the patrons to the memorial and gave his tribute to Haymes. Haymes, a friend of Lesser, would write reviews of events and concerts held inside the Egg Performing Arts Center’s two theaters. Lesser thinks of Haymes often and what he would think of a performer or an act that would soon arrive to perform in the Capital Region.

    Greg Haymes
    A young Greg Haymes posing solo at what looks like to be at a train stop. This photograph was shown as part of Haymes’ memorial held at the Lewis A. Swyer Theatre, Albany, NY 5/19/19. Photo by Amy Modesti

    “What would Greg Think?” asked Lesser to the audience. Haymes would have the first say about a performer, a band, or an event in his publications and in Nippertown. What would he think before and after our community events, we may never know, only to read back upon his previous thoughts through his printed publications.

    Sara Ayers rose to the podium and gave a beautiful, heartfelt tribute to her late husband. Ayers told the story of Haymes, a visual artist, writer, poet, actor, photographer, and installation artist. Haymes was a true artist and he would continue to create art until his passing. Haymes typed witty sayings about how blue the sky is in his haiku poems, he was enamored with rust and his incorporation of the rust into his visual art creations and installations, his wooden horses that he would hang from the trees of his home, and his ink and fern mixed media pieces that were on view at the Albany Public Library. Within the final weeks of his life, Haymes created a series of paintings that were made from leftover coffee or bourbon that he would reverse the image with rubber cement to create his masterpieces and tell a story.

    “He found art in everyday things in life… Carry his inspiration with him in your heart,” said an emotional Ayers as she ended her beautiful message. Her words had left guests, including myself, forming tears. Haymes is an artist and a hero in her life. He remains a hero in the eyes of many others that continue to create and express themselves.

    Greg Haymes
    Musician/vocalist, Bryan Thomas, watching Sara Ayers, the wife of Greg Haymes, pay homage to her late husband inside the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Paul Jossman (Bowtie Blotto), embracing Ayers in a giant hug, gave attendees a history into the music career of his friend and band member. At the age of sixteen, Haymes’ first job was playing a sheriff’s deputy in a Wild West Show at Fantasy Island Amusement Park around Buffalo, NY. Through his early involvement in his early gig, Haymes would use that job for the creation of his own style. He always made things look easy, he did things his own way, and he enjoyed attention from his fans and followers. In 1971, Jossman met Haymes at the Inside Out Coffee House in Troy, NY. Jossman joined Haymes’ college band as a banjo player in their group, The Star-Spangled Washboard Band, inspired by the stars on Haymes’ washboard. It was in this group that he developed his first alter-ego, “Wild Bill Hayes,” dressing up as a cowboy as he did in his first job at the amusement park. Haymes had owned the stage, through his elaborate stage appearance and the props that he would use to turn into his alter-ego. He was always in character, both in theater and in music. The Star-Spangled Washboard Band would travel to Disney World, be a part of the 1976 People’s Bicentennial in Washington D.C.,  the Maury Povich Show, and appear on the Mike Douglas Show. In 1978, Blotto was formed as was his alter-ego, “Sarge Blotto”. Haymes liked attention a whole lot as he was the star and lead singer in his hit songs, “I Wanna Be A Lifeguard” and “Metal Head.” In the mid-’80s, Blotto took a break and Haymes went into music writing. The three main things that he had focused on in his music writing and his music style were research and preparation, developing his own style and voice within his writings, and through his writings, garnering new fans that took pleasure in his writing.

    Greg Haymes
    Paul Jossman (Bowtie Blotto) speaking on behalf of his band member and best friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    “Welcome to Greg at The Egg,” said Bill Polchinski (Broadway Blotto) at the podium. Haymes and Polchinski’ s friendship began in the Spring 1970 when he was a transfer student at SUNY Albany. Haymes was a second-year theater major and invited Broadway Blotto to join his inner circle. Together, they performed in an anti-war play and as pirates in a 1971 version of Peter Pan. The Star-Spangled Washboard Band was born in the village of Lake George and Polchinski would join that group as a guitarist. Haymes, according to Broadway Blotto, had star qualities. He had the combination of Elvis, Mick Jagger, Tom Jones, and with his good looks, he was all The Beatles rolled into one. Haymes was a driven man and he was always in motion with his mind and body. Everywhere he went, he made many friends and learned plenty of musical knowledge. Haymes had a positive effect on all of us.

    At a band photo shoot that Broadway Blotto and Haymes were a part of at a playground in 1994, Broadway’s three-year-old son, Will, had fallen. Haymes rushed over to Broadway’s son and picked him up from the fall and checked to see if he was okay. When Polchinski contacted his son to let him know that Haymes was ill six weeks ago, Will told his father to tell Haymes to get well and thank him for picking him up in the playground. A memory that his son had remembered twenty-five years ago, he thanked Haymes for helping him get back on his feet before he passed away. Even in the past, his memory continues to live on in their hearts.

    Greg Haymes
    Bill Polchinski (Broadway Blotto) speaking at the podium on behalf of his friend and band member, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Michael Eck of Ramblin’ Jug Stompers and best friend of Haymes was next. Emotional and not holding back his tears at all, Eck gave a powerful story to honor the memory of his friend. He held in his left hand, a century old, mother-of-pearl, extra fine Mabie, Todd and Company school pen that Haymes and Ayers had given to him for his writing in 1991 when he moved briefly to Austin, Texas. Eck used this tool of creativity to pen his writings, his music, and his visual art.

    “If you are a musician in this room, he wrote about your band. If you are a writer, he whispered in your ear. If you are an artist, he stood in awe before your work. He participated in beauty. He offered support. He gave joy,” exclaimed Eck.

    Besides a pen, Eck held up another item that he was given after his passing, a set of Oblique Strategies, small written cardboard notes by Haymes himself. Each creative suggestion that Haymes wrote was his own invention, his own words of wisdom, a path or a suggestion that he had written down. Haymes always kept everything, even the cards that Eck was given as a gift. The cards, like the pen, symbolized creativity. Eck acknowledged everybody to “Write the words. Sing the song. Paint the picture. Create.” That’s what Greg would have done, and he did just that. Haymes continued to create art, dedicated his time to watching movies about New Orleans, and focused on Nippertown until the end.

    Greg Haymes
    Michael Eck (Mr. Eck) of The Ramblin’ Jug Stompers speaking about his best friend and band member, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Greg Bell, promoter of Guthrie/ Bell Productions, was inspired by Haymes to start his promotion business. Haymes was one of the first friends that he had met as a student at Siena College through a mutual friend. Bell had seen Haymes perform in The Star-Spangled Washboard Band in Siena College and he enjoyed that band. Haymes introduced Bell to the Albany music scene, the Lark Street music scene, members of Blotto, and other area musicians. When Bell started his promotion business, Haymes would give Bell an extra push for his shows in The Times Union, Metroland, and Nippertown. Bell would rely on Haymes on his opinion about certain acts that he wanted to ring into town, and he would pick up a Metroland and The Times Union to read his columns about what was going on in town.

    To conclude his remarks, Bell recalled a funny moment that he had with Haymes at The Star-Spangled Washboard Band show. At the time, Bell had brought his date to see the show. When the band was performing “Rocky Racoon,” Haymes, pretending to be Rocky, purposefully fell onto their table that was full of drinks and spilled a drink all over Bell’s date. Although it was a funny incident, his date wasn’t amused and that was the final time that the woman went out with him.

    Greg Haymes
    Greg Bell, promoter of Guthrie/Bell Productions, at the podium giving remarks about his friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Singer/songwriter Bryan Thomas had known Haymes since 1998, when he had sent him his first ever mix tape for him to review for a publication. From that day on, Haymes and Thomas were friends. According to Thomas, Greg knew where you were coming from. If you were featured in a preview or a review, you knew that you were going to be big enough Albany. Haymes would encourage Thomas to get his music out there to be heard in the public eye.

    Thomas recalled a moment when he attended a benefit event with his daughter, who was four years old at the time. When the acts performed, Thomas’ daughter, Zoe, was coloring in a coloring book with Haymes who came over to color with her. Thomas was in awe that such a local celebrity and personality as Haymes would come and color with her. He later explained to his daughter who this man was that was coloring with her and his impact that he had on art and music. Now in his late 40’s, Thomas thanked his friend for pulling him out of the shadows.

    Greg Haymes
    Singer/songwriter, Bryan Thomas, speaking on behalf of his friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Kristen Ferguson, a music writer, and Greg Haymes reviewed shows together for various publications. Ferguson had first met Haymes through contributor, Andrzej Pilarczyk. As with Haymes’ “Top 10 Best Lists” for the popular blog, Ferguson created her own top ten best things about her friend, Greg Haymes.

    10. Haymes had a “live and let live” attitude. Haymes told Ferguson that there are no rules, that you can be creative and as expressive as you want.

    9. Haymes and Ayers had a love for animals, dogs and cats. Often, Haymes and Ayers would share photos of their dogs and cat at the end of the week wearing funny hats or sunning in a field.

    8. Stamina: Haymes was always in the community. He would send the contributors a schedule to let them know where he was going to be and what he was going to be covering. He would attend and review 2-5 shows, anything that was of interest. Sometimes, he would attend multiple events in a single day, ranging from a Ramblin’ Jug Stompers gig to an art opening.

    7. Mentorship: Haymes was a mentor to all the contributors and had welcomed the contributors to be a part of this excellent platform.

    6. Haymes had a funny sense of humor. At a Bootsy Collins Alive at 5 show, Haymes posed in a fan’s motorcycle jacket and helmet to replicate the “Metal Head” look for a fan.

    5. Haymes was always kind and warm. He always made you feel included and important.

    4. Haymes was always supportive and always there to lend anybody a helping hand.

    3. He always showed positivity and fairness in his reviews that he would publish in publications. He never posted anything negative and was able to capture the show well.

    2. Haymes was a humble person. He was never competitive and allowed people to contribute to his site. There was always more room for creatives to write, photograph, and create locally.

    1. Greg Haymes appreciated the arts and culture. He continued his love for arts and culture by listening to records, creating art, and watching movies. Haymes’ spirit continues to live on. Ferguson encouraged everybody to continue to see some live shows.

    Greg Haymes
    Music writer, Kristen Ferguson, listing her top 10 things that were special about her friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Stoic in his stance on the podium, WEXT DJ Chris Wienk knew Haymes since Wienk was a DJ of a local show for WBNY at Buffalo State College. Wienk first saw Haymes at The Continental in Buffalo. Around March 2007, Wienk and Dave Michaels were establishing their radio station, WEXT Radio, and sent an email to Haymes, through a lunch meeting with Bryan Thomas to see if he could provide any insight. Haymes provided the station with the names of local musicians, band names, and favorite records. Haymes was generous with all the musical knowledge that he had provided to them in order to establish their local roots station.

    “He loved all art. It was his passion,” said Wienk and that was indeed true. Wienk thinks about Haymes. Without Haymes, there would be no WEXT.

    Chris Wienk, WEXT DJ, speaking on behalf of his friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Ed Conway, a photographer/ writer and Nippertown contributor, was a huge fan of Blotto. In the past, he had seen Blotto perform with their female singer, Blanche Blotto in the late ’70s. An early date that he had with wife, Kathy, was at the Colonie Coliseum to watch Blotto and The Sharks. Later, he would bring his son, Evan, and daughter, Kimberly, to see Blotto perform live. The Conway’s first discovered Haymes’ site in 2010 through a blog posting that Kathy had noticed about adding your name to the contributors. He wrote a review of Blue Oyster Cult performing a show in Pittsfield, MA. Using just a regular point-and-shoot digital camera and a notebook, Ed was able to complete his review and sent it to Greg. To his surprise, Greg accepted his review and Conway officially became a contributor. In 2011, Conway wrote a review about Blotto at the Tulip Festival. Conway looked up to two other contributors, photographers and friends, Andrzej Pilarczyk and Rudy Lu, as mentors in developing his photography and writing reviews. Through Sara’s help, Conway was able to photograph the Viva Las Vegas music festival show this year and he was a nominee for best photographer in the Eddie’s Awards show in April. Haymes had given Conway a new passion for writing and photography. Conway also gave a shout out to three other contributors, Stanley Johnson, Timothy Reidy and Amy Modesti, and many others who were given the support, mentorship, and enjoyed the friendly open atmosphere that Greg and Sara created. The website was a great platform for Conway and other photographers and writers to express their creativity, share stories and enjoy their peers’ work, and help inform the community about the great community happenings.

    Ed Conway, photographer, writer, and Nippertown contributor, speaking on behalf of his friend and mentor, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Steve Barnes, Times Union writer and friend of Haymes, was the last speaker to pay homage to his friend. Barnes knew Haymes for over thirty-one years since their first encounter at a show held at the Saratoga Performing Arts Center. “Sarge Blotto”, according to Barnes, was one of his greatest creations. Haymes was a rock journalist and was great at record keeping, stating facts, and had great organization. Whenever he would see Haymes, he had “on the fly” education about anything that was occurring in the scene. He was full of wealth and knowledge and he always got the scoop about the latest show or event first. Haymes, and now Barnes, were learning from the best people in the entertainment scene. Instead of going to Google to search for community events to attend, people were going to Nippertown to search for events as their own personal community event Google search.

    Steve Barnes, Times Union writer, speaking on behalf of his friend and colleague, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    The final moments of the memorial were spoken by Ayers who returned to the stage. Ayers reflected back on Haymes’ love of New Orleans culture. Haymes loved New Orleans. He and Ayers were married in New Orleans. At the time of a person’s passing, Ayers had mentioned a tradition held in New Orleans called second line. The second line is the tradition in brass band parades, and it features the first line, or the main line, that consists of the members of the brass band. The second line consists of patrons that enjoy the music of the brass band who walk behind them during the performance. It is also a traditional dance in which patrons can be seen holding a parasol or a handkerchief in the air, also known as the second lining. It is an art form that is performed as a funeral ritual, performed with jazz without the body.

    Rosanne Raneri and Stephen Clyde (Cousin Clyde) of the Ramblin’ Jug Stompers performed a beautiful tune as a duo. With Clyde on acoustic guitar and Raneri on vocals, every note you heard sung and plucked was beautiful. As soon as they finished their song, The Driveby Jazz Band became the second line. A man holding a trumpet along the far-left end of the stage singled the start of the song with the sound of a toot and marched right into the center of the theatre to meet with other performers that were congregating from all sides. Meeting at the center, the band marched back and forth along the front of the stage and joining them was Ayers, Yvonne Haymes, and other friends and family members holding up parasols, playing kazoos, and passing along Mardi Gras beads to spectators that were seated in the audience as they awaited the end of the event. The audience followed the band out of the theatre and watched the band perform “Will the Circle Be Unbroken” along the main lobby of the Swyer Theatre, concluding the memorial.

    Rosanne Raneri (vocals) and Steven Clyde (acoustic guitar/vocals) performing a song together during the memorial for their friend, Greg Haymes, at the Lewis A. Swyer Theatre in Albany, NY 5/19/2019. Photo by Amy Modesti

    Thank you, Greg Haymes and Sara Ayers, for everything that you have both done for the area for the past nine years. Thank you for all your contributions, your mentorship, and for being the true, ultimate cheerleader that you were in the Capital Region arts and music scene. May your memory and your impact continue to be a blessing and shine within our hearts. Rest in Peace, Sarge Blotto. Rest in Peace, Greg Haymes. Thank you for everything.

    This article was originally published by The Spot 518,

  • Hearing Aide: Stellar Young ‘And Turned To Ash’

    After you’ve released two albums, how do you do to follow it up? Albany based band, Stellar Young’s, latest EP And Turned To Ash, is as founding member John Glenn (vox/vocals) describes it, “the final of a concept trilogy,” something the band has been working on since late 2014.

    Stellar Young And Turned To Ash
    Stellar Young – Photo by Ashley Nizolek

    The earlier cogs in this wheel, Became a Flame, a straightforward rock and roll EP, and The Spark Caught (the first of three) which goes in multiple directions, have set the musical bar high for the finale . The opening track “Silhouette By Line” bathes you in warm expansive tones, setting the stage for the rest of the EP. Track two, “Wait,” followed by “Old Roots,” pick up where “Silhouette By Line” leaves off.  For a moment you get lost, listening to a liquid suite and not just three separate songs, as the feel and flow align. Maybe a trilogy within a trilogy?

    “Dance with Static” sits in the middle of the EP. The song takes a right turn from the previous three, cleansing the musical pallet with it’s foot tapping straight away groove, while preparing you for the rest of the meal. “Struck” and title track “And Turned to Ash” round out the EP, sweeping you back into the sonic glow that envelops the EP.

    Producers Dan Dekalb and Jimi Woodul (Dark Honey) have captured the band’s aura that radiates throughout this final piece. The music glides ever so smoothly from single instrument and vocal to full on band and back again without upsetting the character of the songs. Well thought out arrangements enhance the quality of the writing and playing, putting Stellar Young And Turned To Ash in the keep pile.

    Key Tracks: Wait, Old Roots, And Turned to Ash

  • Hearing Aide: Freekbass ‘All The Way This. All The Way That.’

    Hail the almighty bass – a beautiful cornerstone of countless bands through history. Its versatility is a product of its transformation over time, to become a tool that is both seismic and transient. With such a dichotomy, the possibilities are endless, and that attracts some of the most sagacious of musical minds. Chris “Freekbass” Sherman is one such person; his bombastic aesthetic and revolutionary playing style is evened out by his time learning from one of the most accurate and revolutionary funk bassists of all time (Boosty Collins).

    In this focused yet unrestrained way, Freekbass explores the extremes of his instrument while never venturing too far into the obscene, instead riding the line of being an accessible yet progressive artist. Freekbass himself is one of the true cornerstones of a band, with a physical image formed around his vision and shaped by the eccentric. In this new album, All The Way This. All The Way That., Freekbass puts on a clinic for bass enthusiasts, as he invites along a cast of immensely talented musicians to create a work that takes the listener on a travel through funk music’s past, present, and future.

    The band on this album is stellar in every performance aspect. The Freekbass Experience is composed of all-star players Rico Lewis on drums (George Clinton & Parliament-Funkadelic), Sky White on keys (Foxy Shazam), and Sammi Garett on vocals (Turkuaz). Every track is unique in its usage of the band, with Freekbass’ bass lines acting as a centerpiece for most tracks, developed further by his supporting cast. In general, each song could be described as being steeped in a sort of chaotic beauty, creating a very instrumentally deep album that breathes an air of robustness. This is one of the things that defines Freekbass’ aesthetic in a way; from his image to his stage presence, it’s wild, yet neither ignorant nor forced. It’s large, but never overwhelming.

    “Blizzard Lizard” offers a great look at this dynamic. A soft opening gets the listener comfortable before the bass slaps them awake, ushering in a groove so funky it warrants a spray of Glade air freshener. While this track has a darker mood, the energy remains potent as heavily effected guitar and synth lines swirl above a dark, black-hole of bass.

    Much of the time though, the album has a brighter nature with springy instrumentals and sing-able hooks. An unrelenting pulse between the bass and the drums sets the tone in “You Make Me Wanna Dance.” Here, the vocals sit nicely in an agile arrangement with a lot of interplay between the organ and bass. Added strings nod to older funk and disco. Vocal “ooh’s” on top of that work to create a cinematic atmosphere – a unique experience in a mostly pocket-funk styled song. One thing that stands out here, as well as in numerous places elsewhere on the album, are the transitions between the song’s parts. There is a well-phrased melodic line in “You Make Me Wanna Dance,” much like something out of a Stevie Wonder song. In the more 80’s funk-pop styled song, “Your Love Is Always On Time,” you find a lot of bass fills between side-chained sub-bass and drum breaks ala Prince. And speaking to that point, it’s evident that these modern funk figures, such as Stevie and Prince, lent as much influence to this album as did pioneers like James Brown and P-Funk.

    The intricacies in more pop-oriented songs are a testament to the skill of the band on this record. Take “Steppin’ Outta Line” – this song could have easily gotten away with a simple drum beat; bass drum on the one, snare drum on the two, and so on. Instead, you’ll notice that the bass drum lines up almost perfectly with the bass line, which does move around a fair amount without becoming too evasive. One of the lyrics on this song offer a great explanation as to why this type of intricacy is preferred to the more modern simplicity in this funk-pop: “Some may conform with the norm of the time / Others fly the coop / Steppin’ out of line.”

    Composition on this album stands out in a big way against the back drop of good-ol’-fun funk jams. Accessible and technical! Modern, yet paying homage to what made this type of music so intriguing to begin with.

    The closing song, “Thrust”, sends the album out on a high note, acting as a good cap to a breakthrough album. The chorus holds strong as an earworm. The drums are accurately performed, filling out their function as the co-equal to the bass while breaking out in fills at just the right time; vocals are layered so thick that they are felt seismically. It’s just as much as the bass, though their presence makes it so a voice never get lost in the mix. This chorus is likely the strongest on the album, and along with the chipper instrumental, it is a great end to an absolute trip. As the song fades out, the need to listen through again will surely arise.

    Chris Sherman’s on-stage persona is a sight to witness. That taken along with this new album, one should expect to be seeing the name Freekbass more and more over the next year. Make sure to listen on Spotify, and visit Freekbass’ website for upcoming show information as well as live content. Follow on Instagram, Twitter, Facebook and more! And if you’re in NYS, you can see him in Marlboro for Mazzstock 2019, playing onstage with Zach Deputy.

    Key Tracks: Thrust, Fre3kroNomoKon, Gotta Get Back To You

  • Losers Club Rock Montage at Debut Show

    The neon sign outside Montage Music Hall was a beacon in the night, drawing music lovers into the heart of Rochester for the first live performance by Losers Club on Friday, May 31. The project is new, but members are seasoned musicians who have been playing out in bands for years. The downtown venue was packed with their friends, family, and fans.

    Losers Club debut performance – Photo by Corrine Cummings

    Losers Club took to the stage. Cody Wagner took his place behind the drum kit. Andy Champion picked up his bass. Aidan Snyder and Nate Blasdell strapped on their guitars. Then, Blasdell took a spot center stage, in front of the mic. Blasdell has been in several bands (The Bunny The Bear, I Set My Friends On Fire), but this is his first time as front man. Blasdell thanked everyone for coming before delving into their set.

    Bassist, Andy Champion – Photo by Corrine Cummings

    Rocking rhythms and pop hooks paved the way for emotional lyrics, oozing with unapologetic honesty. Between songs, Blasdell told the crowd a little about how the band was conceived, during a snow day this past winter. The band members came together after knowing each other for years through the local music scene. He also talked about the origin of the band name, and how Losers Club is about embracing the feeling of not fitting in.

    Guitarist, Aidan Snyder. Photo by Corrine Cummings

    The set was full of original songs, but they threw in one cover. Mid-set they got the crowd singing along to a rocking rendition of Lil Uzi Vert’s “All My Friends Are Dead.” Losers Club came out of the gate strong for their first show. It’s clear this new band is one to watch.

    Opening for Losers Club was indie pop band So Last Year. The five piece powerhouse gave an energetic performance. The set included sing-along faves from their albums In The Light Of Summer and It’s Later Than You Think. They’ve since been writing and recording for their next release, and on this night they played the soon-to-be-released song “Already Gone.”

    So Last Year building steam, for an energetic set – Corinne Cummings

    All photos taken by Corrine Cummings.

  • In Focus: 10th Boston Calling Music Festival Highlights

    Over Memorial Day weekend the city of Boston hosted the 10th Boston Calling Music Festival, located on Harvard University’s amazing campus. The Harvard athletic complex is beautiful and gave some luxury to the festival experience, where each stage was constructed on the Astro turf fields. There was a three-stage setup with the two main stages next to each other, separated by a replica Green Monster that read: “You Are Our People” across the top.

    Each day was filled with great acts and music fans with a great energy. Here are some of the best things we saw during this festival weekend:

    Brandi Carlile

    She greeted her audience, “Hello Rock n Roll People.” She plugged in and was off, on one the best sets of the weekend. Highlights included opening song, “Hold Out Your Hand,” which every fan in attendance was singing word for word. Amazing covers of “Babe I’m Gonna Leave You” and Joni Mitchell’s “A Case of You” followed. Brandi and her band put on one of the most special sets.

    Anderson .Paak and The Free Nationals

    From the moment his drum set rose from the bottom of the stage, .Paak and his band brought funk and soul to the main stage the second night with their amazing songs and musicianship. Anderson .Paak and The Free Nationals are one of the top live music acts doing it right now; it’s amazing to see the growth and following that has already surrounded theses musicians. The highlight of the set was the guest appearance by Lil Nas X, and the duet of “Old Town Road”

    Travis Scott

    Music festival performances are special, you want to see and artist give their all and hold nothing back – that’s where Travis Scott delivers. His live show was top notch, out-of-control fun. The stage was adorned with a fifty-foot teddy bear, timely pyro technics, and amazing visuals and lights that covered everything on the stage. His stage presences and hype helped make this performance one for the Boston Calling history books.

    Tame Impala

    Kevin Parker informed the audience that he recently fell off a roof during a photo shoot and was taking lots of pain meds. That being said, it had little to no effect on Tame Impala’s headlining set Saturday night. The sets was like a slow burning fire, slowly progressing until an explosion. It was the bands hit song, “Elephant.” Confetti, smoke and lasers took over the crowd, as this song flipped everyone from a calm somber mood, to 150 MPH hauling down the highway. Impala knows how to entertain a festival crowd, period, allowing them to deliver one of the best sets of the weekend.

    Twenty-One Pilots

    Prior to this festival there was  a lot of hype about Twenty One Pilots being a headliner. The magic of live music, proof you can’t judge a book by its cover surpassed the hype, tenfold. This was more than just a set of music it was a full stage show, opening with a knight igniting a car on stage to start the set, confetti and fire, and a cinematic storytelling element.

    Over all, the 10th edition of Boston Calling Music Festival was a success. Music fans were treated to an amazing weekend with clear weather and one of the most eclectic lineups for the 2019 festival season. Great food and that ‘home team comradery’ within the heart of Boston, made this year’s festival one to remember. We are looking forward to what comes next for this premier music festival.  

  • Historic Tanglewood Announces 2019 Summer Season

    Tanglewood, the famed summer home of the Boston Symphony Orchestra since 1937, launches the Tanglewood Learning Institute, and a dazzling array of concerts for their summer season, which runs from June 15 through Labor Day weekend. Tanglewood is located in the Berkshire Hills, between Stockbridge and Lenox, MA. This summer includes a lot of debuts, as well as returning acts for Tanglewood.

    The season starts off with Popular Artist Series throughout the month of June, including performances from Postmodern Jukebox, Josh Groban, James Taylor and Earth, Wind & Fire. Then, starting on July 5, the Tanglewood will be home to BSO’s Music Director, Andris Nelsons, for 14 orchestra programs. The BSO and Andris Nelsons will open the orchestra’s summer season with Mahler’s Symphony No. 5 and Mozart’s Piano Concerto No. 22, with Emanuel Ax as soloist.

    Other highlights from the season include a one-night-only performance of Bach Cello Suites by Yo-Yo Ma and three performances from The Boston Pops celebrating the music of John Williams. One of these performances being Star Wars: A New Hope, which includes a showing of the classic 1977 film, with the Boston Pops Orchestra performing Mr. Williams’ iconic score. For a complete list of events this summer at the Tanglewood and ticket information click here.

  • Beatniks Regenerated with Karen Kramer Documentary ‘Renegade Dreamers’

    Acclaimed filmmaker, Karen Kramer, will begin a week long theatrical release of her new feature doccumentary, Renegade Dreamers, at Greenwich Village’s own Cinema Village starting Friday, May 31. The film is a look into beat poets and folk singers of today, who use free speech and song to spread words of action and change throughout our society. Renegade Dreamers also shows the history of this same rebellion that took place in New York City in the 60’s.

    Beat writers, poets and folk singers inspired a social movement in Greenwich Village in the 60’s, showing the public power of the first amendment, and how powerful spoken word can be. The movement brought light to a change that was happening in our country and introduced us to some of the most important artists and wordsmiths of an evolving generation. Renegade Dreamers profiles the artists and activist pursuing this same mission in the world we live in today.

    The Film sheds light on numerous subjects all using some form of spoken word art to express a sense of rebellion and concern for the road our society is going down. Weather it’s Matt and Tiffani using folk music and an acoustic guitar, or Roya and Jeremy using poetry and public speaking, each subject featured in the film wants to inform audiences of the power in the first amendment; just like in the past, with innovators such as Kerouac, Ginsberg, Dylan, and more. Using your voice can make all the difference.

    Over all this film is about looking into our past and learning from these people who decided the path they were on was not for them. It’s about how history often repeats its self and how we should take lessons from the past. It’s a film that makes you realize in light of what is going on in our world today It’s more important than ever to question authority.

    Renegade Dreamers • Fri., May 31 – Thurs., June 6 • Cinema Village, NYC

  • Hearing Aide: Baby FuzZ ‘Plastic Paradise’

    Listening to Baby FuzZ’s Plastic Paradise is like playing a game of musical hopscotch – you’re skipping from alt-rock to indie pop to EDM. The influences that inspired the music on this album range from 70’s glam to 2000’s emo, and touches on everything in between. Spectacular hooks and danceable rhythms are he golden threads that hold it all together.

    Baby FuzZ has seemed to come out of nowhere, but founder and frontman Sterling Fox has paid his dues in spades. He spent years working primarily behind the scenes as a songwriter, studio musician, and producer, working with some of the biggest names in the music industry. After years of supporting other musicians, he’s pouring his heart and soul into his own musical project.

    Plastic Paradise opens with an emo anthem entitled “Burial,” then switches gears to the electro-pop number “Disneyland.” From there, it delves into a shoegaze ambiance of “Andy Warhol” and the slow ballad “I’m Still Holding Out For You.” The lyrics so far are playful and roguish. In “Disneyland,” Fox sings: “I don’t want to be your prom date. I don’t wanna take you home to meet my famz. I just wanna be a player, and ride the rides like it’s Disneyland.”

    Perhaps the most poignant and honest song on the album comes about halfway through. “Cig” is a song of love and loss about someone who “drove off into the sunset, drinking pinot, singing ‘Livin’ on a Prayer.’” The sentimental reminiscence about what was and what could have been concludes; “in the end we all burn out like cigarettes.”

    On the B side, “Drip Drop” is about love and loss too, but is built on a foundation of rock n’ roll, channeling some Elvis and Jerry Lee Lewis vibes. “Mr. Blu” is an alternative take on a lounge song, where crooning vocals meet swimmy guitar effects. There are a couple more electronic songs on this side too, for good measure.

    The album ends with the piano-driven dark ballad “Shadowland.” It feels like a reflection on the cost of being a professional entertainer, with its references to people cheering for tragic anthem, and the open road becoming the highway to Elysium. But yet, he forges on. “I was raised in plastic paradise and I’m still here, deep in Shadowland.”

    Plastic Paradise is a showcase of Fox’s skill as a songwriter and performer. He’s comfortable. With a variety of styles and subject matter – in fact, he’s able to pull them off with panache.

    It’s fitting that this romp through a sonic candy-land comes in bubble-gum-pink vinyl. If you enjoy the music, be sure to check out the series of music videos that accompany the songs featuring a cast of characters including puppets, a magician, and a karaoke king. Each video is like a mini art-student film which delves further into the storyline of the song.

    Plastic Paradise was created with a host of collaborators in addition to band members. With two exceptions, the songs were written, or co-written by, Sterling Fox (aka Brandon Lowry). They were mixed by Chris Connors, and mastered by Emily Lazar and Pete Lyman. Album Art was created by Kristin Eichenberg and Merideth Truax, with Album Design by Ashley Pawlak.

    It’s available now to purchase and stream on all major music platforms. Visit Baby FuzZ online, where you’ll find their store, stocked with music, merch, sheet music, and even a comic book about the band’s origin.

    Key Tracks: Disneyland, Cig, Shadowland

  • Rock Voices provides healing its members never knew they needed

    Nestled in an unassuming building next to a Russian Orthodox church is a passionate and energetic group of people with a common interest. That interest? Singing music they actually want to sing. Music that is well known, loved and mainstream.

    Seventy-percent of the members of Rock Voices can’t read music. Some have never had any sort of vocal training or musical practice, yet everyone shows up. The members applaud one another (literally and loudly) for doing something right. They also lean on one another for support in both music, and everything else.

    Rock Voices

    After the rehearsal, a few members and director, Nate Altimari, joined me at a local restaurant to chat and have some dinner. Contemplating over a spread of nachos, cheese fries and beverages, bass vocalist, Brian Rose, was tired. “I love being tired from singing,” he said. “It feels like we accomplished something and it feels great.”

    Altimari, who conducts the Albany and Saratoga chapters, was attracted to the prospect of having his own chorus for many years.

    “When my family and I moved from Boston and settled down here, I went through a significant period of time with no musical outlet,” Altimari said over a beer and steak nachos. He’s sitting with five of his longest members. “The opportunity presented itself several times to have my own choir. This was the first one that felt right.”

    Altimari had never had his own group like this one. He’s an award-winning singer for his Boston-based group Firedrill!, but this was new territory. After four seasons, he’s learned to let it go. Not everything will be perfect, and that’s perfect in itself.

    Rock Voices

    “This is such a casual, inclusive environment,” he said of his group, which hosts people of all ages, races, ethnicities and religions. “We have no divas or anyone who thinks they are better. We all just love music and want to sing.”

    Rock Voices was founded on a simple motto:

    Healing ourselves and others through song.

    Born from the brain of Tony Lechner, the performer and Rock Voices Executive Director creates of the program’s harmonies himself. Boasting an impressive 15 chapters across the Northeast, the groups all take advantage of the same programs. This makes it easier for those who travel a lot or have scheduling conflicts to attend rehearsals. Even if you can’t make the group you enrolled in, you’re welcome to join other rehearsals to get the practice you need. Because most members can’t read music, Rock Voices provides tracks for each vocal part to help members learn what they need. There are also sheets with strictly lyrics for those who find sheet music daunting. Altimari has 20 years of vocal experience and can smoothly hit all notes, including the sky-high soprano register.

    Even after the rehearsal, the five members flanking Altimari have a contagious energy that could ignite passion in even the coldest of souls. Every single one invited me to join the group and asked me about who I was, as well. They listened as intently as they spoke. Their warmth to a stranger they met just three hours ago was like an incubator; I felt at home, accepted and at incredible ease.

    Rock Voices

    Rose is usually the only bass at his rehearsals. With a rehearsal size of 65 (120 people will be on stage at the May 5 show at Sage), you could hear his booming, smooth voice as clear as day.

    “It’s just fun,” Rose said. “I walked in a couple of weeks after Mike Hyrny in season one. I came because I wanted to sing “Africa,” [by Toto] which was on the program. I didn’t know this was what I needed, but the feeling I get when those harmonies marry and that moment when it all clicks in rehearsal is something I cannot explain. It feels incredible. I’m hooked.”

    Rose expressed the added pressure, if you will, of being the only bass at most rehearsals actually helps him learn his part better because he has to carry his own. Unlike the women and the tenors, there isn’t anyone else to cover for him if he makes mistakes.

    Hyrny is sitting two seats down from Rose. Like Rose, he joined without knowing it was what he needed.

    Rock Voices

    “I had gone through some major surgeries before getting here,” Hyrny explained. “Nate had spoken to the Daily Gazette about the first season in February 2018.

    “The first rehearsal was actually the day of my surgery,” he continued. “Four weeks later I came in and saw this little chorus of seven or eight people. We had 17 people at the first concert.”

    The sound those seven or eight people produced that night was so energetic and impressive, Hyrny immediately joined. In the 16 months and four seasons, Rock Voices has been in Albany; he’s been involved in every one.

    Ronnie D’Alauro is Hyrny’s junior high classmate. One day over lunch, Hyrny was telling her about the chorus with a bit of embarrassment. They met again a couple of weeks later and he invited her to the show.

    “Everyone looked like they were having fun,” she said. “I didn’t know the background of this group, but I wanted to join.”

    D’Alauro described the emotional experience she had at the first show, where she knew this was a group of people who wanted to sing and just have fun. As she talks, her eyes are bright and animated. Her personality is big and intriguing; you want to be around her, as you do the other members.

    “I can make any conversation come back to Rock Voices somehow,” she said. “The way we connect, the way we sound — it’s a no brainer.”

    Ronnie D’Alauro

    The connection is what keeps Altimari coming back and what keeps his chorus stronger than anything the members could have imagined.

    “When the music comes over you and the adrenaline is pumping, there’s nothing like it,” soprano Penny Blaisdell said. Blaisdell’s presence at rehearsal was prominent; every single time the group started singing, she would break out in dance. She moved with the music effortlessly. As I moved around the room, her warm smile greeted me whenever we made eye contact. Her church choir roots bred her for this exact situation.

    “This music brings me so much nostalgia,” she said. “This music brings me back to those moments from long ago and simpler times. It’s freeing.”

    Perhaps the biggest breakout story of the night was Kim Strosahl. A self-proclaimed introvert, Strosahl joined in season one with a fear of singing in front of people. Today, you’d never know that was the case. Since joining, she’s had a solo in each performance. At rehearsal, she belted the iconic “Brighter Than The Sun” solos with confidence and exuberance.

    “I was looking for friends and that’s something that’s so hard to find in the second half of your life,” she said. “I wanted something with music in my life. I heard about this and realized it was exactly what I was looking for. No auditions and rock music. I’m in.”

    The five singers credit Altimari for bringing the group into its own. A kind soul with the patience of a saint, he corrects with a soft voice and refrains from chastising.

    “I couldn’t have done this the way Nate did,” Rose said. “The charisma that Nate has and his ability to bring us all together is something unique to him.”

    The other four agreed. D’Alauro called him a kind person in an odd way. Altimari’s energy and presence is something that people seem to be drawn to in practice. Everyone wants to talk and give input.

    Altimari struggles with his own expectations, he said. There will be times where he feels the group is much further ahead than it is and it promptly slapped back to reality during rehearsal.

    “A couple of weeks ago, I was frustrated with how much we had to do and I was just biting off everyone’s heads,” he explained. “I had to check myself in the car on the way home and then had to email all the members and apologize.

    “I have to remind myself that this isn’t about being perfect,” he continued. “The brand of Rock Voices is about fun and expressing yourself. We’re going to be a little rough around the edges sometimes because we are human beings and that’s just human nature.”

    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

  • Summer Camp: Wet, Hot, Dreamy American Summer

    It rained, it scorched, a few artists had to cancel due to travel issues, but that did not stop Summer Camp from being an absolute blast! A festival full of ups and downs but mostly a lot of awesome, jaw-dropping moments of improvisation and collaboration, beauty, artistry, community, and fun.

    Summer Camp, what a line up! Many sets of Umphrey’s Mcgee, moe., plus Pigeons Playing Ping Pong, Lotus, STS9, Gramatik, Space Jesus, Papadosio, and so so many more! Unfortunately not all major acts performed due to various issues, some weather related – Space Jesus, Govinda, Blackstar, & Rebelution were some of the acts that were unable to perform.

    moe. in full bubble mode.

    The pre party did not look so promising on Wednesday night. In a nearby arcade bar in Peoria, just twenty minutes outside the festival, the sky was black and the lighting fierce. Tornado warnings broke up the chill vibe of the bar as it interrupted old hits like “Electric Feel” by MGMT.

    But alas the rain stopped, as it always does. The sun came out and the patrons lined up at the entrance. God bless the express lane for media and the friendly folk who pointed out that media does not have to wait over an hour in the sun just to have their items inspected.

    Umphrey’s McGee at the Sunshine stage. We’ll miss you, Jefferson Waful. (UM lighting designer to retire from touring at end of year).

    Jay Blakesburg was directing the video team and filming patrons as they entered. The pre party featured some amazing acts like STS9, EOTO, Keller Williams, & Spafford, plus late night by Umphrey’s & Here Come The Mummies. Now that’s how you kick off a festival!

    Spafford played an incredible “All In” as well as “The Reprise” amongst their shred-filled set. Umphrey’s Mcgee played some strong first sets including songs like “Andy’s Last Beer” and “Syncopated Strangers.” STS9’s ‘Axe The Cables’ set was filled with groove including a masterful “Mischief of a Sleepwalker” > “New Dawn New Day” > “Mischief of a Sleepwalker .”

    Taz sits in with Pigeons Playing Ping Pong at the Moonshine Stage.

    Friday started off with Brandon “Taz” Niederauer. Now this kid can shred. “Fire on the Mountain” > “BlackBird” was phenomenal, heart touching, and ever so appropriate. Keller Williams’ Pettygrass with the Hillbenders was cancelled due to some lighting, a storm was coming that never came. Music is back on! moe., Exmag, Spafford, Karl Denson, Here Come The Mummies, Ghost Light (Tommy Hamilton still has the tape on his guitar from Shpongle Live Red Rocks!) and Pigeons Playing Ping Pong were all happy to oblige.

    Since Rebelution was cancelled, moe. & Pigeons Playing Ping Pong put together a set. At first it was moe. with Jeremy Schon, but what happened next was really impressive. While playing the same song (“Cissy Strut” by The Meters), members of moe. on stage switched with the Pigeons guys backstage, switching bands while maintaining the same jam ! Crazy impressive. Other songs played included “Get Back” by The Beatles, “Deal”, and “Sympathy For The Devil” by The Rolling Stones.

    Aqueous at the Moonshine Stage.

    Umphrey’s McGee performed Anchor Drops in its entirety during their evening set, filled with virtuoso shredding and improvisation.

    Some heavy hitting bass music on Friday by Zeds Dead, Tokimonsta, Flux Pavilion was followed by Ryan Stasik’s side project Doom Flamingo at the Campfire Stage who are definitely an act worth seeing.

    Mihali sits in with Big Gigantic at the Sunshine Stage.

    Saturday looked very promising, especially during the epic Big Gigantic set with an unexpected sit in by Mihali of Twiddle. But alas, during Umphrey’s set, the rain came in and washed it all away, along with several sets including those of Space Jesus & Manic Focus.

    Saturday also featured amazing performances by Chromeo Live, Cory Wong of Vulfpeck, Blues Traveler with a sit in Mihali of Twiddle and a separate one from Al Schnier of moe. , Andy Frasco with a sit in from Gumby himself! (by sit in what is meant is that Andy invited someone in a Gumby suit from the crowd to dance on stage as he shoved mushrooms in the costume’s mouth and finished Gumby off with his band members with an implied circle jerk).

    Cory Wong at the Moonshine Stage.

    So spirits were a little low Saturday night in the rain. Some major acts had gotten cancelled and the rain was not letting up. But indoor stages were still on! lespecial saved the day. Space Jesus did not get to play but he was rocking out to lespecial for the entirety of the set front row. With a little support from ‘his uncle,’ Luke Bemand and the lespecial boys crushed the late night Saturday set including the lespecial heavy hitter “Fruit Wolf Dance.” All those folks who may have been somewhere else were now packed and raging lespecial. Their tight, hard rock, danceable groove was perfect for this night. What better Primus song to play after a torrential rain storm… My name is mud!

    lespecial at The Soulshine Tent.

    Sunday funday. Never miss a Sunday show right? Chris Robinson Brotherhood was in the house, Oteil & Friends, Eric Krasno, Papadosio, The Werks, Ben Harper… the jam was strong with this day.

    Aqueous put on a particularly solid set to kick off the day featuring a live debut of “APunk” by Vampire Weekend. Umphrey’s, bringing the heat after having one of their Saturday night sets rained out, included “Whitehouse Road” by Tyler Childers with a special sit in from Arlo McKinley and Allie Kral from Yonder Mountain String Band. Umphrey’s McGee closed up their set with “Outshined” by Soundgarden.

    Neal Casal, Weedie Braimah, and Oteil Burbridge of Oteil & Friends at The Moonshine Stage.

    Oteil & Krasno in the VIP Lounge was beautiful, featuring masterful renditions of Dead songs such as “Help On The Way.” Oteil & Friends featured Jeff Chimenti, Krasno, Neal Casal, Weedie Braimah, John Kimock, and Alfreda Gerald. Now that was a set filled with such tight, progressive jams. It really flowed, had a direction, and was sonically impressive.

    Chris Robinson Brotherhood put on an incredible set with songs like “Rare Birds” and “Venus In Chrome” was played with precision and whole lot of energy.

    Chris Robinson Brotherhood at the Sunshine Stage.

    moe. busted out some live debut covers including “Rebell Yell” & “Turning Japanese.” This set featured masterful, psychedelic stage lighting complete with UV reacting bubbles!

    “Loving Cup” by The Rolling Stones was played at least twice that day by different bands, so that should tell you what kind of Sunday it was. A fun one. It was a Sunday Funday! Ben Harper & The Innocent Nocturnals proved to be intimate, full of masterful blues, and virtuoso musicianship including a Buddy Miles cover, “Them Changes.”

    Ben Harper & The Innocent Nocturnals at the Sunshine Stage.

    Lotus played a particularly awesome set, including a particularly groovey “Eats The light.” It flowed very well and people danced from the very first note until the end of the encore. Lotus is a nice happy medium between jam and electronica, where they can satisfy musical preferences of different tastes with the same song. Someone who loves to hear someone play guitar can appreciate their guitar playing, but someone who just wants to dance to a catchy beat can also do so at Lotus.

    Summer Camp had some heavy hitting bass music to close out the festival featuring Gramatik, Squnto, & Borgore. Borgore dropped old classic dance songs that everyone knew like “Sandstorm.”

    Mike Rempel of Lotus at the Sunshine Stage.

    Overall, Summer Camp was a success! Thousands of strangers gathered to celebrate freedom, music, and art. Summer Camp is a magical place full of amazing people, incredible music, inspiring art, and a thriving community that is held together by the love of music.