Trey Anastasioreturned to New York City’s Beacon Theatre on October 23 for Week 3 of his Beacon Jams residency. This show came hot on the heels of Phish’s Halloween Dinner And A Movie announcement and excited fans got another incredible show highlighted by a silly version of “Windora Bug” in addition to jaw-dropping versions of “What’s The Use” and “The Lizards” featuring the Rescue Squad Strings.
Over 30,000 viewers flocked to Twitch again for this free live-streamed performance, with donations encouraged to The Divided Sky Fund, which focuses on delivering quality care and compassionate treatment for those battling from addiction, through Phish’s WaterWheel Foundation.
photo by Jake Silco
Ten minutes before the start of the show, fans were treated to a special video message from Page McConnell, wishing he could be in NYC with Trey and congratulating him for his work so far on the Beacon Jams. Page stated that he and Trey got together a while back to play together and a minute later a video started with a masked Anastasio helping a masked Page carry his keyboard out onto the deck of the Barn, subtly recreating the album cover of their Colorado ’88 release. The duo shared a previously recorded version of “Evening Song” that was absolutely beautiful. Trey’s acoustic guitar and Page’s Wurlitzer meshed wonderfully as they both sang this duet. Before long, the video faded out to start Trey’s evening of live music.
photo by Jake Silco
The planned night of music started in usual form at 8:04pm EDT with members of the Trey Anastasio Band on the Beacon stage with our favorite Ginger, consisting of Ray Paczkowski on keys, Tony Markellis on bass, Russ Lawton on drums and Cyro Baptista on percussion. Cyro’s toying with “Zamfir and his Pandemic Flute” brought us into the stream as Trey started things off with “Stealing Time From The Faulty Plan” before diving into his usual crowd banter with a couple of birthday wishes to Tom and Uncle Kevin. He dedicated the next song, “Party Time,” to Kevin up in Burlington and it’s safe to say that Kevin got quite the birthday treat with this noodley, fun version of the tune.
photo by Jake Silco
Things got a bit funkier as Trey thanked the Poster Nutbags Art Group for their generous donation last week, dedicating “The Way I Feel” to them. The ensuing smooth, slow, funk jam from Trey’s 1998 One Man’s Trash had him smiling the whole time, grooving to the entire band. When asked online by DillyBean what his favorite snack was, he replied saying, “Anything you can spatchcock. You can spatchcock anything.” Trey continued diving into his solo work with “Sweet Dreams Melinda,” followed by his eighth quarantine song, “Shaking Someone’s Outstretched Hand.”
Official poster for The Beacon Jams, by Jim Pollock
Cyro, the man who “wears a skunk on his head,” helped a speechless Trey thank everyone for their donations so far and gave us another taste of Zamfir’s (clang!) Pandemic Flute before the band dove into “Andre the Giant” and a jammed-out “Spin.”
photo by Jake Silco
Trey took out his acoustic to play “Turtle In The Clouds” before picking up Old Reliable/Mar Mar again to join the Rescue Squad Strings and Jeff Tanski on piano for a breathtaking version of “What’s The Use.” Trey continued on with the Rescue Squad Strings to share beautiful versions of “Brian and Robert” and “If I Could,” commenting between them that he likens the Beacon Jams to an extended band practice, something he has always enjoyed, and stating, “When life hands you a pandemic, make pandemic-ade.”
The recent NYE song “Rescue Squad” was teased by Trey as the TAB members returned to join the string quartet for a gorgeous rendition of “Leaves” and a squirrelly, harmonic version of “The Lizards” that had Trey smiling the entire time and certainly putting a smile on the face of everyone watching. As the strings departed, the good times continued with a rousing “Mr. Completely” ending with Cyro playing a bug-sounding instrument. This led the band to dive into a rather goofy “Windora Bug,” featuring alternate lyrics about the “Corona Bug” and references to fans folding laundry while watching the show.
photo by Jake Silco
The show continued on with a bouncy, spatchcocked version of “Possum” followed by a soaring “A Case of Ice and Snow” into a killer “Last Tube.” Having raised over $92,000 tonight, Trey ended the night with a song he called “Folding The Laundry” and “When Your Dryers Broken,” but you might know it better as “Twist.”
Trey Anastasio returns to the Beacon Theater again next Friday for another round in which he has promised to “rock out!”
Set 1: Stealing Time From the Faulty Plan, Party Time, The Way I Feel, Sweet Dreams Melinda > Shaking Someone’s Outstretched Hand [1], Andre the Giant, Spin, Turtle in the Clouds [2], What’s the Use? [3], Brian and Robert [4], If I Could[4], Rescue Squad [5], Leaves [6], The Lizards [7], Mr. Completely > Windora Bug [8], Possum, A Case of Ice and Snow > Last Tube, Twist
[1] Debut. [2] Trey solo acoustic. [3] Just Trey with The Rescue Squad Strings and Jeff Tanski on piano. [4] Just Trey on acoustic guitar and The Rescue Squad Strings. [5] Trey solo acoustic; first acoustic performance by Trey. [6] TAB debut; Trey on acoustic guitar and The Rescue Squad Strings. [7] Full TAB debut; with The Rescue Squad Strings. [8] With Corona references.
Ithaca-based and indie-folk musician Sarah Noell released her first solo EP Retreat To Space on Friday, October 16 on all streaming platforms.
Album cover art for Retreat To Space
Noell was originally in the band Wildflwr, along with her mates Nick Scollard and Mary Cain, but the pandemic forced her to experiment with her music independently.
I wasn’t sure I could do this by myself, a year and a half ago Nick was still setting up all of my gear and Marty was booking all of our shows. This EP has shown me that, when forced to be alone, I can still learn and grow without the hand-holding of others, which I really needed before.
Sarah Noell
Growing up in rural Connecticut, Noell began her musical career at age 13, but didn’t take it seriously until after graduating from Ithaca College in Ithaca, NY. She stayed in the trendy city, where her music grew and flourished. Since then, has Wildflwr come out with multiple folky EPs, but when the pandemic put the band to a halt, she began writing her own songs.
Sarah Noell
According to Noell, this EP is about love, relationships and life over the years.
The EP is a collection of songs that reflect on my experiences in love, friendship, and solitude in the last five years or so. The title track ‘Retreat to Space’ reflects on a soured relationship but also deals with living mostly in my head, blurring reality, which is a recurring theme on the EP. I’m sure many people can relate, as we’ve all in a way retreated inwards during the pandemic.
Sarah Noell
The young musician hopes because live shows are on a break, that internet, social media and live streaming will pass her new music along.
If you’re in the mood to listen to some dreamy tunes and ponder about life, go one of the streaming platforms and enjoy the ride.
Retreat to Space is available on Spotify, Amazon, Apple Music and more.
On October 23, 2013, for the first time in 19 years, Phish returned to Glens Falls Civic Center for a fall tour stop. The legendary White Album marathon show on October 31, 1994 stands out as a pinnacle moment in the band’s history, and can be seen as the moment when ‘musical costumes’ became more common for bands on Halloween, and not just for Phish.
To highlight the day, fans did what they did best – took over the town parking lots, vended their wares, supported local eating and drinking establishments, and even held a Dinner & a Movie art show.
Mayor John A. “Jack” Diamond took notice of the musical history of the band, and proceeded to issue a Mayoral Proclamation (with souvenir copies available for fans) that the town of Glens Falls had ‘Gone Phishing.’ There could not have been a warmer reception on a warmer than average October night.
The night after playing Rochester, Phish fans flocked to what was a highly competitive ticket the moment the show was announced, and speculated as to whether or not they’d bring the same heat they did two decades prior. Would they bring back any of the 30 songs featured on the White Album? That question was answered just as the lights went down and Phish played their third ever version of “Back in the U.S.S.R.,” after a gap of nearly 700 shows. From there, the night was off and running, with a set full of first set standards, with a strong “Split Open and Melt” capping things off.
Set 2 was highlighted by two separate sequences. The first, The Velvet Underground’s “Rock and Roll” > “Seven Below” > “Alaska” > “Twist,” the latter of which Holly Bowling would transcribe for piano and perform on her rise to stardom. With a breather in “Wading in the Velvet Sea,” a fantastic “Harry Hood” > “Chalk Dust Torture” combo followed to wrap up the set. The full second set is a must listen, available here via Phishtracks.com.
Poster by Michael Boyer
To close the night out, another Beatles selection, “While My Guitar Gently Weeps,” was the call, another debut from Halloween 1994, and the perfect bookend to a fantastic night in Glens Falls. From there, phans flocked into the town, heading over to Hotshots to check out Twiddle with Mister F opening, or Sandy’s Clam Bar for the rarest of post-shows, Touchpants. Whether satiated by the two sets at the Civic Center or needing a little something extra, Phish had left its mark on Glens Falls once again.
Set 1: Back in the U.S.S.R., Stealing Time From the Faulty Plan, Water in the Sky, Undermind, David Bowie, Golgi Apparatus, Gumbo, Yarmouth Road, Camel Walk, Horn > Limb By Limb > I Didn’t Know, Split Open and Melt
Set 2: Rock and Roll > Seven Below > Alaska > Twist, Wading in the Velvet Sea > Harry Hood > Chalk Dust Torture
In June, NYS Music began to take a look at the state of New York’s independent music venues. In July, August and September, we saw venues closed for the foreseeable future, support for Black Lives Matter, some venues beginning to offer performances with social distancing in place, and many others stuck in limbo.
Like September, October kicked off with Red Alert RESTART, and venues across the country (and world) going red to encourage action to save independent music venues. With renewed hope of the Heroes Act passing through the House of Representatives, there is the possibility of relief before the election on November 3. With only ‘incidental music’ currently allowed, venues across New York remain mostly closed for live music, in growing anticipation of the day crowds can return.
photo by Mickey Deneher
Working with a dozen photographers to document more than 50 venues in 14 cities across New York State, NYS Music presents the fifth edition of our monthly series that looks at the current state of our beloved venues.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start October off on Long Island, with Rob Tellerman’s look at the music venues small and large that dot the isle that is long. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.
How many bass players does it take to change a lightbulb? None, the pianist can do it with his left hand!
It’s an old musician’s joke demonstrating how little respect some give the men and increasingly women who wield the bass – that indispensable instrument which lays the foundation without which any tune would, let’s face it, sound rather wimpy.
Since 2013, bass playing NYC journalist Tom Semioli, has been out to change this with Know Your Bass Player (KYBP), a blog of entries profiling the bass greats of rock, jazz, blues, funk and country’s classic eras. In 2014, Mark Preston joined the bass fray as producer and director of a video companion Know Your Bass Player on Film, a video channel with serious production values.
To date, approximately 650 players world renowned to little known but deserving have been profiled in KYBP’s online features. Know Your Bass Player on Film captures the stories of about 50 players in over 180 video episodes, shot on location in NYC and London, and now, like everything in COVID era, via Zoom and Skype. The video vignettes reveal behind-the-scenes, fly-on-the-wall stories of Bob Dylan, John Lennon, The Pogues, Ronnie Lane, Keith Richards, Ian Hunter, Paul Simon, Boy George, Roxy Music, George Harrison, The Zombies, The Kinks, Les Paul, Joe Jackson, David Bowie and Freddie Mercury, to name a few, by the bassists who were in the studio and on stage with these iconic artists for some of their greatest triumphs…and missteps!
Semioli’s deep well of talent as a writer and player, and his humor, are at the heart of KYBP’s content. He approaches each player’s work and life with both a refined knowledge of the artform and a nose for the kind of humorous anecdotes that make for great reading and viewing, whether you sling the bass or not.
Semioli’s creds are impressive. While earning a degree in communications at the University of Miami, he minored in jazz, at the institution that gave us Jaco Pastorius and Pat Metheny. Upon moving to NYC, he continued in private study with jazzer Ron McClure of Charles and Blood Sweat & Tears fame. Semioli quips that he did his “post-graduate work” during gigs at NYC institutions like CBGB and The Bitter End, all while holding down a series of impressive day jobs in journalism and media.
So just what is the life of a bass player all about? We think these words below from Semioli and KYBP’s “About Page” provide some pretty good insight:
“We are the ones who serve the singer, the song, and the soloist. Though we do not possess the harmonic nor sonic range of a guitar, keyboards, horns and other wind instruments, nor the dynamics of drums –it is us who determine how a chord actually sounds – which, in essence – often determines whether or not you’ll like the artist, or the track. We are the only individuals on the bandstand and in the recording studio with that critical responsibility… To be a bass player is to exude skill, confidence, humility, patience, tolerance, and knowledge: very few are chosen, and fewer still are called!
So, who are these important players, and why should you know who they are?
Sal Cataldi: First off, when did you get into music?
Tom Semioli: I vaguely remember The Beatles on The Ed Sullivan Show at age 4 or 5. At the New York World’s Fair, my mom took me to the British pavilion to witness Beatlemania by proxy at a screening of their movie, Help. Girls were screaming and I thought ‘this is interesting!’
I was a working musician through most of the 80s, then I moved to California to start a studio business in the early 90s. Somehow, through a simple twist of fate, I became a music journalist, then a music publicist…then I went into the television production field as a writer in the 2000s, when Napster flattened the record business. I’m like a cockroach with four strings!
SC: How did Know Your Bass Player dot Com come into existence?
TS: I’m sitting at my desk, working for a very successful television news video production company sometime in the early 2010s. My colleague at the time was among the most influential publicists in the industry. He has a pal who works for a major concert promotions company and they’re discussing Paul McCartney, who is in town to do a show. He asks me, ‘was Paul McCartney the bass player in The Beatles?” My jaw drops! How does he not know that? Well, he’s a few years younger than me, so I forgive him.
That same evening I’m watching the great British music television show Later….with Jools Holland with my wife, who was an upright bass player in high school. Sting is the guest. My wife is a huge fan. She turns to me and whispers ‘Sting has a guitar that looks like yours, is he a bass player?’ Ye gods, again, I am in disbelief. The former Gordon Sumner is likely the most famous bassist in the world.
Next morning, I’m in the dentist chair. She is wearing a Bruce Springsteen t-shirt beneath her open white medical smock – as she just attended her umpteenth show. I stop her in mid-sentence during her Bruce hosannas and inquire “who plays bass in the E Street Band?” She replies ‘bass? Bass fiddle? There’s no bass in the E Street Band.” I point to Bruce’s bassist on her t-shirt Gary W. Tallent. Now I have a mission in life.
The next morning, I begin posting Know Your Bass Player missives on Facebook. I start off with Tallent, then Danny Klein from the J. Geils Band, Dee Murray from Elton John, Phil Chen from Jeff Beck. Slowly, I start to gather simpatico followers. After a year or so, I start to archive all the content on a website – thus was born Know Your Bass Player dot Com!
SC: What is behind the growth and aesthetic of Know Your Bass Player?
TS: Well, here’s the secret. This website and video series relates to my generation of bass players. We’re talking the golden age of the album era and FM radio from the late 60s to the 90s. A magic time. My demo is the oft neglected 55 and upwards group. The rocking AARP motley. Stretch jeans, loose shirt to hide the pot belly. Chain wallets so we don’t forget where our money is. Hats covering bald spots. We play gigs with our friends who are still alive in the fringe clubs. The kids are out of the house and married, so now we rock again. Scotch on the rocks and Viagra. And a nap. Very important! The mainstream has no idea we exist!
The whole Know Your Bass Player concept explodes – it’s like the gay liberation movement on steroids! All these bass players start coming out of the bass closet – “you like Carl Radle!” – who was Eric Clapton’s bassist. “I love Carl Radle too!” We hug, we bond, we shed tears over the bassline in “Bell Bottom Blues.” Nobody gets this stuff but us! Finally we are family! Guys start wearing the Know Your Bass Player t-shirt in public. They come out to their wives, their children, their co-workers! It’s a movement!
SC: How did Know Your Bass Player evolve into a corresponding video series?
TS: Right about the time I started the Know Your Bass Player website, I reconnected with an old friend – Mark Preston. In addition to being a successful real estate broker, Mark is also an accomplished singer and songwriter. He’s old school, traditional country.
So I meet up with Mark at one of his gigs. He invites me to travel with him to London to see the Mott The Hoople reunion of 2013. Mott is my all-time favorite band, so of course I’m there. At the time, the band’s bassist, the legendary late, great Overend Watts had just written a book on his long distance hiking experiences. Watts was among rock’s most elusive characters. But I talk with Mott’s publicist and offer to render a review for Huffington Post books. They were duly convinced. Mark and I get the VIP treatment, we’re with the band before the show, chatting with Watts, Ian Hunter, Verden Allen, Mick Ralphs, and having a grand time.
Backstage at the O2 after the gig, we’re among legends such as Jimmy Page, the guys in UFO, Queen, Joe Elliott of Def Leppard – all huge Mott fans in attendance to witness glam rock history. The scene is surreal – the old dudes in leather with their young and not so young wives. Mark says to me ‘hey we oughta film this for Know Your Bass Player!”
Enter cinematographer, producer, production company owner Derek Hanlon – a close friend of Mark who has an extensive rock and roll history and was with us at the Mott gig. He’s filmed everyone from Jethro Tull to Motorhead to Madonna – to cite a very, very select few. Derek was headquartered SoHo, London during the 70s, 80s working with record labels, the BBC. Derek has more rock and roll stories… we should be doing a documentary on him!
Our first inclination was to do a documentary. However, Mark and I were so impressed with all the stories, we felt that I would be a shame to edit out anything, so it became a film series of shorts, something akin to Comedians In Cars Getting Coffee.
We schedule three bassists just for a test run in London. Our first filmed interview was Steve Bingham, who was the bassist with Ronnie Lane’s Slim Chance and had a gig at the Half Moon in Putney with a reformed version of the band. Jim Rodford, who played with Argent, The Kinks and at the time was in the latest version of his cousin’s band, you may know them as the Rock and Roll Hall of Fame ensemble The Zombies. And studio ace Mo Foster who waxed sides with everyone from Phil Collins and Jeff Beck.
Then we continued in New York City over the next few years. Our taped interviews in New York include Sal Maida of Roxy Music, Gary Van Scyoc with John Lennon and Elephant’s Memory, Cait O’Riordan with The Pogues, Graham Maby with Joe Jackson, Rob Stoner with Bob Dylan’s Rolling Thunder, Brian Stanley with Garland Jeffreys, Paul Page with Ian Hunter’s Rant Band, Joe Vasta with Mink DeVille and Joan Jett, my former bass teacher Ron McClure with Blood Sweat & Tears, my former classmate Paul Nowinski with Keith Richards, Les Paul and Rickie Lee Jones; John Ford of The Strawbs, Hannah Moorhead of The Giraffes, Mike Visceglia with Suzanne Vega, Tony Senatore with Genya Ravan, Ernie Brooks with the Modern Lovers, David Goldflies with the Allman Brothers Band. And we also filmed local players, guys who do the Broadway Shows – we want to represent everyone..
We went back to London last year and it was even more remarkable. Mark chatted with Chris White about The Zombies’ Odessy & Oracle. Our other guests included Phil Spalding and Mickey Feat – two studio players who are in your record collection! Alan Mair of The Beatstalkers, Graham Gouldman of 10CC, Kevan Frost with Boy George, we shot Steve Bingham again, this time with Geno Washington, John Bentley of Squeeze. We also had an all-star cast who could not make it due to scheduling difficulties.
SC: As the site has grown, you’ve gathered more collaborators. Can you tell us some brief stuff about your team?
TS: Our most important collaborator is also a bass player – Mark Polott whom we interviewed on film as he anchored the legendary prog-metal band Haystacks Balboa, an Atlantic Recording act that toured with Rod Stewart and The Faces and Jethro Tull. He created the look of the revamped website and also edited Season Deux and Season Tres of Know Your Bass Player on Film. Our first season was too DIY looking, as we had to get something out to protect our name. Mark’s graphics afford Know Your Bass Player a unique look.
We have a “Chicago Bureau” helmed by another veteran bass player – Joe Gagliardo, who also wrote for Goldmine. His contributions are enormous. Chicago has such a rich, untold history in rock and roll. These Chicago stories would be lost to the ages if not for a guy like Joe who is as passionate about the instrument as he is about the legacy of his hometown.
Our Adjunct Professor is Tony Senatore. A great bassist, composer, recording artist Tony contributes editorials, and helps us with story angles when we film in New York City. Whenever a “bass controversy” arises, we turn to “Senny.” Think of Robert Duvall’s character of Tom Hagen in The Godfather. Bassist Robert Jenkins writes for our “Austin Bureau.” Like Joe, Rob shines a light on players who are in the trenches, making great sounds in one of the world’s greatest musical cities. We also have contributions from bassists Joe Iaquinto, Graham Maby, Chris Semal, and Jeff Ganz, among others.
SC: What are some of your favorites in terms of the video interviews?
TS: Truth be told, everyone reveals gems in their personal stories. But if I had to pick one interview segment – Paul Page’s “All American Alien Boy” is ‘the greatest bass story ever told.” And Paul Nowinski’s “The Dead Conga Player” is a close second.
SC: Who are the dream video interviews you have yet to capture?
TS: Bruce Thomas of Elvis Costello and The Attractions, Norman Watt-Roy with Ian Dury and Wiko Johnson, Herbie Flowers, and Andrew Bodnar of Graham Parker and the Rumour – all of whom have committed to appearing on camera – we just have to work out scheduling.
SC: What are the attributes that you think make for a great bass player?
TS: Humility! Confidence! Gallows humor! An appreciation of the absurd!
SC: Our site is focused on New York and New York musicians. Who do you think are some of the must-see players on the local scene?
TS: My must-see artists include Lorraine Leckie and Her Demons, The Dive Bar Romeos with Joey Kelly and Jimmy McElligott, Edward Rogers, Urban Blue, Tom Clark at the Treehouse 2A, Anne Husick’s various projects, and Emily Duff. In New York City you can plug into any scene and discover unique artists. That includes the artists I play with, Kathena Bryant and Tim Champion who work under the moniker The Hippy Nuts, along with my pals Stu Richards and Dan Reich as Tex Wagner. And this wild jazz-rock improv trio, Spaghetti Eastern 3. In Manhattan, I’ll drop into the Bowery Electric, the Village Vanguard, The Bitter End, 11th Street Bar after hours and stumble into something remarkable!
SC: What are your future plans for KYBP?
TS: As for the film series, given COVID-19 we are starting to do Zoom and Skype chats. We did a fine interview with Donnie Nossov whom you know with John Waite, Pat Benatar, Cher, Lita Ford, and Tom Verlaine which also featured legendary Creem writer James Spina. I just wrapped up a Zoom chat with Paul Gray of Eddie & The Hot Rods, UFO, The Damned, and Professor and the Madman. We’re never going to stop. You can’t get rid of us.
As for the website, I would like it to be more collaborative. The site is designed to be a quick, digital media read, with the exception of Joe Gagliardo who does long form as he interviews the players. But I’d like musicians, fans, bassists, journalists, and industry folks – producers, camera men, engineers, publicists – to contribute anecdotes, pictures, reflections.
We have an egalitarian approach – we respect all genres of music. From Rock and Roll Hall of Famers to bar band denizens.
Magic Dance, the solo project of singer/songwriter Jon Siejka, is releasing a new album this December titled Remnants. However, the band decide to couple the release of the album with a new EP From Death To Life!
Siejka does not stop there and pleases fans with also a new music video for the first single “Zombie Breath Surprise.” Siejka had fun writing and recording the song, as he wanted to create an AOR celebration in the spirit of Halloween.
Formed in Long Island, NY, Magic Dance was started by Jon Siejka in 2012. Siejka is a self-taught musician and producer. Siejka wanted a platform express his synth-wave music, which was influenced by iconic-synth 80’s pop and movie soundtrack music. His sound has evolved over time, and has now become a heavier, guitar-oriented style, reminiscent of classic AOR music. The songs also have strong elements of mid 80’s music.
The line-up for the EP consisted of Jon Siejka on the vocals, guitars, and synths. Kevin Krug, Gabor Domjan, Luke Anderson, Emanuele Moretti were on the bass as Kevin Mcadams was on the drums. Gdaily was credited for the saxophone, and Tim Mackey provided guitar solos on “Zombie Breath Surprise” and “No Light (Hand Of Death)”. Ziy Shalev also had a guitar solo, for the track “Oh No”. For more information, you can find Magic Dance on Facebook,Twitter, and Instagram. Their new EP, “From Death To Life!”, is out now!
Key Tracks: Zombie Breath Surprise, No Light (Hand Of Death), Oh No
As lighting strikes, it is evident Sydney Irving belongs. Although, you’re just getting to know the high school senior, her name will hold a heavier weight as time moves on. She will fill your music library, as you come to realize Sydney Irving‘s on the rise.
Today’s “Rain” sheds New Light
The Syracuse songwriter released her music video “Rain” to back the single that debuted late last month.
The premise of “Rain,” is it’s usually a bad thing and you want to get away from it. But, the rain is purifying. It washes away. You step into the light and feel better than before.
Sydney Irving – On “Rain”
“Rain” marks a many first for Sydney. It is the first storyline video of her short career. “For Hanna, Emily and Justin, it’s a little love triangle kind of thing. We had to direct everything we wanted done.” Interestingly enough she remains out of the limelight, tastefully, hanging back with the band.
Rockstar On The Rise
Based on her websites bio, Irving drew from the likes of Taylor Swift, but her roots are much deeper. Infected with the classic rock bug. The Doors, Tom Petty, Ryan Adams and other greats influence her musicianship. Currently she is hooked on Raising Sand, a Plant/Krauss duo album that was ironically released October 23, when Irving was only four years old.
Why Sydney you ask? It’s her grasp on past and future music generations and bridging them together. Her sheer humbleness. It’s her retro take on the music industry, reeling us back to how things were done. She has a plan and she executes.
The 17-year-old is combining the above influence with modern hooks to develop a sound more fitting for her voice. Irving and her team have another single to release in November titled “What Have You Done.” All of which will be apart of a December EP release. “For the new record it’s an endavour into more rock and roll,” said Irving.
“Rain” is for sale on Irving’s website, on a 100-count limited edition, signed-CD run. It can be purchased on iTunes and Amazon music. Today it will be released alongside the video on major streaming platforms.
Hidden details amidst an over-exposed storyline hints at Irvings style. Her Ziggy Stardust alter-ego may be coming though with those lightning rod earrings. The Mojo, her band is refined, yet capable to unwind into a catchy rock bliss.
Sydney’s Standout Moments
Big standout moments are self fulfilling in their own right for Irving. When asked where she wanted be in a year or so down the line, Irving calmly had no shift from her current thought. She is grateful for the journey, happy to be balancing music and school, beyond humble and appreciative of her team behind her. “My management team, Grace Musicians Group, have helped me get to where I am today.” Irving seemingly stumbled upon Breedlove Guitars after her dad got her a second instrument
I’ve always love music, my dad will always have a record playing. I think the love came from a young age. I love the connection you can have with people and music. Theres been a couple times where I’ve been out playing and people say they came to the restaurant, or bar, just to see me.
Aside from high honor roll, Irving has been nominated for three SAMMY Awards and recently claimed the title of Young Adult Artist of the Year at the International Singer Songwriter Association Awards. She stood out last month against 1,300 talented nominations, in Atlanta, Ga.
Irving give Barns Courtney a run for his money on “You and I.”
If “Rain” doesn’t have you on the hook take it direct from the songwriter yourself: “I would say – come check it out, you might like it.”
“Point of No Return” is one of three singles released by Diana Zinni in 2020. The song touches upon a certain dichotomy when it comes to love and loss: vulnerability and self-assuredness. She is willing to get to the point of no return in her love, but she also doesn’t want to get to a point where there is no return and her love isn’t reflected back to her. She is self-confident yet insecure about these feelings of love, loss, regret.
With a soulful voice reminiscent of Kate Bush or Rilo Kiley, Diana Zinni is poised to make a splash on the independent music scene. For “Point of No Return,” she had David Lizmi on bass, David Heilman on drums, Matt Chiravalle on lead guitar, Lucas Saur on Cello, Rob Clores on organ, and Lilly Katz tap dancing. Diana saw Lilly at a dance event performing a modern piece and spoke to her afterward, where Lilly mentioned that she always wanted to be in a band as a tap dancer. Diana was looking for “out-of-the box percussion,” and asked Lilly to perform on this track.
Diana counts Paul Simon, Steve Winwood, and Bob Dylan among her influences, and you can hear their writing styles come through on “Point of No Return.” Diana currently resides in Jersey City, NJ where she manages a studio, after moving across the river from Brooklyn. She had hosted an open mic tonight pre-Covid, and has continued to do so via Zoom.
Zinni also produced an outdoor show with a bunch of friends earlier this year, and would like to continue doing similar things, weather-permitting. Keep an ear out for future singles to be released in 2021, hopefully on her next album The Vault. Her debut album, Fire & Water, can be found on Spotify.
Last Saturday was a special gathering in the midst of a strange year. Le Getaway was a sold-out, socially distanced event held by lespecial and Eggy which featured daytime activities, drum circles, basketball courts, ping-pong tables, and cabins that were rented for the night by attendees. It took place at Club Getaway, a beautiful lake resort nestled in between the mountains of Connecticut. Reminiscent of the good ol’ Catskill Chill days, there was a bonfire set and porch jams until the sun came up. It’s nice to know that a socially distanced live music event is possible if we can all be smart and responsible. If the right precautions are taken, it seems like we can get back to this live music thing soon.
So many activities.
This was a beautiful gathering, it was both much needed and very appreciated. But it was a bit chilly, so you know lespecial and Eggy had to bring the heat. Literally, Jon from lespecial had to turn up his personal heater it was so cold. Rory Dolan led a socially distanced drum circle early in the day, Luke joined in too.
Rory leads a socially distanced drum circle.
Eggy played a jam filled opening set, warming up the crowd as the sun went down. These guys are tight, I would not sleep on them. Soaring high on funky synth leads by Dani Battat and Jake Brownstein’s guitar shredding, Eggy proved to be an amazing opening act.
Eggy flying high.
lespecial then took the stage and opened up with “The Vessel.” Their set was everything you could every hope a lesepcial show to be: dark, bass heavy, and Primus-inspired goodness. Rory took a masterful drum solo. Mike Meyers even sat in on the Halloween Jam and Lee Ross sat in on the sax for a tune. There’s something spooky about this band that makes seeing them around Halloween feel so right. lespecial has a very unique, refusing sound that cuts through much of the jam band muck with many bands that sound similar. They stand out and stand behind their sound which definitely draws inspiration and honors Primus.
Rory’s drum solo.
After lespecial, the attendees with cabins were treated to a bonfire jam which featured, of course, a fire and music. Late night porch jams were held by the new “porch dwellers” with Escaper’s very own Will Hanza on mandolin. Nothing can substitute the space that live music creates.
lespecial put on a hell of a show.
This was exactly what we needed. Let us get back to this as soon as possible, in a safe and responsible way.
Can’t wait to be back.
lespecial at Le Getaway 10/17/20
The Vessel, Fruit Wolf Dance, Jackwise, Machine Elf, Harambe Zombie, Tommy the Cat (Primus cover) > The Awakening > Tommy The Cat, Onlookers, Sugaboi, Third Antler > Fourth Antler, Chocolate Chip Trip (Tool cover), Halloween Jam, Tonberry, Buggn>In the Air Tonight>Buggn
October 20, 2010 was Phish’s first performance in Utica, and they made it as memorable as possible. Having never played in “Sin City,” Phish had plenty in store for fans in Utica, amid a Fall 2010 tour that fans flocked to, selling out nearly the entire tour and making tickets for the 5,700 person capacity room the highest in demand of the tour, short of Halloween.
Fan made badge from Fall Tour 2010 – design by Jiggs
Phish had never played Utica before, although Trey Anastasio was no stranger, having performed thrice previously, once with Oysterhead in 2001 and twice with Trey Anastasio Band in 2002 and 2005. Returning to the Utica Auditorium, Anastasio blended Phish’s “Guyute” with Utica for “GuyUtica,” which many fans dubbed the unofficial name for the show, and led to a memorable weaving in and out of “Guyute” over the night.
If you were hanging outside ahead of the show, you saw an ample Lot scene, with a nice breakdown of the evening here from Coventry Phish. Fans celebrated outside, with Utica native Amy Fischer celebrating her 100th Phish show, and what a show it was. A delectable set that reference “Guyute” all night, thanks in part to fan Jesse Feitel, who rode the rail with a homemade ‘Guy-Utica’ sign that hung on the rail facing the band.
The energy was alive and palpable in the tiny auditorium this evening, giving it all the feels of an old school show. The band seems to pick up on this right away and launches into “My Soul,” a blues cover that fits nicely in the opening slot. The tone shifts from blues to rock with the “Stealing Time From The Faulty Plan,” still a fairly new tune at the time, that comes next. A typically rousing Trey Anastasio guitar solo puts the finishing touches on this one. Then comes only the second “Vultures” of the year to date, with the additional “potato to the throat” lyric thrown in for good measure.
While “Vultures” does yield a somewhat brief “Type 1” jam, things don’t seem to really stretch out until the “Wolfman’s Brother” that follows. A brief vocal jam transpires at the end of the composed section before giving way to the first real extended improvisation of the night. Keyboardist Page McConnell makes his presence felt on the clavinet early and often throughout this one. Trey even finds space to fit in a “Streets of Cairo” tease as the jam progresses before immediately shifting to another cover song, this time The Talking Heads’ “Cities.” This produces the first hometown reference of the night as the “dry ice” is changed to a “Genesee” factory. Much of the funk established in the preceding “Wolfman’s” carries right over into this one with another bass and clav-heavy jam. Now that the table has been set, so to speak, what comes next is one of the true highlights of the Phish 3.0 era, a sure sign to many that the band was finally “back” from its near five-year hiatus.
photo by Andy Hill
Anastasio begins strumming the opening melody, soon joined by drummer Jon Fishman, and the band is off and running with the show’s namesake, “Guyute.” The early, lightning quick pace and frenetic lights bouncing around the small auditorium seemed to create a verified frenzy in the room, leading to a raucous cheer at the end of this one. Even before the “David Bowie” that comes next, Anastasio is already teasing the main “Guyute” melody repeatedly and eventually bassist Mike Gordon joins in too. It’s fairly clear early on that this is no standard “Bowie.”
After a flawless run through the composed section, Anastasio drops one more “Guyute” tease before the music comes to a near standstill and the band collectively starts teasing “Wilson.” It only takes the crowd a measure or two before they begin the customary “Wilson” chants with Anastasio then singing lines from “Guyute” in response. They would do this one more time as well, jumping out of the “Bowie” jam to go back and tease “Wilson” briefly before reentering right where they left off.
Naturally, “Wilson” proper is the next selection, giving the amped up crowd one more time to chant. More teases and quotes abound in this one as well, it’s as if “Wilson” is being played in the key of “Guyute.” Finally, a reprieve of sorts comes through in “McGrupp and the Watchful Hosemasters” that produces a fairly mellow keys-driven jam that’s free of any nonsense. “I Saw It Again” sees even more “Guyute” teases in a feedback heavy outro jam that Anastasio eventually steers into a phenomenal set closing “Run Like An Antelope” with, you guessed it, even more “Guyute” quotes.
photo by Andy Hill
The show could have ended right then and there and there would have likely been little resistance. Instead, Phish follows it up with a set that may not be as memorable as the first one, but certainly does nothing to diminish this Utica show’s legacy. Just like the first one, the second set begins with a cover selection, this time The Who’s “Drowned” in its only performance of the tour. McConnell takes the reigns on this relatively brief jam before Anastasio seamlessly nudges it towards “Sand.” The pulsating, driving rhythm supplied by Gordon on bass fuel this one throughout in what’s really the most extended jam of the second set. In fact, it almost sounds slightly ripcord-ed as instead of exploring further, they shift gears into “Theme From the Bottom.”
“Axilla” and then “Birds of a Feather” follow, each doing their part to raise the second set energy back up. “Birds” especially produces a brief yet fierce jam with more splendid interplay between Anastasio and McConnell. Afterwards, the band lets Page sing “Tela,” only its fourth performance since their return last year.
photo by Andy Hill
“Axilla” and then “Birds of a Feather” follow, each doing their part to raise the second set energy back up. “Birds” especially produces a brief yet fierce jam with more splendid interplay between Anastasio and McConnell. Afterwards, the band lets Page sing “Tela,” only its fourth performance since their return last year.
The closing sequence to this show is quite something too. It begins with “Split Open and Melt,” a song that certainly has the capability of getting dark and deep. After a few early minor hiccups, it appears to be going in that direction. But instead, the music begins to take on a lighter tone with Anastasio singing something else lightly over the top of it. It takes the rest of the band a little while to join in, but before long, they veer into a quick version of “Have Mercy.” This is all but a quick pit stop as after one verse, Phish switches back to improv mode and begins the jam anew, taking it into a blissful new direction. After this peters out, Anastasio begins the (quick) into to “Piper” for one last dive into the unknown. One more relentless jam ensues, replete with a “Birds of a Feather” tease. Slowly but surely, the closing drum beat to “Split Open and Melt” soon arises from the end of this, finishing up the sequence in grand style.
Poster by Ryan Kerrigan
They waste no time before jumping into a grandiose and beautifully patient “Slave to the Traffic Light” that then closes the set in fitting fashion. As for an encore selection, Phish went back to cover well for another longtime favorite in Led Zeppelin’s “Good Times, Bad Times” and a version that near blows the roof off the Utica Memorial Auditorium. And with that, a show for the ages was born.
Phish Utica Memorial Auditorium – Utica, NY 10/20/10
Set 1: My Soul, Stealing Time From the Faulty Plan, Vultures, Wolfman’s Brother[1] -> Cities[2] > Guyute, David Bowie, Wilson[3] > McGrupp and the Watchful Hosemasters > Saw It Again -> Run Like an Antelope[4]
Set 2: Drowned -> Sand > Theme From the Bottom, Axilla > Birds of a Feather, Tela > Split Open and Melt -> Have Mercy > Piper -> Split Open and Melt > Slave to the Traffic Light
Encore: Good Times Bad Times
[1] Vocal jam. [2] Alternate “Genesee Factory” lyric. [3] Lyric changed to “I must inquire Guyute.” [4] Trey teased Guyute instead of saying “Marco Esquandolas.”
