NYS Music 20​19

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  • Joe Russo’s Almost Dead Deliver Emotional Return Performance to Palace Theatre

    On a cold Friday night, Joe Russo’s Almost Dead returned to Albany’s Palace Theatre for its seemingly annual performance at the venue. The show sold out months in advance and the theatre filled quickly as Grateful Dead fans across the northeast flocked to New York’s capital for a tribute to their favorite live act.

    joe russo's almost dead palace

    To open up the first set, the group started into a jam that slowly but surely built itself into “Cassidy.” During the intro jam, guitarist Tom Hamilton made good use of his recently acquired De Pinto guitar, manipulating its onboard overdrive effect and an octave pedal, creating a sort of fuzzy overtone, and bassist Dave Dreiwitz took the helm for a bit before the group finally dropped into the main composition. The group jammed in and out of the verses and choruses of the song before leading it into a very spacey jam that employed the use of patience as the group started into the traditional tune “Jack a Roe.” Keyboardist Marco Benevento teased the theme to Pink Panther heavily during the intro jam, adding a mysterious vibe to the music as the group worked its way into the main composition. After weaving in and out of the lyrics of “Jack a Roe,” the group wasted no time transitioning into “Box of Rain,” dropping into the Phil Lesh staple with nearly the entire audience singing along with its somber lyrics. At some point amidst the segue from “Jack a Roe” into “Box of Rain,” Hamilton broke one of his guitar’s strings and was forced to change it mid-transition to “The Other One” which led to an interesting musical conversation between Benevento and guitarist Scott Metzger.

    The intro to “The Other One” was super spacious and ambient and primal feeling, and once Hamilton gave the “all clear” on his string, the group worked as a unit to build up an interesting jazzy groove, keeping that groove going under the first verse before a breathtaking drop into the chorus. Following the chorus, the group got back into the jazzy insanity that was happening during the intro, until drummer Joe Russo quickly brought the groove into “Drums,” keeping the general feeling of “The Other One” going, but adding some really impressive polyrhythms over the top of it. “Drums” was short-lived as Russo signaled to Benevento to start playing, leading to a rare Benevento/Russo reunion in the middle of the jam. The duo did their thing and quickly brought the jam back into “The Other One,” bringing the band back in for a drop into another verse/chorus just as intense and astounding as the initial drop that began the song. “The Other One” ended fairly abruptly, and the group drop-segued into the Dead’s disco classic “Shakedown Street,” much to the approval of the crowd. This version of “Shakedown” had a swagger to it, with Russo putting a bit of a swing to the groove and the rest of the band putting a little more oomph into the funk aspect of the tune. The jam following leading out of Shakedown took all the energy the band had built up during first set and transformed it into one glorious peak led by the whole band to close out the set.

    https://www.youtube.com/watch?v=2eRqJlt00jU

    To kick off the second set, the group started into Bob Weir’s “Black Throated Wind,” a slower tune that was somewhat of a rarity in the Dead’s concert repertoire for the better part of their career. The group played through the song’s many verses with a rather somber feeling as Metzger belted out the lyrics and brought the song into a very rewarding peak that acted as a burst of the emotional energy the song had built. Suddenly, the jam dropped into the familiar chord progression of “Bertha,” only to be jammed on for a brief minute before faking out the crowd and dropping into the whimsical “Dupree’s Diamond Blues.” Hamilton lead the group through a fairly standard version of the song and closed it out with a soaring solo that began the transition into “Playin’ in the Band.” The intro jam was very patient and spacey, featuring Benevento experimenting on his Rhodes piano a bit before the group steadily rose the groove into the main tempo of “Playin’,” extending the intro of the song before Metzger broke into the lyrics. The jam immediately got spacey and dissonant with Hamilton and Benevento heavily making use of their delay pedals before Russo started bringing the “Playin’” groove back into his drumming. The group worked its way into a mini peak before dropping into one last round of choruses to finish out the song and begin the transition into “So Many Roads,” the first and only repeat from last year’s Palace show.

    Benevento swiveled over to his Hammond organ to lead the band into the emotional Robert Hunter-penned tale, and Hamilton jumped back on the vocals, delivering an impressive performance of the song’s heartfelt lyrics. Following another big emotional peak, the group brought the song into a laidback reggae-ish groove that acted as the launching off point for the live staple “Estimated Prophet,” but not before heavily teasing the opening chord melody of “Crazy Fingers.” “Estimated” brought the energy up immensely after the emotional ride of “So Many Roads” and Metzger really tapped into his grittier side of his voice for the verses, which added a really cool element to the sound of this version. The jam sort of teetered its way around another spacey groove before dropping into the energetic “St. Stephen” which made the crowd roar. The group ripped through most of the lyrics and started building a super uptempo groove that burst back into “Bertha,” resolving the fakeout from the beginning of the set and leaving “St. Stephen” unfinished. “Bertha” was very fast paced, continuing the energy from “St. Stephen” and amidst the jam on the song’s main progression, the band’s tech replaced Russo’s snare drum, much to the amusement of Hamilton and Russo. Before the famous “test me, test me” section, the group got super quiet and let the tension build up before finally hitting on the chord when Hamilton sang the lyric out. The group closed out the set after one last chorus before leaving for encore break.

    https://www.youtube.com/watch?v=cqhsFjsJsBk

    Before the band came out for the encore, Benevento walked onstage and sat down at his grand piano to take a solo that eventually worked its way to the main melody of Warren Zevon’s “Werewolves of London.” The full band walked out as he started into the chord progression and he took the lead on vocals for the only time that night for a very spirited version of the famous Dead cover.

    Joe Russo’s Almost Dead delivered yet another stellar performance at the palace theatre, filled with some really impressive versions of Grateful Dead classics, namely “The Other One” and “So Many Roads.” Hopefully the group continues this tradition and returns to the venue in March of 2020. Check out the photo gallery below for a taste of the evening.

    Setlist: Joe Russo’s Almost Dead, Palace Theatre, Albany, NY – March 1, 2019

    Set One: Cassidy > Jack A Roe! > Box Of Rain+ > The Other One -> Drums -> The Other One Reprise @ > Shakedown St #

    Set Two: Jam -> Black Throated Wind -> Bertha Jam ## -> Dupree’s Diamond Blues $-> Playing In The Band -> So Many Roads % -> Estimated Prophet > St Stephen ^ -> Bertha &

    Encore: Marco Solo -> Werewolves Of London *

    ! – Not Played by Almost Dead Since 2018-02-15 War Memorial Auditorium, Nashville, TN, a gap of 43 shows
    + – Not Played by Almost Dead Since 2018-02-17 The Pageant, St Louis, MO, a gap of 42 shows
    @ – With a Duo Jam, first Almost Dead version of “Other One Reprise”
    # – With a “Love Supreme” (John Coletrane) Tease (TH) and a Jam that included elements of “Don’t Stop ’Til You Get Enough” (Michael Jackson) and “Serpintine Fire” (Earth Wind & Fire)
    ## – First Time Played in this manner by Almost Dead
    $ – Not Played by Almost Dead Since 2018–03-08 Brooklyn Bowl, Brooklyn, NY, a gap of 39  shows
    % – With a “Knocking On Heaven’s Door” (Bob Dylan) Tease (TH) Tommy actually quoted the Guns N Roses version. Not Played by Almost Dead Since 2018-03-16 The Palace Theatre, a gap of 35 shows Albany, NY
    ^ – Unfinished
    & – With a “Reveille” (Traditional) Tease (SM) and a “Rock And Roll” (Led Zeppelin) Tease (JR)
    * – With a “Sweet Home Alabama” (Lynyrd Skynyrd) Tease (MB)

    • joe russo's almost dead palace
    • joe russo's almost dead palace
    • joe russo's almost dead palace

  • Photo Gallery: Cheap Trick Sell Out Wellmont Theatre

    On Friday, March 1, rock n’ roll legends Cheap Trick played to a sold out audience at The Wellmont Theatre in Montclair, New Jersey. Since the 1970’s Cheap Trick has been blending elements of all musical genres, making their sound and style instantly recognizable throughout music. The Rock and Roll Hall of Fame-rs, treated the eager crowd to all the hits: “Just Got Back,” ”The Flame,” ”I Want You to Want Me,” ”Dream Police” and “Surrender.” Fans young and old sang every word. Cheap Trick has performed over 5,000 times live, sold 20 million records and bring an amazing energy, keeping these classic songs fresh and fun proving – After 46 years there is still nothing like a Cheap Trick show.

    Setlist: Hello There, Lookout, You Got It Going on, Just Got Back, Big Eyes, California Man, She’s Tight, Stick Man of Europe, Stiff Competition>Need Your Love, Daddy Should Have Stayed In High School, Ain’t That a Shame, Baby Loves to Rock, Waitin for the Man, The Flame, I Want You To Want Me, Dream Police, Clock Strikes Ten, Surrender, Goodnight

     

  • David Bowie Legacy Continues In Buffalo

    There is something to be said about David Bowie. He was a man once you heard of, you were entranced by him. He has a legacy following that still holds strong. David was a musician of his time, and unfortunately passed away much too young due to his secret battle with cancer.

    His longtime pianist Mike Garson and other members of Bowie’s band decided to create a tour to fill the void his passing left. They brought the show to Buffalo, Tuesday February 26, to Town Ballroom. The lineup includes other Bowie alumni musicians Carmine Rojas and Earl Slick, as well as Bernard Fowler, Corey Glover, Naia Kete, Imani Elijah, and Stevie Salas. The special surprise of the evening was Slick’s son, Lee John Madeloni on drums.

     Walking into the venue was an intimate experience. The top part of the venue, where the bar is, was blocked off by large black curtains. Giving the room an intimate feel. While the majority of the room was filled with middle-aged people, it was refreshing to see young 20-somethings there singing their hearts out to almost every song played. Others swayed their arms in the air, while some just swayed back and forth.

    Towards the end of the set Bernard said in a playful voice, “Buffalo, Buffalo, Buffalo,” only to then giggle and start telling a story. When pianist Garson and he went to the casino, which is currently one of the most safe Canadian Bitcoin casinos, they would play a slot machine that yelled buffalo three times when you win.

    They played classics such as “Aladdin Sane” and “Sweet Thing/Candidate.” The huge hit of the night was “Under Pressure,” Bernard Fowler and Corey Glover did a sensational job performing this together. Glover’s pipes had such range that during the song they hit window shattering levels. Fowler stood out predominantly during softer pieces such as “Win,” and one of their encores “Heroes.” Glover’s commanding pipes lit up “Suffragette City” and “Young Americans.” Naia Kete came center-stage to sing “Quicksand” with the band. Her versatile voice gave grittiness and smooth jazz throughout the song. Slick stole the show with his guitar playing by far though. His solos during “Time” and “Fame” were ones the left your mouth hanging open just a bit.

    The show was intimate and breathtaking. Everyone left that night with a little less void in the heart. Realizing even though David is gone. People will still carry on his legacy.

  • One Last Time: Elton’s Endearing Endurance at TU Brings Albany Down the Yellow Brick Road

    Elton John’s Farewell Yellow Brick Road tour ushered fans into his retirement at the Times Union Center in Albany on March 1, 2019.  On a stage framed with bricks featuring images recalling Soul Train, Billie Elliot, The Lion King, and various album covers, the scene was set to remind us: Elton John is not only a legend, but quite possibly the legend of our time.

    But in case that wasn’t enough reminder, Elton John took the stage by humbly walking upon it in the dark, sitting at his piano, and playing “Bennie and the Jets” for the first performance of the night.  While Elton was adorned in rhinestones and his signature square glasses with glitter, it was his voice, immediately on pitch and demonstrating the familiar clarity from his earlier years that immediately grounded everyone in the Times Union Center with the reality of his legendary status.

    Over 15,000 fans screamed, danced, and sang along as Elton John moved through his hits with grand visuals on the screen behind him. During the third song, “I Guess That’s Why They Call It The Blues,” the juxtaposition of the love songs’ words with images of multigenerational partners at different stages of engagement with one another was striking. Couples sun bathing, grocery shopping, eating meals flashed on the screen behind Elton John as he crooned about “time on my hands / could be time spent with you.” The reality of love in all its mundane daily living was visually represented alongside the romantic lyricism of his songs.

    Similarly, “Border Song,” originally recorded by Aretha Franklin, was marked by visually striking loops of pictures urging acceptance of diversity. Elton John mentioned composing songs with Bernie Taulpin, and the confidence Franklin gave them by choosing to record their song. He also casually mentioned sharing a birthday with the great jazz artist.

    The visuals, while moderately interesting and created by some rather well known artists (David LaChappelle made the video accompanying “Daniel”), offered a bit of distraction from the general lack of movement on stage. And while the videos added value as the night progressed, they really weren’t necessary. Elton John himself was the show, sitting at a piano singing.

    “Tiny Dancer” followed a similar theme, using video loops of people at different normative life experiences throughout LA. Elton John’s words, again in a sense at opposition to the songs lyricism, seemed to urge listeners to see more to the story than a romanticized vision of being human.

    Elton John spoke to the audience quite amicably, engaging fans by sharing his process of writing songs that story tell.  From “Indian Sunset” to “Rocket Man” and “Take Me to the Pilot,” the artist became increasingly energized, sharing what the stories of the songs meant to him, and also the boundaries of music writing. The length of certain stories, such as “Daniel,” presented obstacles to the songwriter, who admitted he cut off the last part of the story when composing the song as “it was too long.” But in doing so, he lost part of the meaning for his audience.

    Elton John didn’t shy away, however, from explaining the stories using the visuals on the screen behind him.  “Someone Saved My Life Tonight” featured Captain Fantastic in a cartoon shot into a pinball machine and bouncing around pills and drugs. He openly shared that this song was “the most personal on that record, and my favorite.” He humbly shared his experiences with addiction, and urged fans to get help rather than live in shame.

    The band made full use of the three percussion sets for “Levon,” pushing the fast paced song with guitar licks fresh and stone hard as rock can possibly get. One percussionist on the bongos dramatically interacted with the crowd, pulling fans into a dancing frenzy as the high-energy song peaked.

    And just as quickly as the band would bring the energy up, Elton John would offer rests, in quieter songs like “Candle in the Wind.”

    The musician will be 72 later this month, but didn’t seem to need a break during his almost three hour set. The only break offered was a brief interlude of darkness marked by the sound of wind, blue and purple lighting and sound effects creating the atmosphere of a storm. When Elton John reappeared minutes later, his costume had changed into black coat jacket embroidered with peonies, pink sunglasses sparkling with jewels, and salmon trousers striped with glittering rhinestones down the side. Ruffles peaked out of the sleeves and neck.

    The band came out and offered an intense version of “Funeral for a Friend,” which felt more like a rock orchestra than a piano man accompanied by a band. The full sound included cymbals, piano and sparkling guitar accompanied by heavy drumming.

    From that point on the concert ripped through hit after hit, bringing fans to a high-pitched excitement.  Elton John’s nimble hands still played the piano at the same pace as when they were young, and his clear voice found its pitch with seeming ease.  It was amazing to think of this as a farewell tour, as the band members, while also in their later years, demonstrated a youthful exuberance and passion for the songs.

    Elton John explained, though, that he had enough applause to last a lifetime. “I won’t forget you guys,” he promised fans, and thanked folks for purchasing his CDs, tapes, and even eight tracks. He noted it was fans’ willingness to attend his shows and buy tickets that had fueled his energy for sustaining his career. But his family, including his two young children, was at home and missing him as well.

    Elton John’s humility is remarkable. He used his platform to further his Elton John AIDS foundation, started after his recovery from alcohol addiction in the early 1990s. He thanked the musicians, past and present, for contributing to his on going success. Seasoned musicians Davey Johnstone (guitar, vocals), Nigel Olsson (drums, vocals), Matt Bissonette (bass, vocals), John Mahon (percussion, vocals,), Kim Bullard (keyboard), and Ray Cooper (percussion) were all personally praised by the artist, who sang out each name and shared the spotlight with his band members.

    Elton John stood up after almost each song and faced the audience, arms wide open, and hands shaking, almost hugging the audience as cheers and clapping filled the air. The crowd sang along to “Crocodile Rock,” dedicated to his fans, and “Saturday Nights Alright for Fighting” before encores of “Your Song” and “Goodbye Yellow Brick Road.” Covered in yellow confetti, the crowd moved almost in reverie by the end of the night, closely connected to the past memories of these iconic tunes by the present performance.

    That might be one factor that adds to the legend of Elton John: he somehow seems to agelessly span the years, connecting us to “when rock was young,” as he sang. And we were young, too.

    Let’s hope it is just a “see you later” tour, and not quite a farewell for now, Sir Elton John.

    Setlist: Bennie and the Jets, All the Girls Love Alice, I Guess That’s Why They Call it the Blues, Border Song, Tiny Dancer, Philadelphia Freedom, Indian Sunset, Rocket Main, Take Me to the Pilot, Someone Saved My Life Tonight, Levon, Candle in the Wind – Funeral for a Friend / Love Lies Bleeding, Burn Down the Mission, Daniel, Believe, Sad Songs (Say So Much), Don’t Let the Sun Go Down On Me, The Bitch Is Back, I’m Still Standing, Crocodile Rock, Saturday Nights Alright for Fighting. Encore: Your Song, Goodbye Yellow Brick Road

  • Photo Gallery: The Wailers at Brooklyn Bowl

    On Wednesday, February 27, The Wailers concluded a classic two night run at the Brooklyn Bowl, showing the life and joy reggae music brings to fans. Lead by famed bassist and founder Aston “Familyman” Barrett and original Wailers guitarist, Donald Kinsey, this band has the roots to carry the incredible legacy that comes with performing these songs. But it is in the youth of powerhouse Drummer Aston Barrett Jr. and lead singer Joshua David Barrett that brings a fresh energy – an exploration that’s new and fresh for the band.

    The Wailers Brooklyn Bowl
    The Wailers Brooklyn Bowl 2.27.19

    The Wailers are fan favorites and brought a packed house to the Brooklyn Bowl. It’s amazing to see the vast generations of music fans singing every word to classics hits like “Easy Skanking,” “Stir it up,” and “Redemption Song,” showing the life this music still has, and how good the band that created it really is. The Wailers did not disappoint and brought all that this amazing music has to offer to every show they’ve played, proving why they are still one of the top acts in music.

    Setlist: Intro-G Minor, Easy Skanking, Rastaman Vibration, Concrete Jungle,Heathen, Running Away/Crazy, Satisfy My Soul, Johnny B Good, War/No more Trouble, Trench Town, Stir It Up

    Encore: Redemption Song, It’s Alright, Punky Reggae Party

  • The Music of Cream: 50th Anniversary World Tour

    The pedigree of hallowed ‘60s trio Cream – Ginger Baker’s son Kofi Baker, Jack Bruce’s son Malcolm Bruce and Eric Clapton’s nephew Will Johns – return to the United States this spring for a new leg of The Music of Cream – 50th Anniversary World Tour. The outing celebrates the extraordinary music and legacy their family members created on the heels of the 50th anniversary since the original lineup’s farewell U.S. tour of 1968.Kicking off March 22nd in Newton, NJ, the 23-date spring tour will travel throughout the East Coast and south stopping in such places as New York City (March 20th at Sony Hall), Lancaster, Rochester, Columbus, Nashville, Fort Lauderdale, Sarasota, New Orleans, Houston and Dallas before wrapping April 20th in San Antonio.

    First launched in 2017 to rave reviews in Australia and New Zealand, The Music of Cream performed over 40 shows in 2018 across North America and the United Kingdom. Throughout the extensive multi-media show, Kofi Baker (drums), Malcolm Bruce (bass, vocals) and Will Johns (guitar, vocals) perform songs such as “Sunshine of Your Love,” “Crossroads,” “Spoonful” and “White Room” and tell personal stories, while footage of their fathers and mentors is shown on the big screen.

    Now, Baker says, “I feel more positive that we played the music the way Cream did; we were able to stretch out and improvise and the audience was right there with us. I really enjoyed playing with Will and Malcolm as we share a bond over this music that our fathers created. And meeting the fans after the shows and hearing their thoughts really validated and inspired me to keep playing this music.”

    Bruce adds, “The uniqueness of the approach to Cream’s music means that I learn and grow every night we play. There is always something new to be discovered in the music: tempo, feel, groove, notes, dynamics, inflection. It is truly wonderful to be able to improvise onstage.”

    “The audiences seemed to appreciate, and enjoy, that we were not just copying and actually putting our own slant on things,” notes Johns.

    During its heartbreakingly short lifespan, Cream was an explosive musical cocktail that provided the super-group blueprint for others to follow. The group’s third album, Wheels of Fire (1968), was the world’s first platinum-selling double album, and collectively they sold more than 15 million copies of their albums worldwide. Not surprisingly, Rolling Stone ranked the Rock and Roll Hall of Fame group (inducted in 1993) as 67th in their ‘100 Greatest Artists of All Time’ list.Apart from an equally brief reunion in 2005 of seven shows at London’s Royal Albert Hall and New York’s Madison Square Garden, Cream retained an almost mythological status in the music world, right up until the passing of Jack Bruce in 2014. This, for many fans, marked the end of an era and an acceptance that there would never really be another opportunity to celebrate the group’s legacy. That is, until The Music of Cream – 50th Anniversary World Tour emerged.

    Click here for or more information on The Music of Cream – 50th Anniversary World Tour.

  • Join Sad Songs Summer Camp with the Milk Carton Kids

    Welcome to Sad Songs Summer Camp, where you’ll talk, listen to, and learn about music from the Milk Carton Kids. You’ll also get the chance to workshop sad and not-so-sad songs during your stay, with input from the duo. From July 23, to July 26 at Full Moon Resort in Big Indian, New York, you’ll join a camp full of other music lovers for an all-inclusive music vacation, complete with lodging (available in multiple packages), provided meals, and more.

    The camp is powered by Music Masters Camp, a series of interactive retreats and workshops which bridge the gap between performers and their audience.

    Kenneth Pattengale and Joey Ryan sum up the experience in their special, banter-filled style in a transcribed bit from the above trailer video.

    Pattengale: “Basically, we all wake up, eat breakfast in the morning, Joey and I will give a master class, then a guest artist will give a masterclass. We eat lunch –

    Ryan: “Master class?”

    Pattengale: “Yeah, we’ll teach things, like things that we know. Harmony Singing, songwriting, lyric writing…”

    Speaking to NYS Music about the camp following a recent show at Tarrytown Music Hall, Ryan described the way the camp came together.

    “We’ve been aware of camps like this because friends of ours do them. Steve Earle does a camp called Camp Copperhead and the other people in our band will go and teach at folk and bluegrass camps. So, we’ve been aware of camps like this but we never thought that we would do one ourselves. When we got the call with the opportunity to host a camp, we thought it’d be a great chance to work with people directly and share a combined musical process.”

    On reflecting if working in a teaching and workshop capacity is of particular interest, Ryan commented:

    “I enjoy talking and getting to know people. We’re around musicians on tour all the time, so it’ll be great to spend time with people and musicians in another capacity, where we can learn about them and work directly. Conversations at merch tables are a quick ‘We loved your show’ and ‘Thanks, here’s a t-shirt we have,’ where at Sad Songs camp, we’ll be able to get to know people and fans on a deeper level that we aren’t usually able to, and work with their music, while spending some time to write for ourselves as well.”

    According to the website, camp goers can expect a full, crafted experience.

    “The camp will provide a space for a lucky group of individuals to learn, co-write, workshop, and, if desired, perform for an audience of like-minded peers —  all with the guidance of the Milk Carton Kids and some of their favorite songwriters and comedians. Mornings will have Kenneth, Joey and their hand-picked guest artists guiding master classes that explore the ins and outs of  harmony singing, songwriting, arrangement, lyricism, stage-banter and performance. After lunch, students will break off into workshops, working solo or with other campers on the skills of their choice, with encouragement and tips from TMCK and other SSSC instructors. Evenings are packed with entertainment, with performance opportunities for campers (don’t worry they’re not required), late night jam sessions, and informal song circles. Not to mention two intimate Milk Carton Kids concerts. Whether it’s over breakfast or around the campfire, students will have the opportunity to hang out with TMCK and friends while learning the tricks of their trade.”

    Non-musicians are welcome to spend time and attend the camp as well. Interested people who have a roommate in mind are welcome to sign up at the same time to secure a spot together. The camp is a unique opportunity for Milk Carton Kids and folk fans to spend intimate time with an artist, and engage in a study of the craft together.

    An early-bird special is available if you book before March. Secure your spot at Sad Songs Summer Camp.

  • ponder Drops New Single During International Tour

    The funk-rock quartet, ponder, specializes in soulful and original tune-making. Praised for engaging live performances, the group from Buffalo, has been working diligently to shine light on their music in other regions of the state.

    Previously, ponder has performed at Buffalove 2016 and Rochester Fringe Fest 2016 & 2017. An extension of the list includes Cobblestone Live Music and Arts Festival. Music is Art Festival, and Rock Autism Music Festival. Additionally, they have been granted the opportunity to open shows for acts such as LITZ, The Werks, Formula 5, and many others.

    With the intention of bringing their talent to North America, ponder’s international tour begins in March, kicked off by the decision to release a brand new single today. Titled “Greener,” the tune embodies the multi-dimensional groove rock aura ponder promotes. Harmonies are smartly layered, accompanied by drums and dueling guitar phrases. The thoughtful lyrics in combination with a prominent bass line results in a full body experience for the listener. In reference to previous works, the single offers an uplifting message about staying together through tough times while keeping life exciting through transition and monotony.

    Performances include:

    March 12- The Doors Pub – Hamilton, ON

    March 13- La Marche a Cote – Montreal, QC

    March 14- Nectars – Burlington VT

    March 15- Monopole Bar – Plattsburg NY

    March 16- Parish Public House – Albany NY

    March 17- Iron Works – Buffalo NY

    Soothe your ears by listening to “Greener” below.

  • Albany to Celebrate Pete Seeger’s Centennial

    This May marks a centennial – 100 years since the birth of Pete Seeger. Although the world lost this preeminent folk singer and activist five years ago, his work lives on. The Egg will host a Pete Seeger Centennial concert on Thursday, May 23 at 7 p.m. Earlier in the month, the Egg will sponsor a “New York Living Legacy” series featuring multimedia performances celebrating the life and works of Seeger.

    The Pete Seeger Centennial concert will be an evening of music, dance and poetry. Arlo Guthrie, one of Seeger’s closest friends, will be joined on stage by Amythyst Kiah, Cary Morin, Dan Zanes & Claudia Eliaza,  Dar Williams, David Gonzalez, Guy Davis,  Richie Stearns & Rosie Newton, Taina Asili,  Tony Trischka, Toshi Reagon and Bill & Livia Vanaver. Tickets are on sale now through The Egg’s website, with net proceeds going to support Clearwater, Caffe Lena and WAMC Public Radio.

    On May 3, 4, and 5, The Egg will present the program “Wasn’t That a Time.” The multimedia presentation features music writer Jesse Jarnow, author of the 2018 book Wasn’t That a Time: The Weavers, the Blacklist, and the Battle for the American Soul.  This volume details the trials of the four singers, led by Pete Seeger. who rose to incredible popularity but whose socialist connections and anti-authoritarian ideologies got them professionally blacklisted at the height of their fame. Live music will be performed by banjoist Richie Stearns and folk fiddler Rosie Newton. Photos of Seeger will be incorporated into the program, as well as recorded music by Pete Seeger and the Weavers. These events are free and open to the public.

    FRIDAY, MAY 3:

    Noon: Caffe Lena, 47 Phila Street, Saratoga Springs

    7 p.m.: Crandall Public Library, 251 Glen Street, Glens Falls

    SATURDAY, MAY 4:

    11 a.m.: Guilderland Public Library, 2228 Western Ave, Guilderland

    1 p.m.: Bethlehem Public Library, 451 Delaware Ave, Delmar

    3:30 p.m.: Clifton Park – Half Moon Public Library, 475 Moe Road, Clifton Park

    7 p.m.: Sanctuary for Independent Media,  3361 6th Avenue, Troy

    SUNDAY, MAY 5:

    12:30 p.m.: Saratoga Springs Public Library, 49 Henry St, Saratoga Springs

    3 p.m.: Voorheesville Public Library, 51 School Rd, Voorheesville

  • Webster Hall Reopening Following Renovations

    After being bought in 2017 by Brooklyn Sports and Entertainment and AEG Presents from long time owners the Ballingers, Webster Hall has announced the reopening of the historic New York City venue with their Spring 2019 lineup. The historic night club was closed for extensive renovations with its last show on August 9, 2018.

    Webster Hall

    The Hall will reopen this Spring  with a full schedule of performances, including Patti Smith, who last performed at Webster Hall on December 30, 2014. Joining the lineup for the reopening is the Chris Robinson Brotherhood, MGMT, and Sharon Van Etten among those lined up to perform. While Smith and company are the first scheduled show slated for May 1, 2019, a true reopening date and headliner have yet to be announced. For more information on the reopening of Webster Hall, visit the Hall’s website.