Brooklyn based Mixtape DJ J.Period recorded another installment of his live mixtape at Sony Hall in Manhattan on September 13, 2018. This installment was a Top 5 MCs edition, featuring Rakim, Black Thought, Pharoahe Monch, Dres from Blacksheep and Smif-N-Wessun.
After two DJ sets by The Whooligan and DJ Evil Dee, Pharoahe Monch started the mixtape and got the crowd amped up with a set including “My Life” and “Simon Says.”
Dres from Blacksheep blessed the stage with a few classics including “Flavor of the Month” and “The Choice Is Yours,” with a guest appearance by Native Tongue’s Chi Ali who appeared on Blacksheep’s debut album A Wolf In Sheep’s Clothing.
Next up was a set by another legendary hip hop duo, Smif-N-Wessun, consisting of members Tek and Steele. Smif-N-Wessun comprise one quarter of the Brownsville (Brooklyn) supergroup Boot Camp Clik. One of the highlights of the night was watching them perform their 1994 classic “Bucktown.”
Legendary MC Black Thought of the legendary Roots crew started his set with “Act Too (Love of my Life),” and also brought out Grammy nominated female rapper Mumu Fresh AKA Maimouna Youssef, and Pharoahe Monch for a three-way cypher. Thought also did a cover of Slick Rick’s “Children’s Story” and dropped some of the bars we heard on his now famous 15 minute Funk Flex Freestyle.
The show culminated with yet another legendary hip hop duo Eric B and Rakim. It was a nice surprise to see Eric B as he was not listed on the original lineup. This year marked the 30th anniversary of the classic album Paid In Full which led to the highlight of seeing Rakim perform “I Ain’t No Joke” and “I Know You Got Soul.” Rakim also brought out some very talented break dancers from the KBL (Kids Breaking League) to show off their talents as he performed “Juice (Know The Ledge).”
This was another legendary night for hip-hop fans, especially above the age of 30, like myself. All of the artists were on point and sounded great, making for another very successful installment of J.Period and his Live Mixtape.
Today, we celebrate the anniversary of a Grateful Dead show at the most iconic of all New York music venues: Madison Square Garden. The Dead were certainly no strangers to this room by 1991. They had been playing the Midtown Mecca since 1979 and loved taking extended stays there. Fittingly, this show would be number five of a nine-show run at The Garden.
1991 was still very much a transitional time in the band’s history. Vince Welnick had only joined the band a year earlier and Bruce Hornsby was still making regular appearances. This show would be no different. And while this one may not be designated with a “legendary” status in the record books, there are certainly moments that shine.
To put it nicely, whether its the recording or the performance itself, the “Touch of Grey” opener is fairly mangled. Guitarist Jerry Garcia doesn’t seem to realize his part until a full verse passes first and the rest goes downhill from there. Fellow guitarist Bob Weir then takes over and directs “Wang Dang Doodle” afterwards that has a couple of inspired Garcia licks towards the end that seem to wake him up a little. With the band seemingly picking up on this, it carries right through the ensuing “Peggy-O” where Garcia continues to shine and brushes off some of the earlier mishaps.
The first set doesn’t seem to really take off until “Althea” which features more delicate guitar licks from Garcia that’s finally accompanied by a vocal performance to match. “When I Paint My Masterpiece” follows nicely with the always lovely accordion fills supplied by Hornsby. The first set closes with a triumphant “Bird Song” that soars for more than 14 minutes with both Welnick and Hornsby, along with the rest of the band, on top of their respective game.
After a rather nondescript Weir-led “Victim Or The Crime” to open the second set, things escalate quickly with a rousing “Scarlet Begonias” where the intensity of an MSG show is very much audible. The seamless segue into its traditional pairing with “Fire On The Mountain’ is vintage Dead and one of the definitive bright spots of this show.
Another valid complaint for this show may be the extended “Drums” > “Space” sequence that follows. While it does feature a few moments of fun, psychedelic mayhem, it also drifts off completely at parts and takes up almost 28 minutes of the second set.
Grateful Dead 9/13/91 Madison Square Garden
Garcia brings a little of the “Space” along with him in the beginning sections of “The Other One” that follow before falling into its signature pattern. This brings about another inspired jam with all seven legs of the band acting as one cohesive unit while Weir belts out the lyrics he penned for this song years ago.
The second set ends with a joyous “Throwing Stones” that features both Weir and Garcia with some passionate singing. A somewhat abrupt cut to “Not Fade Away” follows that gives the band one last chance to stretch out and jam.
Grateful Dead 9/13/91 Madison Square Garden – New York, NY
Set 1: Touch of Grey, Wang Dang Doodle, Peggy-O, Big River > Cumberland Blues, Althea, When I Paint My Masterpiece, Bird Song
Set 2: Victim Or The Crime, Scarlet Begonias > Fire On The Mountain > Drums > Space > The Other One > Stella Blue > Throwing Stones > Not Fade Away
The Amico Barady Quartet, a jazz band started 15 years ago by Vinnie Amico and Jay Barady, are the featured performers. The band members include Vinnie Amico (moe., drums), Jason Barady (Floodwood, mandolin), Rich Williams (saxophone/flute) and Zach Fleitz (bass).
photo by Frankie Cavone
The Palace Sessions is a monthly live music series featuring local regional musicians performing at the Palace Theater in Albany, NY. The Palace Theatre’s mission is to enhance the Capital Region’s cultural and economic development with world-class arts and entertainment. Like many other live music events, The Palace Sessions had to postpone and revamp their previous musical events due to the COVID-19 pandemic.
“We are thrilled to be able to welcome live music back to the hallowed halls of the Palace Theatre. This historic building exists to entertain and create memories and after a nearly four-month absence due to COVID-19, it is a thrill to know that it will again. We hope that our patrons will enjoy these performances as much as we do!”
Billy Piskutz, Executive Director of the Palace Performing Arts Center.
Donations to benefit the Palace Performing Arts Center can be made here or directly through the Palace Theatre’s Text to Give program by texting Palace2020 to 44321.
The Palace Sessions are sponsored by KeyBank, CDPHP, St. Peter’s Health Partners, 102.7 WEQX, Albany.com & High Peaks Event Production. Check out a preview of what’s to come with photos from Frankie Cavone of Mirth Films.
Ed. note: this review of Trey Anastasio at Carnegie Hall was original published on PhanArt.net in September 2009. For a more recent review of Anastasio at Carnegie Hall, read our review from October 2019.
For years I have considered orchestral compositions the ultimate form of music, with the intricacies that I felt would never be understood, a style that would be too difficult to get into, and a high-class following that would elude me forever.
This started to change years ago when I heard the amazing beauty of Eric Clapton playing with the Royal Philharmonic Orchestra in London (February 10, 1990), and discovered the intersection of one of the greatest guitarist in history and one of the finest orchestras in the world. Hearing “Layla,” “White Room,” “Bell Bottom Blues,” as well as a unique Guitar Concerto in two movements performed with a guitar (?!) AND a 40 piece orchestra. My ears never had it so good. Every note was played, expanding, but not drowning out, the original composition. Bands like Queensryche and YES had explored orchestral infusion into their rock act previously, but the Clapton collaboration hit home with me, and I was forever hooked.
The only thing that stood in the way of getting a fix for this new-orchestral sound was more combination acts like the one that got me hooked. It took only a couple years before Trey was playing with the Vermont Youth Orchestra on “Guyute,” but opportunities to see this were limited. I listened to the version on Sharin’ in the Groove, The Mockingbird Foundation’s tribute album to Phish, over and over, guiding the orchestra while I drove cross-country and around town. This was some of the best music I could have imagined to hear.
When Trey Anastasio was announced to play the 2004 Bonnaroo music festival with the Nashville Chamber Orchestra, I knew that this would be the musical experience I had been long waiting for – combining my favorite band’s music with an orchestra, drawing out every last note of music hidden in there, expanding the tablature to a full musical composition replete with instruments I had not seen nor heard from since grade school. The experience was the highlight of that Bonnaroo, and set the stage for the musical bliss that was set with Trey Anastasio at Carnegie Hall on Saturday, September 12, 2009.
The show having been announced in mid-July, I immediately purchased the best seats I could afford (4th row balcony, which I hoped would provide immense views), as I knew the size of the room was considerably smaller than a normal phish-venue, and the demand would certainly be high. Arriving at Carnegie Hall, I saw what I had joked would be there, presuming it wouldn’t – nitrous tanks and a few shady-entrepreneurs making a quick buck on fans with money to burn on a cheap high. Ignoring this, I went inside and found myself walking up, up, up, up to the top level, and then was guided to my seat by an usher, which felt very high-class. Taking my seat, I marveled at the crowd around me, the youth, the remarkably familiar feeling I had in this great community of people, as well as the sharply dressed folks who took the occasion to go ‘phormal’, as we once had for Radio City in 2000. The crowd was very chill and happy, and notably respectful of the hall, likely thrilled to be able to see such a unique night of music in such a famous building.
The seats were small and legroom was nil, but that was all taken away with the warming up of the New York Philharmonic. You could hear each section of instruments (the strings, the horns, the woods, the percussion, etc…) randomly tuning up, and a finely tuned ear could hear aspects of the peak of “Guyute,” the middle section of “Pebbles and Marbles,” and miscellaneous tuning and playing as the crowd got settled.
Upon their arrival to the stage, the principal violinist, the conductor, Asher Fisch, and then The Bad Lieutenant himself, Trey, came out to thunderous applause, likely the loudest Carnegie has ever heard. “First Tube” was soft and quiet at first, but perfect. Trey’s guitar was quieter than ever, but he changed the volume as the song got towards the end, with an amazing buildup, similar to the now-invigorated versions Phish has played in ’09. The flutes, violins and bongos/congos are heavy in this song, carrying the tune to its final section and peaking very subtly and suddenly.
“The Inlaw Josie Wales,” “Brian and Robert” and “Water in the Sky” were soft excursions into the mid-’90s writing of Trey, and showed the orchestral side of his writing that had been there all this time. “Divided Sky” was the crowd pleaser-supreme in the first set, giving the crowd a wide range of melodies and expansion of an already tremendous song. “Pebbles and Marbles” and “Guyute” closed out the first set, the latter of which had many heads bobbing and moving hands subtly to the movement of Asher Fisch, who was one of the more animated conductors I could have imagined, making Tom Hulce’s Mozart look like a impassive director of music. Fisch was swaying from side to side, almost seeming to leap in the air at times when the music compelled him to do so. It almost seems as though he would fit in at a Phish show.
Setbreak brought about a trip to the headiest smelling bathrooms since the last Phish show, and long lines of fans waiting for water, as the room was getting a bit warm. “‘Time Turns Elastic” started with the first two movements, which are not heard in the Phish version, as they are a cornucopia of the orchestra’s sound leading into the ‘Submarine’ section of the 30 minute composition.
This may be one of the best compositions I have ever heard, with crescendos and arpeggios that showed the masterpiece of Trey’s orchestral composition was a crowd pleaser, an attentive crowd focusing on the various sections intently. When played with Phish, fans take time to refuel and make pit stops, but for this version of “Time Turns Elastic,” every audience member hung on each section, as the segues were fluid to say the least. The most fascinating thing about this version of “Time Turns Elastic” was the focus on the various movements and sections within the song. The final section, ‘Carousel’, brought the song to a resounding peak, with applause that was the loudest of the evening thus far.
“Let me Lie” was touching, soft and short, providing a nice interlude in between two long epics, the latter being the debut of “‘You Enjoy Myself,” the immense Phish crowd pleaser. This was the song the entire crowd was waiting with bated breath to hear, only to be paused and let the excitement build longer as Trey thanked the audience, the orchestra, and remembered his late-sister, Kristine Anastasio Manning, for which her foundation that night was a beneficiary.
“YEM” started off with a round of applause overshadowing the opening section, but soon, you could hear a pin drop, were it not for the orchestra. The crowd hung on every note, hearing the song like never before, but really, like the song was meant to be heard – this version of the song brings out layers and aspects of the song still left unexplored through almost 500 performances over the course of the band’s career. The ‘Pre-Nirvana’ segment had the percussionist working a snare drum to emulate Fishman, as the strings brought about the largess of the ‘Nirvana’ section, with Trey playing softly and complementarily alongside the collection of musicians onstage. The xylophone in this section is worth turning the speakers up for. A crescendo appears with the trumpets, French horns and tympanis working to bring the song to its first crest. More xylophone brings the section typically played by Mike to its peak, with Trey playing louder and the horns coming in to build the song up once again.
The next section with the tremendous peak was resounding with horns and cymbals making it akin to the concert version. The bongos and congos took over the interlude in between these two sections, with an even louder zenith reached before ‘The Charge’ appeared and then dissolved with audience laughter, before a funky YEM jam beat was played by Trey and the percussionist, all the while the trombones, tuba and French horn played ‘Boy, Man, God, Shit’ in a way it was never played before.
You can’t help but laugh hearing this section, both out of the humor inflected by the horns, as well as the precision reached in the performance. Clarinets and other woods built up the song where the trampolines would usually come into play, and then the strings and full orchestra come into play, bringing the song into a three minute composed jam that highlighted all the parts of the song, as well as the musicians on stage, who were performing for an audience larger than they could possibly know.
As the final jam section ended and the strings played a very light ‘Wash Uffizi drive me to Firenze’, Trey set his guitar down and took towards the microphone, and began a vocal jam all on his own, a first for any Phish fan. The similarities between this vocal jam and the ‘Arc’ that Eddie Vedder performed on his 2009 solo tour were resounding, with the exception that Anastasio does his vocals all on his own, and without the addition of looping sounds; the room carried Anastasio’s voice throughout its acoustic borders, while the orchestra backed up each inflection of Trey’s voice.
The roar of the audience at the end was deafening, even for one of those cheering loudly. We cheered like a Phish audience for a very non-Phish set of performers, and they deserved every ounce of it. An encore of “‘If I Could” was so perfect, you need to hear it to truly appreciate how soft and elegant the song gets; the album version has strings towards the end, which is a nice start for a song that has found a new home in an orchestral composition. The harp solo after the first two sets of lyrics is enough to make your eyes well up with tears of joy, and then the strings make the wells runneth over. A more beautiful composition is hard to come by.
As the show ended, fans ventured out into the streets to dodge the nitrous vendors, and headed out into the night, having experienced one of the most amazing musical events of 2009, let alone the entire decade/century. Yes, it was that amazing.
Overall, even the most rabid of Phish fans and music fans in general, would appreciate the intricacies, tempo changes, structure and multi-auditory stimulation that come from the greatness of an orchestra. Seeing Trey in an orchestral setting is the way to see him perform him music. Remember, he went to school for this, so this isn’t some silly venture like Jordan playing baseball. No, this is the real thing. This is Jerry Garcia playing solo shows, Mick Jagger putting out subpar solo albums for unknown reasons, and Bono hanging out with world leaders to push for more attention to Africa. This is where the rockstar in Trey goes on to become something more, something larger, something that transcends Phish, but brings along the music for the ride. You have to ponder the thought, since Trey went to college for Composition, had he not co-founded Phish, would he have been a colleague of Fisch?
One has to wonder, have we been duped this whole time by Phish, that now we deep down can appreciate the intricacy and effort it takes to create orchestral music? Most the songs played that night have been played by Phish since the early days (YEM, Divided Sky), the ’90s (Guyute, Inlaw, Brian and Robert, Water in the Sky) and in recent years (Time Turns Elastic, Let me Lie, Pebbles and Marbles), yet at those times, few considered that we were hearing the rock and jam versions of classical songs. All these songs have that familiar strain, and can possibly convert Phisheads into classicophiles in no time.
This show was a game-changer and eye-opener for many fans. Seek it out and join in one of the greatest auditory experiences you have ever heard.
Music icon Bruce Springsteen is set to release Letter To You October 23 with his E Street Band. His 20th studio album is a harmonious fusion of all things Springsteen. At this level it’s hard to push the envelope further, instead Bruce steps back and opens up his heart.
The 12-track album is a micro-burst of Springsteen’s life in real-time, recorded in a mere five days at his home studio. “I love the emotional nature of Letter To You,” says Springsteen in the official press release. “And I love the sound of the E Street Band playing completely live in the studio, in a way we’ve never done before, and with no overdubs…it turned out to be one of the greatest recording experiences I’ve ever had.”
With that first snare-pickup we are catapulted in Bruce’s world, soaring effortless. The songwriting is flawless, opening mid-emotion. It paints distinct imagery only found deep in someones heart -“‘Neath a crown of mongrel trees, I pulled that bothersome thread.”
There is something to be said for the natural beauty and lack of refinement, to expose a new side of Springsteen. Likewise, the album features nine newly written songs and three unreleased tracks from the 1970’s – “Janey Needs a Shooter,” “If I Was the Priest,” and “Song for Orphans.”
Letter To You is Springsteen’s first time performing with the E Street Band since The River 2016 tour, which both Billboard and Pollstar both named as that year’s top global tour.
Tracklist: 1. One Minute You’re Here 2. Letter To You 3. Burnin’ Train 4. Janey Needs A Shooter 5. Last Man Standing 6. The Power Of Prayer 7. House Of A Thousand Guitars 8. Rainmaker 9. If I Was The Priest 10. Ghosts 11. Song For Orphans 12. I’ll See You In My Dreams
Toots Hibbert, the Jamaican reggae and ska frontman for the Maytals has died at 77 years of age. While a cause of death has not been announced, Hibbert was recently hospitalized due to complications from COVID-19.
photo by Mickey Deneher
Born Frederick Nathaniel Hibbert on December 8, 1942, the singer/songwriter was known for hits including “Sweet and Dandy,” “Monkey Man,” “True Love is Hard to Find” and “54/46,” inspired by his time in jail for marijuana possession in 1967. Hibbert, who coined the term ‘reggae’ with his song “Do the Reggay,” had been in a medically-induced coma at the Tony Thwaites Wing of the UHWI and was placed on a ventilator. His family shared this on his Facebook page.
It is with the heaviest of hearts to announce that Frederick Nathaniel “Toots” Hibbert passed away peacefully tonight, surrounded by his family at the University Hospital of the West Indies in Kingston, Jamaica.The family and his management team would like to thank the medical teams and professionals for their care and diligence, and ask that you respect their privacy during their time of grief. Mr. Hibbert is survived by his wife of 39 years, Miss D, and his seven of eight children.
Hibbert grew up in May Pen, Jamaica, about 30 miles west of Kingston as the youngest of seven children, Hibbert’s parents were both Seventh-Day Adventist ministers and would often sing in church, according to Variety. Hibbert lost his parents at any early age, with his mother dying when he was eight and his father dying three years later.
Hibbert moved to the Jamaican capital of Kingston where he lived with his older brother John, who nicknamed him “Little Toots.” In 1962, singers Jerry Matthius and Raleigh Gordon heard Toots singing at the barbershop he worked at and formed the trio the Maytals. Over the next 10 years the group recorded with a series of producers that reads like a Reggae hall of fame: Coxsone Dodd, Prince Buster, Byron Lee, Leslie Kong.
A contemporary of Bob Marley, both artists would find success with different songs titled “Redemption Song.” Speaking to the Jamaica Observer in 2018, he said of the early years with Marley:
Sometimes the Maytals would close, sometimes The Wailers would close the show. We had no problems, no professional jealousy, we were all very good friends. Out of all of us though, me an’ Bob were very good friends. It was out of one of those conversations that I did the song ‘Marley.’ He was telling me that he was going to be a dreadlocks Rasta an’ I laughed an’ said, ‘I want to be a comb-locks’ Rasta like Selassie I’ an’ he laughed, just like the words in the actual song.
Toots Hibbert, speaking to the Jamaica Observer
Toots Hibbert appeared in “The Harder They Come,” starring Jimmy Cliff, and his 1969 hit “Pressure Drop” was featured on the movie soundtrack and was later covered by the Clash in 1978, giving Hibbert a wider audience of new fans.
photo by Rob Teller
Toots and the Maytals won Best Reggae Album at the Grammy Awards in 2005 for the album True Love, which featured duets with a number of music legends, including Eric Clapton, Willie Nelson, Jeff Beck, Bootsy Collins, Marcia Griffiths and Keith Richards, among others.
Hibbert toured regularly since the 1970s, with a break in 2013 following an incident in Virginia when a fan threw a vodka bottle onstage and hit Hibbert in the head. Suffering a concussion in the process, Hibbert canceled his remaining shows and would not return to the stage until June 2016, although he continued to grapple with headaches and anxiety related to the injury.
Toots and the Maytals performing at Summer Camp Music Festival, May 2019. photo by Pete Mason
According to Rolling Stone, to form this new style, Hibbert infused reggae precursors like rocksteady and ska with elements of traditional Jamaican mento, as well as gospel, soul, R&B, and rock n roll. He could start a party as easily as he could deliver spiritual musings and social-justice rallying cries, all in a voice that recalled the likes of Otis Redding and Ray Charles but was always distinctly “Toots.”
Ziggy Marley said in an Instagram post “I spoke with him a few weeks ago told him how much i loved him and what he means to me. We laughed and shared our mutual respect. I am fully in sorrow tonight. I will miss his smile and laughter his genuine nature. Toots was a father figure to me; his spirit is with us his music fills us with his energy. I will never forget him”
Toots and the Maytals recently released their first album in over ten years, Got to be Tough. The album features many originals as well as a Bob Marley cover of “Three Little Birds” featuring Ziggy Marley. It also features a track with Ringo Starr on percussion and Ringo’s son and longtime Who drummer Zak Starkey on guitar.
On Saturday, September 12, Saratoga Performing Arts Center (SPAC) will begin their “SPAC @ Home: Concert Series” with world-renowned violinist and Grammy Award-winner Joshua Bell and classical pianist, Peter Dugan. The event will be held at the Arthur Zankel Music Center at Skidmore College.
The concert program includes the Beethoven Violin Sonata No. 5, the Kreisler/Dvorak “Slavonic Fantasy,” the Sarasate/Chopin Nocturne No. 20, and the Wieniawski “Polonaise de Concert.” After the concert, there will be a Q&A session with SPAC President Elizabeth Solo and Director of The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Ian Berry.
Tickets for the virtual event are $10 and can be purchased at spac.org. Ticket buyers will be directed to an exclusive stream.
Born in Bloomington, Indiana, Bell began the violin at age four, and at age twelve, began studies with his mentor, Josef Gingold. At age 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and made his Carnegie Hall debut at age 17 with the St. Louis Symphony.
Bell has performed for three American presidents and the sitting justices of the Supreme Court of the United States. He participated in former president Barack Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba, joining Cuban and American musicians on a 2017 Live from Lincoln Center PBS special, Joshua Bell: Seasons of Cuba, celebrating renewed cultural diplomacy between Cuba and the United States.
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from The Reckless Few, ERIE, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
From Troy, The Reckless Few is a sextet featuring Louis Emory (guitars, vocals), Bob Boyer (drums, percussion, guitars), Tim Lynch (piano, organ), Kate Sgroi – (bass), Rocco DiDonna (vocals) and Eliyahu Baruch (vocals). Their inspirations include The Beatles, The Rolling Stones, Bob Dylan, The Band, The Beach Boys, Frank Sinatra, Motown, and Muscle Shoals. Singer/Songwriter Louise Emory has been writing and recording original rock ‘n roll with a diverse family of local musicians for over 20 years. This song was released fifteen years after it was written while floating on a boat in Long Island sound.
From Albany, ERIE earlier this year self-released record the week before Covid-19 started running rampant and put us all into quarantine. With all that, the band managed to get picked up by Mint 400 Records out of Jersey City, NJ. They will be re-releasing the record on Friday, September 18 and have a virtual release show planned at The Linda on Monday, September 21.
What is there to say, but it is great to hear live music once again. Having spent the last six months at home counting down the days to when we can all be together, on September 8, for just a few hours in the small town of Morris, CT, it felt like the curse of darkness had been lifted, thanks to Manic Presents and Marcus King Band. The team at South Farms have figured out a way to bring music and entertainment back to the people, and boy do we all need it.
The new venue at South Farms for this power house team is unassuming and not a first choice for a one-night event. The venue has everything a fan would want and more: picturesque views of killer sunsets, incredible sound that echoes in the rolling farm hills and of course, great sight lines that make fans feel as though they’re in an amphitheater atmosphere all the while being socially distant Talk about a win-win!
The evening began with Early James, an Alabama singer/songwriter whose sound is a blend of country, southern blues, and jazz, and has a lyrical style that is a mix between Bob Dylan and Tom Waits. This one-two punch tonight allowed fans to be reintroduced to the concert format with James’ incredible talent. A highlight of his opening set was “Easter Eggs” with honky guitar licks and southern slide guitar.
As the sun set a loud roar and the sound of woo-hoos echoed the night sky, Marcus King, with drummer Jack Ryan and bassist Stephen Campbell took the stage. Marcus joked saying how it was great to actually see people, instead of cars for the first time once again. The trio jumped right into playing a version of “I Just Want To Make Love To You/Hoochie Coochie Man”
The highlight for this photographer came as the trio began “One Day She’s Here,” a song that is hauntingly beautiful and can resonate with the times. “She” could be considered to so many people in the music industry this year.
Pretty little girl in a Coupe de Ville Saw her disappear up across the hill One day here, now the next, she’s gone Didn’t even get to hear me sing my song She disappears just like the dawn One day she’s here, the next, she’s gone
Other highlights of the night included a rocking version of “Virginia”, a southern rock song that just is so gritty and raw that those who were in attendance who had their eyes closed would have sworn Warren Haynes came to the farm early. And of course a stellar encore of “The Well” and Black Sabbath’s “War Pigs.”
One thing is for sure, that night at South Farms with Marcus King reminded us that “she” will come back one day and boy has she. Music is alive and well, as long as there are those who listen and follow the rules. Those who work in this industry will not go down without a fight. If you’re missing seeing acts at your local venue, do yourself a favor check out South Farms, because “Music is better on grass.”
Goose, the buzz-heavy Connecticut-based indie groove band, plans to move their two drive-in shows north in early October.
The weekend tour includes a visit to Essex Junction, Vermont on Oct. 2, and Swanzey, New Hampshire on Oct. 3.
“I’m super stoked to get back to Burlington, the groovy UV has a special place in my heart. I spent a bunch of time up there, chillin’ in the Green Mountains with Champ.”
Trevor Weekz, Goose bassist
Ticket sales for both Goose shows will open on Thursday, Sept. 10. At 10:00 a.m. Click here for tickets to the Essex Junction- Burlington show and Click here for tickets to the Swanzey show.
