Born out of a local 518 basement, Taco Night is all about good time rock and roll. For the past four years or so, on Friday night, this group of friends has practiced what they love while being inspired and nourished by the tacos they’ve prepared for the evening’s festivities. And boy, do the Taco Night guys know tacos – they even have a few recipes for your Cinco de Mayo dining pleasure!
Taco Night combines blues, classic rock, funk, and soul with their own spicy blend of improvisation. “Cinco,” which debuted three years ago at their first Cinco de Mayo show has a message of fun, positivity and friendship, something we could all use right now. The catchy chorus will have you asking, “Why can’t everyday be Cinco de Mayo?”
Taco Night hopes this video helps everyone have a happy Cinco de Mayo. They’ll be diving into their vast archive of tunes and will be releasing more music as we all wait to see what happens to the local live music scene in the Capital District and beyond. Please support your local establishments however you can and hopefully we can all safely see shows again someday soon.
If you need some taco inspiration or are looking to try something new at home, here are some of Taco Night’s favorites for days like today.
Brazil/NYC-based electro/indie-pop duo B.A.D.A. explore the inner workings of an artist’s journey in their new video for “Exile,” title track to their upcoming album. “Exile” is a dark pop thriller, held almost entirely on a minimal synth bass line, murmured vocals and melodic sorrow.
Aiming for conceptual depth while standing out in the overpopulated electronic-indie-pop scene is B.A.D.A.‘s ambitious mission. Brazilian artist/producer Pedro Cesario and Brooklynite multi-instrumentalist/producer Carey Clayton devoted the whole of 2019 to this mission after the vision for Exile came to Cesario during Burning Man in 2018. The story that underlies the single is very personal to Cesario, who states, “I quit music after experiencing a traumatic experience recording a demo when I was ten years old. The lyrics and film represent the creative hiatus in my life and my search for that grit again as an adult.”
The self-produced, trilingual album was recorded internationally throughout 2019, first in a cabin in Woodstock, NY, then at the Abbey Road Studios in London, and finally in Clayton’s bedroom in Greenpoint, Brooklyn. B.A.D.A. worked with the house engineer of Abbey Road, John Barret (George Ezra, James Bay), several guest musicians, and mastering engineers Luke Moellman (Great Good Fine OK) and Chris Gehringer (Janelle Monae, Harry Styles) along the way to create an auditory and visual experience through their music.
While the album navigates the same sonic palettes as contemporaries Bon Iver, The Japanese House, and Muna, B.A.D.A.’s sound unashamedly flaunts its romance with the dance floor, and each song seems to be specifically designed to soundtrack a lysergic trip. The uniqueness of the concept lives in the fact that the album’s scores are a blueprint of the journey itself, as the artists use their own identity and experience as a white canvas to perform the transformation.
The duo originally started as a remote project between Brazil and New York City, before Cesario decided to join Clayton in the city so that they could materialize the project into the real world. “Exile” materializes an unobvious music journey that reflects the chaotic state of pop in the turn of the decade, where boundaries of language, genre or identity no longer apply.
There’s something amazing about the music of the Grateful Dead; it is a catalog of songs that has spoken to music fans for generations. It’s a collection of music that, since the 2015 Fare Thee Well shows in Chicago, has exploded, ushering in a new generation of musicians that are carrying the torch of the Grateful Dead Family. These songs are the only collection of music in the world that has a whole scene based around it. One that is growing around the next generation of musicians covering, experimenting and paying tribute to this amazing catalog. Since its formation, The Terrapin Family Band is one of the top bands doing this and has brought a new and fun sound to this music that has new and old Deadheads alike excited for whats new and what’s next.
Thursday night this remarkably talented group of musicians brought their take on The Dead catalog to the intimate Brooklyn Bowl. The band, led by Grahame Lesh, also includes Ross James, Alex Koford, Jason Crosby, Elliot Peck, and Nathan Grahame, treated Deadheads to two sets of classics like “Bertha,” “New Minglewood Blues,” “Sugar Magnolia,” and “The Other One.” But It was the addition of the TAB horns of James Casey and Natalie Cressman on songs like “Dancing in the Street” and “Brokedown Palace” that show why this music is thriving again – it’s moments like this when the next generation of musicians are taking these classic songs and throwing their vision and musical style into the mix. It’s moments like this that show the magic of the Grateful Dead and why the Terrapin Family Band is so much more than a cover band, they are the leaders in this movement that’s reminding all music fans that family is what the Grateful Dead community is all about.
Keep an eye out for more upcoming dates, and hopefully some festival appearances from the band this summer. And don’t be surprised if most of this band will be at The Capitol Theatre next weekend joining in the celebration at Phil Lesh’s 80th Birthday Party.
Town Ballroom may want to look into a new room after The Floozies, Sunsquabi and Late Night Radio blew the lid off the Buffalo venue on Sunday, March 1.
Sunsquabi showed up with a production that would have made any fan assume they, not The Floozies, were the headliner. No punches were pulled as the 3-piece band created an experience greater than the sum of their individual tracks. A high energy and seemingly nonstop dancing frenzy was on tap all night, with each jam and each mind-melting riff flowing seamlessly into the next.
The set included fan favorite bangers including “Just a Little” and “Deluxe.” However, one would not have needed to be familiar with the band’s discography to get down to their elaborate, funky blend of electronic and jam music. The Sunsquabi love at the Town Ballroom that evening was real, and contagious. Never miss a Sunday show.
review by Philip B. Right
Setlist: Just a Little, Bacon and Cheese, Torque, Chrysalis, Night Moth, Deluxe, Sticky, Wizard, Steamcat
SpaceStation AM500 is the debut album from Timothy Alice & the Dead Star Band, a trio hailing from Buffalo, NY. Timothy Alice (stage name for Timothy Patrick Henderson) displays an astonishing number of influences in both his writing and singing styles throughout this record. With the help of Matt DiStasio on bass and Bub Crumlish on drums, Alice’s lyrics paint incredible pictures of an America we can all recognize today. You could be on the Great Lakes, in a sprawling metropolis, or the last bar on the highway between this state and that; each of these locations share a tale that Timothy Alice invokes with each track.
The opening track, “2 Am,” paints a picture that many may find familiar. The promise and elation of this song invokes the feeling of many 2 am’s we’ve all felt while bar-hopping around New York State – still full of energy and grit, while openly wondering where the night is going to take you. “It’s 2 AM and this place is jumping. I’m just trying not to lose my head again.” The song feels like a packed bar with 2 hours left before last call, full of vigor and hope.
SpaceStation AM500 mixes soul, blues, R&B and folk roots into a delightful set of songs with so much heart and movement in them. The band excels at feeling like you’re on the road with signs flying by in the darkness during “Just Take My Hand.” “Shadow on My Tail,” the longest track on the album, really showcases the soul in Timothy’s voice and also features a ripping solo from guest guitarist Andrew Kothen. The album also features a love song to the Windy City. The soul in Timothy’s voice while singing “Oh, Chicago” makes me long for a city I’ve only ever been to twice.
As the night grows longer and we get further into the album, “Honeypie” provides a tale of distorted love, building up to a cacophony that would be exception to see live. “4 Am,” the final track on the album, really highlights the difference two hours can make in a night. It tells a somber and sobering tale that we’ve all experienced in our lives, regardless of what time the clock is showing. With the help of an amazing band, Timothy Alice’s lyrics paint pictures of an America we can all recognize today. Whether he’s a in a league of his own or the product of a new generation of storyteller, he shows us all that we have a lot of great music and art coming our way in this next decade.
It seems like not even jail cells can keep Juelz Santana away from what has been his life’s true passion. On March 3, the veteran emcee released the 9thfull-length project of his career, #FREESANTANA. Santana – born LaRon Louis James – was arrested in March 2018 after he fled the scene when TSA found a gun in his bag at Newark Liberty International Airport in New Jersey. Seemingly counting down the days until his rumored summer 2020 release, the rapper’s Twitter page recently posted on behalf of the incarcerated artist, acknowledging the one year anniversary of his incarceration.
The surprisingly cohesive mixtape is packed with star power, featuring the likes of Lil Wayne, 2Chainz, Jeremih, A Boogie wit da Hoodie, Dipset cohort Jim Jones, and younger Harlem native Dave East, along with samples of Drake’s number 1 record, “God’s Plan.”
Juelz Santana uses the 36-minute project to touch on a myriad of topics. On records like “23 & 1,” “Do You Believe” and “In My Life,” he raps introspectively about past friendships and relationships, while reflecting on his incarceration. On “Pink Eagle” and “Ez Work,” he spends time reminding listeners that he’s a respected hustler, with plenty of street tales. The project’s outro record is a sample of Jay – Z’s classic record “Dead Presidents.” Titled “The Get Back,” with a feature from A Boogie wit da Hoodie, Santana reflects with a mixture of street tales, lessons and hope for his future post-release.
Indie singer-songwriter Matt Longo, known as Thin Lear, has announced a new album queued for release on April 24. The full-length album Wooden Cave will be released under Egghunt Records and is primed to be a wonderful addition to Thin Lear’s already stellar collection of songs. He has yet to release a full-length album, but has been releasing singles and an EP that solidify the singer as a whimsical and thoughtful songwriter as well. Prior to the album release, Thin Lear put out a new single, “Maniacs.” Drawing from influences that range from Leonard Cohen, Gram Parsons and Emmylou Harris, to Harry Nilsson, Randy Newman and Sam Cooke, to the leaders of the ’70s like John Lennon, Paul McCartney and Bob Dylan, Longo creates a vibrant and exciting track that sits perfectly in the pocket and allows the melody to develop.
Regarding the album as a whole, Longo says, “Disillusioned people getting lost in self-destructive or just generally dangerous thinking is a major theme of this album…the narrator in ‘Maniacs’ is pitching a cult-like community to an alienated, uncherished internet dweller. And you just know it’s going to be a rapid descent for this person, that they’ll soon be indoctrinated. That relentlessly chugging beat and the quick, dynamic changes in the song reflect a desperation and rapidly changing attitude. I wanted the song to feel like one breathless, spiraling fall from the very start, with that mellotron-laden opening. And I knew I needed a wild, unhinged sax solo at the end. It was really the only choice for the conclusion of the track.” And a wild sax solo indeed takes the song out on a more manic note, capping off a great first peek into what’s to come this April.
At just 23, singer, songwriter, and producer Chelsea Cutler has achieved more than most of us can dream of. Starting off by simply uploading covers from the comfort of her bedroom, Cutler has amassed over 750 million streams across platforms in just two years. Her relatable lyrics and catchy lo-fi beats have positioned her as a rising pop star. Her two sold-out gigs at Terminal 5 in New York City, however, have cemented her there.
Cutler is well-known for her dedicated fan base; her fans don’t just sing along. The crowd at Terminal 5 was no exception. They sang each word, to each song—so much so that Cutler held out her mic on numerous occasions to listen to her chorus.
In a moment of vulnerability, Chelsea Cutler addressed her hometown crowd. “I told my team that maybe we could do Terminal 5, but I didn’t think it would sell out. I was scared…but New York City…you sold this sh*t out in like 10 minutes!”
The audience erupted in cheers, and Cutler continued, “So we added a second show, and I was like we are definitely not selling this one out. And then you guys sold that one out even faster. I love you so much New York City!”
Kamasi Washington and his talented band came to Buffalo for a sold out show at Asbury Hall at Babeville. Judging by those in attendance, his fans are as diverse as his music. Young and old were treated to a mix of blues, funk, world beat and more, all firmly rooted under the umbrella of jazz. “Is Mr. Washington the savior of jazz?” is not a question I can tackle here but the genre is in good hands if he is indeed the current face of it.
In the spirit of the Allman Brothers, fellow Georgia peaches Widespread Panic graced the Upper West Side with a multi-night run of shows at The Beacon Theatre as a prelude to spring. Southern accents and charm were prevalent throughout the crowd, as many fans made the trek for the noteworthy occasion. Included in the shows was a Leap Day show on February 29, which brought together a “time” theme in the second set of the show.
The music was complimented by a stunning light rig, with vertical rows of lights in the center and left, and a circle of lights on the right. A beacon of rainbow light was often radiating just above Duane Trucks and Domingo Ortiz on their raised drum stands behind the rest of the band. The stage floor contained powerful rotating lights that often embellished the iconic Egyptian-themed ceiling.
Bust-outs were found throughout the run, including “Vicious” by Lou Reed, which hadn’t been played in over 1000 shows, dating back to the band’s Halloween run at Madison Square Garden in 2003, and the rare “E on a G,” which had only been played eleven times prior.
On Friday, the band did not let up in set one, and came out firing as they had the night before. The show started out strong with early Panic classics “Wondering,” “C. Brown” and “Can’t Get High.” Jimmy Herring got loose on “All Time Low,” which followed for the first big jam of the night. Fans were treated to the rare “Dark Day Program,“ last played on in July 2011. To close out this high energy first set, Dave Schools asked the crowd if they wanted to dance and the band unleashed a monster cover of Robert Johnson’s “Stop Breakin’ Down Blues.”
A heavy “Sleeping Man” opened the second set, followed by a pair of covers from The Band, “Ophelia” and “The Shape I’m In.” And while it felt like they were about to dive into Pink Floyd’s “Breathe” just out of “Driving Song,” the band treated the crowd to the twelfth ever version of the instrumental “E on a G.” Herring kept his foot on the gas during the set closer of “Chilly Water,” while the crowd sprayed their water and added a visceral soaking sensation. The night wrapped up with a delicious double encore of “Blue Indian” and “Climb to Safety.”
But how would the band commemorate the quadrennial Leap Day that followed? There are few songs with ‘Leap’ in the title, so a reflection on time was in order, and found throughout much of the second set, in both obvious and subtle ways. Set 1 started with classic Panic numbers “Space Wrangler” and “Walkin’ (For Your Love),” and the newly minted jam-vehicle “Up All Night” which never fails to deliver. A rare “Tortured Artist” followed, along with the fresh “Sundown Betty.” The first set closed with a trio of high energy numbers in “Machine,” “Barstools and Dreamers” and the apropos for Saturday NRBQ cover “Flat Foot Flewzy.”
The second set played off of a ‘time’ theme with references throughout, starting with “Blackout Blues” (in the middle of the night), a tease of the theme to Norman Lear’s All in the Family “Those were the days” (which is set in nearby Queens), “Airplane” (must have been a year ago), “Holden Oversoul” (one last time), “Henry Parsons Died” (6 o’clock on Saturday). A trio of ‘time’ songs followed – “Time Zones,” Los Lobos’ “Somewhere in Time” and The Dillards “There is a Time” – but the time references didn’t end there. J.J. Cale’s “Ride me High” (this mornin’) and the first half of the encore “This Part of Town” (the other day) tossed in some subtle but notable references to time on this extra day of 2020.
Also notable, there were numerous references to Southern USA, including “Up All Night” (Savannah), “Henry Parsons Died” (Georgia), “Blackout Blues” (Mississippi) and the show closing “Red Hot Mama” (Louisiana). For the second half of the encore, the timeless Neil Young classic “Mr. Soul” wrapped the night up with high energy, and the audience holding out for a rare second encore that did not come to pass. As fans made their way into the brisk night, Dr. John’s “Right Place, Wrong Time” serenaded an audience who caught a show of rarities on a rare day in a classic venue.
With five sold out shows at The Beacon this year, and three sold out shows last year at The Capitol Theatre in Port Chester, one can only hope that Widespread Panic will follow in the tradition of another southern rock band, The Allman Brothers Band, and have an annual residency at The Beacon Theatre for years to come.
Setlists – Widespread Panic, The Beacon Theatre, NY, NY
Thursday, February 27
Set 1: Porch Song, Rebirtha > Greta > Jam > Stop/Go > Little Lilly, Proving Ground > Bust it Big > Proving Ground > Action Man
Set 2: Steven’s Cat > Jam > Walk On > Blight > Help Me Somebody > Jam > Fishwater > Drums > Fishwater >Pilgrims, Pusherman > Conrad
Encore: You Wreck Me > Tall Boy
Friday, February 28
Set 1: Wondering, C.Brown, Can’t Get High, All Time Low> Jam> Junior, 1 x 1, Dark Day Program, You Got Yours, Stop Breakin’ Down Blues
Set 2: Sleeping Man, Ophelia > The Shape I’m In, Surprise Valley > Bear’s Gone Fishin’ > Surprise Valley > Driving Song > E on a G > Driving Song, Don’t Wanna Lose You, Chilly Water
Encore: Blue Indian, Climb to Safety
Saturday, February 29
Set 1: Space Wrangler, Walkin’, Up All Night, Tortured Artist > Sundown Betty, I’m Not Alone, Machine > Barstools and Dreamers > Flat Foot Flewzy
Set 2: Blackout Blues -> Jam in C* -> Airplane -> Holden Oversoul -> Henry Parsons Died > Time Zones, Somewhere in Time, There is a Time, Ride Me High -> Drums-> Ride me High, Red Hot Mama
Encore: This Part of Town > Mr. Soul
*All in the Family theme tease
Sunday, March 1
Set 1: From The Cradle > One-Arm Steve > Let’s Get The Show On The Road > Ribs And Whiskey, Bowlegged Woman, Honky Red, Trouble, Hope In A Hopeless World > Postcard
Set 2: Let’s Get Down To Business, Little Kin, Disco, Diner > No Sugar Tonight > New Mother Nature, Papa’s Home > Drum Solo > Cease Fire > Protein Drink > Sewing Machine Encore: Vicious, Ain’t Life Grand
Monday, March 2
Set 1: I Wanna Be Sedated, Travelin’ Light, Old Neighborhood, Imitation Leather Shoes, The Last Straw > Pleas, Rock, Jack > Love Tractor
Set 2: The Waker, Pigeons, Hatfield > Impossible^ > Saint Ex^^ > Tie Your Shoes > Jam, Nobody’s Loss, North
Encore: City of Dreams, Life During Wartime
^The Other One tease ^^Won’t Get Fooled Again tease
