This February, Jazz is PHSH returns to New York with two stops in Rochester and NYC, bringing with them perform unique arrangements featuring the music of Phish and an all-star lineup. Alongside bandleader and drummer Adam Chase, musicians Felix Pastorious (Hipster Assassins), John Culbreth (Naughty Professor) and Yesseh Furaha-Ali join together for these coming shows, with Matthew Chase and Jonathan Huber joining for the first three shows, and Snarky Puppy’s Bob Lanzetti and Justin Stanton joining for the rest of the tour.
“Ultimately, it became my goal to create arrangements that would be fun for Phish fans to enjoy while presenting the music in a way that even the most pretentious jazz professor would be forced to respect,” says co-creator and music director Adam Chase, of the process.
To formulate their compositions, the Chase brothers do things like write original chord changes to support the existing melody or pull chord changes from jazz standards and add them to solo sections. The ensembles create their own unique interpretations and arrangements of songs by the beloved improvisational rock band and, at times, their unique interpretation of music from the Phish songbook are completely unrecognizable.
Jazz is PHSH Tour Dates:
1/30 – Baltimore, MD – Union Craft Brewing
1/31 – Toronto, Ontario – Velvet Underground
2/1 – Rochester, NY – Anthology
2/4 – Boston, MA – City Winery
2/5 – Philadelphia, PA – City Winery
2/6 – Brooklyn, NY – Brooklyn Bowl
2/7 – Winchester, VA – Bright Box Theater
2/8 – Harrisburg, PA – The Abbey Bar
Watch a live version of “Stash” from City Winery in Atlanta
Grammy-nominated rock quartet Barenaked Ladies, have postponed the sixth edition of their “Last Summer on Earth” tour. The two-month expedition would have seen the Juno award-winning outfit perform in some of the world’s most renowned locations, including Los Angeles’, Greek Theatre and New York City’s Central Park SummerStage. “Last Summer on Tour,” a named derived from the Mayans predictions of the world end in 2012, will still see Gin Blossoms and Toad the Wet Sprocket join them as opening acts, just a little later than originally planned.
Vocalist/guitarist Ed Robertson shares, “We were really hoping we’d be able to pull it off this summer, but for the safety of our fans, all the venue staff, bands and crew, we need to listen to best advice and postpone until next summer. We’ll be back with the same lineup in almost all the same venues in 2021. We hope to see each and every one of you then. Be safe. Continue to Rock, and don’t forget to Roll.”
Tickets purchased for 2020 will still valid for 2021 however, shows in Houston, San Diego, St Louis and Pittsburgh were not able to be rescheduled. Refunds will be handled by original ticket providers. To thank fans for their support, an exclusive #SelfieCamJam along with a message from the band will be sent to ticket buyers via their ticket provider.
All information on the “Last Summer on Earth” 2021 tour can be found at the Barenaked Ladies website, while dates can be found below.
Fresh off a sold out show at Manhattan’s Bowery Ballroom, Goose completed a multi-night, multi-venue, multi-borough NYC run last night in Brooklyn at the Music Hall of Williamsburg. While the hype surrounding Goose has been a topic all its own, last night’s show was an exclamation point, an emphatic declaration that Goose is real and they’re here to stay. Having seen a whopping three Goose shows now, which makes me either a wiley veteran or highly unqualified to make this statement (depends who you ask), last night will go down as one of the special ones. So let’s make no further comparisons about who this Connecticut quartet sounds like or reminds you of … This. Is. Goose.
With soaring improvisational solos, irresistible hooks, and infinite peaks, Goose absolutely crushed another packed room, this one already vibing hard thanks to the seductive beats of DJ Doey Joey. Taking the stage to Notorious B.I.G.’s “Where Brooklyn At,” Goose opened with the slap-bass funk intro of “Yeti,” a statement song if ever there was one, and Trevor Weekz (bass) kicked the three-hour party off in high gear. Peter Anspach was first out of the box with face-melting guitar solos, with Rick Mitaronda not far behind before they joined forces with two part harmonies in “Time to Flee,” a jam that culminated in the white light reflections of the centrally located disco ball. “Western Sun” rang in with a Southern twang and a country-ish rock tone that served to highlight Goose’s impressive range. “All I Need” was another peak-after-peak-after-peak neverending jam that has become synonymous with Goose’s signature sound. How do you follow that? Well, If a Radiohead cover is in your wheelhouse, then you bust out “Weird Fishes,” just because you can. WOW. A “Doc Brown” dedication to Peter’s eight year old nephew preceded the thunderous set-closer, “So Ready.” BOOM!
Check out fan video of “Weird Fishes”
DJ Doey Joey kept the beats going through the setbreak as the crowd never stopped grooving – yours truly included! Riding the first set high and Joey’s infectious vibe, the crowd was primed for a raging second set and Goose delivered one for the record books. “Arrow” brought the party back, complete with the first of what would be sporadic confetti cannons that seemed to amuse the Goose as much as the Gaggle. A first ever cover of the Moody Blues’ “Nights in White Satin” emerged from the “Arrow” jam, more evidence of both Goose’s dynamic range and the fun they have on stage. Trevor Weekz brought the funk back for “Creatures,” before a 2001 pop cover of Kylie Minogue’s “Can’t Get You Outta My Head.” Talk about not taking yourself too seriously; Goose’s fun quotient is unparalleled right now.
“Hot Tea,” with perhaps the most compelling and addictive hook in their growing catalog, and my favorite song, taboot, was white hot. Brooklyn came to party and this hands up, arms waving, confetti blasting, disco ball doing its ‘disco ball thing’ jam was a peak moment (okay, maybe more like 15). A “Jive I” > “Jive Lee” combo closed the set, with heavy effects from guitarist Mitaronda, and “Turned Clouds” in the encore slot wrapped it all up a few moments before 1:00 am.
Goose heads west, touring with Pigeons Playing Ping, for their next show February 5 in Phoenix, AZ.
Locally, Rick, Peter, and Trevor will be playing as Birds of a Feather with Alex Petropolous and Jeremy Schon (PPPP) on March 21 at Brooklyn Comes Alive. Goose will also open for Pigeons on Friday April 24 at The Capitol Theatre in Port Chester, NY.
Goose – Music Hall of Williamsburg, Brooklyn, NY – 1/25/20
Set 1: Yeti, Time to Flee, A Western Sun, All I Need {1}, Weird Fishes {2}, Doc Brown {3}, So Ready
Set 2: Arrow > Nights in White Satin {4} > Creatures > Can’t Get You Outta My Head {5} > Hot Tea, Jive I > Jive Lee
Encore: Turned Clouds
Coach’s Notes: {1} Slow & melodic version of All I Need {2} Radio Head {3} Wiz Kid dedicated the song to his nephew {4} Moody Blues, FTP {5} Kylie Minogue This was a sold out show Set 1 Start: 9:27pm – Set 1 End Time: 10:47pm Set 2 Start: 11:15pm Set 2 End: 12:52am Next Show: 2.5.20 • Phoenix, AZ • The Marquee Theater
Nearly a decade ago, the members of Moon Hooch were busking in the NYC subways, filling the tunnels with their raw and energetic saxophones and percussions. But try not to think of a few musicians, off to the side, with crowds of people just buzzing past minding their own business. Instead, Mike Wilbur, Wenzl McGowen and James Muschler would turn entire subway platforms into tribal dance floors with their beat-infused jazz music. It was not long before the MTA banned them from smaller subway stations and they were bringing their “cave music” above ground to TV shows and sold out music venues.
The trio of Moon Hooch made their way to Bowery Ballroom this past Thursday, for the second stop on their lengthy world tour. The line to get in extended around the corner before doors opened and the Brooklyn-based band was treated to a warm reception from a room packed with fans and close friends. They hit the stage earlier than the posted set time and kicked into high gear right from the start. At times, more than half the dance floor was turned into a dancing mosh pit; if it wasn’t for the cables plugging their instruments in, I’m sure Mike and Wenzl would have dove right in.
Even though the group has graduated from the subways to the stage, their sound and live setup remains true to their origins. A modest drum kit sat center stage with an army of saxophones standing at attention off to the side. A makeshift DJ set-up, several props and smaller wind instruments that would appear later in the show all sat on a table.
Mike Wilbur of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello
A large open area was left to allow for the immensely energetic performance. The music did not skip a beat while the two saxophonists bounced and danced from one side of the stage to the other. Constant swapping of instruments and the use of horn props all led to a very dense and eclectic sound. At one point, a traffic cone was attached to Wenzl’s tenor sax, turning it into a deep-bass horn extending over the heads of the fans in the front row.
Wenzl McGowen of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello
It does not seem likely that a subway busking performance would have a well planned setlist, and that was also the case for this show. All of the songs were performed as live basement jams, but with a “telepathic” connection between the trio. For almost two hours, the band played nearly non-stop, constantly mixing and improvising the songs that make up their catalog. The madhouse that ensued would not let up until security was forcing people to the exits.
The band just self-released their 4th LP, Life On Other Planets, earlier this month right before kicking off the tour. Unlike their last three records, the band decided to forgo obsessively producing and mastering tracks and instead attempted to reproduce the raw and unpredictable sound of their live shows. Almost all of the tracks were single-take recordings featuring extensive build ups, driving percussions and ear-ringing, funky sax riffs. The result is a largely successful and unique record. After seeing the show for myself, one could assume the new LP is a live album taken from one of their shows.
Moon Hooch have dates all across the US through February, then they hit Europe for March and April. Support for these shows comes from Sungazer, The Tangled Roots, The Main Squeeze and Paris Monster. Check out the full list of dates here.
The New-York Historical Society presents the rock & roll world of Bill Graham (1931–1991),with an upcoming exhibit Bill Graham and the Rock & Roll Revolution, on view February 14 – August 23, 2020. Located at the Central Park West museum and library, the exhibit focuses on the legacy of one of the most influential concert promoters of all time.
Graham’s life and work as a legendary music impresario are on display alongside the biggest names in rock music whom he worked with, including the Grateful Dead, Jefferson Airplane, Jimi Hendrix, Santana, Led Zeppelin, and the Rolling Stones. Graham launched the careers of countless music luminaries at his famed Fillmore Auditorium in San Francisco and the Fillmore East in New York City.
Organized by the Skirball Cultural Center, which debuted the exhibition in Los Angeles, this comprehensive retrospective of Graham’s life and career explores some of the 20th century’s momentous cultural transformations through the lens of rock & roll. Showcasing more than 300 objects—including rock memorabilia, photographs, and concert posters—the New-York Historical presentation, coordinated by Associate Curator of Exhibitions Cristian Petru Panaite, highlights Graham’s personal connections to New York.
American guitarist and singer Jimi Hendrix performs at the Fillmore West in San Francisco, February 1968.
Admission to the exhibition will be via timed-entry tickets and begins with a site-specific installation of “The Joshua Light Show,” the trailblazing liquid light show conceived in 1967 by multimedia artist Joshua White that served as a psychedelic backdrop to Graham’s concert productions in New York.
Unique to New-York Historical is a special, immersive audio experience, providing a musical tour through the exhibition with songs by rock & roll superstars the Allman Brothers, Chuck Berry, Blondie, David Bowie, Cream, the Doors, Aretha Franklin, the Grateful Dead, Jefferson Airplane, Jimi Hendrix, Janis Joplin, KISS, Led Zeppelin, Madonna, Tom Petty, Quicksilver Messenger Service, Carlos Santana, the Rolling Stones, the Sex Pistols, and Neil Young, among others. Included in the four-hour soundtrack available to visitors are also mambo hits by Tito Puente that Graham loved in his early years in New York. The audio experience is generously sponsored by luxury audio brand Master & Dynamic. A playlist of featured songs is available on Spotify.
“Even though Bill Graham and the Fillmore East transformed the city’s music scene in the late 1960s, few know about Graham’s immigrant background and New York roots,” said Dr. Louise Mirrer, president and CEO of New-York Historical. “We are proud to collaborate with our colleagues at the Skirball Cultural Center to present this exhibition in New York—Graham’s first American hometown—and to highlight his local experience. His rock & roll life was a pop-culture version of the American dream come true.”
“Master & Dynamic is proud to sponsor Bill Graham and the Rock & Roll Revolution in our hometown of New York City,” said Nathaniel Teichman, head of strategy & business development at Master & Dynamic. “We are committed to supporting the New York-Historical Society and to helping bring to life the story of Bill Graham, who transcended incredible odds after escaping the Nazis to become one of the most influential figures in rock history.”
Bill Graham and the Rock & Roll Revolution begins with family snapshots of Graham’s experience as a Jewish emigrant from Nazi Germany and his journey to America. Born in Berlin as Wolfgang Grajonca, he arrived in New York at the age of 11 as part of a Red Cross effort to help Jewish children fleeing the Nazis. He lived with a foster family in the Bronx and spent his teenage years in New York City before being drafted into the U.S. Army to fight in the Korean War. Graham relocated to San Francisco in the early 1960s as the hippie movement was growing and took over the lease on the Fillmore Auditorium, where he produced groundbreaking shows throughout the decade, including sold-out concerts by the Grateful Dead, Cream, Big Brother and the Holding Company, and the Doors, among many others.
American blues musician, singer, songwriter, and guitarist B.B King smokes a cigarette, San Francisco, CA, 1967.
In 1968, Graham opened the Fillmore East on Manhattan’s Lower East Side, historically the heart of New York’s Jewish immigrant community, just as it was becoming a countercultural hub. During its three-year run, rock fans filled the 2,700-seat venue to hear the Grateful Dead, Jefferson Airplane, Jimi Hendrix, Led Zeppelin, and others. A highlight of the Fillmore East experience was “The Joshua Light Show,” a mesmerizing liquid light show, conceived by multimedia artist Joshua White, that played as the backdrop as bands performed; in this installation, specially created for the exhibition, a colorful explosion of choreographed artistic projections set to music greet visitors at the entrance of the exhibition.
Timed-entry tickets for Bill Graham and the Rock & Roll Revolution went on sale on December 20. Visit nyhistory.org.
A special family guide is available for young visitors to explore the exhibition, featuring activities like scavenger hunts, sketching prompts, and quizzes. During February School Vacation Week, kids create rock & roll-inspired crafts, and Sunday Story Time in the spring features music-themed books.
A trio that began busking in the New York City subways more than eight years ago has created a distinct sound that has emerged to stages across the world, a sound that’s been coined “brasshouse.” The incredible talent of those three – Leo P. on bari sax, Matt Doe on trumpet, and The King of Sludge on percussion – form the group Too Many Zooz. The band has reached many fans far and wide with music videos and clips of their live shows emerging on social media outlets, but those short clips don’t do justice to the experience of being in the crowd at their shows.
After kicking off their tour with a Jam Cruise performance, Too Many Zooz returned home to Brooklyn for a packed show at Brooklyn Bowl, and will be hitting The Hollow in Albany this week on Jan. 28, with stops at The Haunt in Ithaca and Buffalo Iron Works on the 29th and 30th, respectively.
We had a chance to speak with Matt Doe about Too Many Zooz,
and he had a lot to say about the band.
Matt Doe, with Too Many Zooz at Brooklyn Bowl, Jan. 24, 2020
Steve Malinski: How was Jam Cruise?
Matt Doe: It was cool, man. I don’t think I’m much of a cruise person to be honest, in the sense of what it is and how it’s formatted. But for what it was I very much enjoyed it
SM: Did you guys have any collaborations?
MD: Yeah, we played with Galactic and Thumpasaurus and a few others.
SM: Going back to the start of Too Many Zooz, how did you guys meet and settle into the style you’re playing now?
MD: We just met in the subway and started playing music.
SM: So, was it totally random?
MD: Well, I went to school with Leo and he met TKOS in a band called the Drumadics, and we got connected with each other after that.
SM: Can you explain a little bit about what brasshouse is?
MD: I don’t really think of music in genres like that, so for me BH is more just about the intent in which you play the music and not necessarily a specific rhythm or sound or harmonic styling. I think a lot of people get put in a position where they feel like they have to tailor to one sort of genre or box and be confined to that box. So brasshouse is more about playing the music you want to play and making it your own. It’s way more about (for me at least) what it is that you’re bringing to it and what your intent is when playing.
SM: Regarding your live shows…how are they different from what people might see on videos on social media?
MD: It depends if they’re watching a video of a live show, or from the subway. I think it’s more of just a question of how live music differentiates from recorded music. There are some obvious differences – on recordings people play shorter songs just because of how that’s formatted. So at shows we open up more. I personally think that our recordings are awesome but live is definitely a different experience.
SM: As a performer, how does the energy of the crowd affect your performance on stage?
MD: You have a crowd in front, not the studio walls. It’s hard to explain, but maybe the crowd gives you some energy to play off of, which you don’t have in the studio. It’s a totally different thing.
SM: How much of your show is structured versus improv?
MD: It very much depends on where we’re playing and who we’re playing for. Generally, I think nowadays, on average, it’s half and half improvised and structured songs.
SM: With social media being popular for musicians, how much do you think Instagram and Twitter has helped you reach new fans, and fans around the world?
MD: Immensely, man. I don’t think we’d be here without it. We’d be somewhere, I’m not saying we wouldn’t be a successful band but there’s something to say about the power of the internet. The benefit of what those things can give you…I wouldn’t credit our success to social media but more to our hard work. But it’s definitely kind of become a part of being an artist today. I see the immediate value for the clout and using it to look cool in using it to promote yourself in certain ways. But…just for daily happiness – the idea of waking up every morning and living my life through a lens….
SM: Do you guys have any new projects in the works?
MD: Yeah, we just put out the Zombies EP which we’re super proud of and I think that’s one of our better projects, if not our best. We have a bunch of other stuff that we’re sitting on. It takes us so long to put music out since we’re on the road all the time and I never get the chance to get to the studio and produce the material. When I do, it’s like six months after the fact. It’s tricky to keep up…it’s tough to make something and say “yeah, this is awesome, this is f*king good, we gotta get this out” and then three months later it’s just sitting on a hard drive and might not see the light of day. So, it’s hard to have a fluid system when you tour as much as we do, especially since we do everything in house. I do the production and we all work on the record in our own way. The only thing we do outside of the three of us is the mixing/mastering.
It’s also a matter of being in different artistic places at different times. We can record six tunes in one style, then we’ll record more tunes a few months later and it sounds totally different. So, then we feel like maybe we should split it into two separate projects released at separate times and not try to force them into one thing. So it’s difficult to get it all out. But yeah, we’re sitting on tons of music and I think we’ll put some of it out in the next few months and more out in the summer. It’s a fluid process every day trying to move forward with it and gain traction.
It’s especially hard, too, when dealing with other artists…we get it because we’re the same way. Everyone’s on tour or working and it’s tough to get everyone in the same room, same studio. Things sometimes happen naturally, but when people are on the road there is a ton of back-and-forth, some discourse on how the tune is going to go. When you’re all in the room together, things can happen very quickly just because you say an idea, I’ll respond to that idea within two seconds and we move forward. Whereas, if I’m doing things remotely, and even in my own personal projects, it’s the same way. I’ve been working on my own album for two and a half years. You send an e-mail with the track, they ask a question two days later, you respond two days later and that one question takes a week to answer. If we’re in the studio that would take ten seconds to answer.
SM: So it sounds like it can a challenge to keep a cohesive focus on a project.
MD: Exactly. Yeah and it’s so much harder without the fluid motion to creativity and thinking. So, that’s a really long answer to a really short question, but yeah we’re working on a bunch of stuff.
SM: For you personally, separate from Too Many Zooz, you were on Saturday Night Live supporting Harry Styles. What was that experience like throughout that day?
MD: It was cool. Harry’s people worked with a friend of mine and he hit me up about it. We had a few rehearsals ahead of time. The day of the show, pretty typical for SNL, we show up around 4:30 for a rehearsal with the artist, then the full rehearsal with everyone. There was also a lot of hurry up and wait. Then around 11:30 there’s the live taping. TV is hard – there is so much that goes into that world aside from the music. So, just like I was saying about our recording process, there are so many moving parts going at once. It was cool to be on the other side of the screen. I grew up watching Chris Farley and Will Farrell. Definitely a bucket list item for me to play there. Harry is the sweetest dude in the world and his team is amazing. Luckily, I was just able to play with some of my best friends and some really wonderful people. I have nothing but great things to say about that entire experience.
SM: Before I let you go, I think you guys have played up in Albany before…
MD: ….Yeah, I think maybe a year ago. We were also at The Haunt in Ithaca and Buffalo Iron Works. To be honest, I sometimes just get in the van and go – I can’t remember the name of the place we played. But I’m looking forward to coming back.
SM: Anything cool in store for this tour? I know you recently hit the road.
MD: Yeah, we’re already on tour, starting on Jamcruise. It’ll be a fun run. We’re taking three months off for the first time in a while. We’ve been a band for almost eight years now… holy crap that’s insane to think about. We’ve pretty much been on tour for the past five years and this will kind of be our first vacation to spend time with families and do some work on our own projects and unwind. It’ll give us a chance to creatively recharge since it’s been a non-stop sprint for a while. Then we’ll be back at it, heading to Europe.
Too Many Zooz is taking the stage at The Hollow in Albany, Tuesday Jan. 28 along with special guest Birocratic. The show starts at 8pm, and tickets are available from the venue and the band’s website here. They’ll also be stopping by The Haunt in Ithaca the following night on Jan. 29 and Buffalo Iron Works on Jan. 30.
Pink Floyd co-founder, Roger Waters, announced via Twitter that he will be embarking on an extensive 2020 North American “This is Not a Drill” Tour. This is the first time Waters will be performing at the Times Union Center in Albany. Updated dates can be found for 2022 below.
“This Is Not A Drill” will play in 31 cities across the U.S. and Canada including two stops in New York. First along the way will be a performance at theTimes Union Center on July 25 in Albany. Waters will then return August 5 to what will most likely be a sold out show atMadison Square Garden.
Waters was the bass player, co-lead vocalist and songwriter in the progressive rock band Pink Floyd. He originally revealed news of the tour during an interview with Rolling Stone in September where he also discussed his upcoming film ‘Us + Them.’
“It’ll be a new show. It will be no-holds-barred,” Roger told Rolling Stone. “My work is to think, ‘Well, how can I make rock & roll more interesting or theatrical or exciting or visual or musical or whatever?’ That’s what I’ve spent the last 50 years doing, expressing myself.”
Roger Waters – Rolling Stone
Roger Waters: This Is Not A Drill – 2022 North American Tour Dates
July 6, 2022 – Pittsburgh, PA, PPG Paints Arena July 8, 2022 – Toronto, ON, Scotiabank Arena July 9, 2022 – Toronto, ON, Scotiabank Arena July 12, 2022 – Boston, MA, TD Garden July 15, 2022 – Montreal, QC, Bell Centre July 17, 2022 – Quebec, QC, Videotron Centre July 20, 2022 – Albany, NY, MVP Arena July 23, 2022 – Detroit, MI, Little Caesars Arena July 26, 2022 – Chicago, IL, United Center July 28, 2022 – Milwaukee, WI, Fiserv Forum July 30, 2022 – Minneapolis, MN, Target Center August 2, 2022 – Cincinnati, OH, Heritage Bank Center August 5, 2022 – Philadelphia, PA, Wells Fargo Center August 6, 2022 – Philadelphia, PA, Wells Fargo Center August 10, 2022* – Columbus, OH, Nationwide Arena August 13, 2022 – Elmont, NY, UBS Arena at Belmont Park August 16, 2022 – Washington, D.C., Capital One Arena August 18, 2022 – Raleigh, NC, PNC Arena August 20, 2022 – Atlanta, GA, State Farm Arena August 23, 2022 – Miami, FL, FTX Arena August 25, 2022 – Orlando, FL, Amway Center August 27, 2022 – Nashville, TN, Bridgestone Arena August 30, 2022 – New York, NY, Madison Square Garden August 31, 2022 – New York, NY, Madison Square Garden September 3, 2022 – Kansas City, MO, T-Mobile Center September 6, 2022 – Denver, CO, Ball Arena September 8, 2022 – Salt Lake City, UT, Vivint Arena September 10, 2022 – Portland, OR, Moda Center September 13, 2022 – Edmonton, AB, Rogers Place September 15, 2022 – Vancouver, BC, Rogers Arena September 17, 2022 – Tacoma, WA, Tacoma Dome September 20, 2022 – Sacramento, CA, Golden 1 Center September 23, 2022 – San Francisco, CA, Chase Center September 24, 2022 – San Francisco, CA, Chase Center September 27, 2022 – Los Angeles, CA, Crypto.com Arena September 28, 2022 – Los Angeles, CA, Crypto.com Arena October 1, 2022 – Las Vegas, NV, T-Mobile Arena October 3, 2022* – Glendale, AZ, Gila River Arena October 6, 2022* – Austin, TX, Moody Center October 8, 2022 – Dallas, TX, American Airlines Center
UK psych rockers, Temples, released their third LP, Hot Motion, back in September 2019, and the tour hit Webster Hall this past Tuesday, January 21. This was technically a make-up date from November, since the band previously expanded and reorganized the tour.
Support came from Canadian based singer Art d’Ecco. The glam-punk rocker commanded the stage with a dominating presence and delivered upbeat, Bowie-tinged punk rock grooves.
Temples’ new LP sees them refining their distinctive indie psych-rock sound, culminating in a very consistent addition to their catalog. This consistency was put on full display with the first three songs of the night: “The Howl” from Hot Motion, followed by hit “Certainty” from 2017’s Volcano, then a deep cut from their debut Sun Structures, “A Question Isn’t Answered.” This career-spanning intro highlighted the band’s ability to stay true to their sound while still making three very distinct songs.
Temples are another one of those bands that attracts a dedicated following. Webster Hall was packed with fans singing and dancing along to every song, and the band was more than happy to feed off that energy. They effortlessly breezed through their songs, ending the main set with fan favorite, and hit “Shelter Song” from Sun Structures.
Temples continue their tour of North America into February, followed by dates in France and Australia from March to April. Art d’Ecco will continue to open for Temples on the North America trek.
Setlist: The Howl, Certainty, A Question Isn’t Answered, You’re Either On Something, Colours to Life, Holy Horses, The Golden Throne, On the Saviour, Hot Motion, The Beam, Context, Keep in the Dark, Atomise, Shelter Song.
Last Friday, at midnight, Umphrey’s McGee fans raced over from Hell’s Kitchen after the band’s first night at the Beacon theater ended. As they descended into the underground club-room of Sony Hall, they waited for the bassist, Ryan Stasik, to make his way down to Times Square and bring out his late night masterpiece of a band, Doom Flamingo
This band has really been making a splash in the last year, charging headfirst into late night rallying fans’ hearts with a heavy 80’s-synth powerhouse of fury that keeps everyone coming back for more. They began the night with an original fan favorite “F-16” and quickly went into one of their incredible covers, David Bowie’s “Afraid of Americans.” This group really creates their own versions of the covers they choose, always picking an unexpected song.
Singer, and general badass, Kanika Moore sported what can only be described as a Doom Ballerina outfit. She also carries an incredible set of pipes and was really belting out her lyrics into the crowd. Their single set ran on deep into the morning until their triumphant finish, another single>cover showdown of their own “Runaway” and their amazing cover of Chris Isaak’s “Wicked Game.”
You can catch Doom Flamingo a few times this winter down in their home area of the Carolinas before they head to Sweetwater 420 fest, and to New Orleans for a post-Jazz Fest late night set. You’ll also be able to see them at a few festivals this summer like Summer Camp and Floydfest. And don’t be surprised to find that a few other festivals are “Doomed” before long. If you have any chance to see them this year, or ever, you are strongly suggested to do so.
Set: Replicant, F-16, Afraid of Americans, Somebody, Telepathy w/ Jam, Delorean, Blade Theme, Harvest Moon, Need To Feed, Love on Hold,
Encore: Wicked Game, Runaway
Photos by Zatchmo Lives Media, Follow on Facebook and Instagram
On Sunday, Umphrey’s McGee closed out a three-night NYC weekend on their winter tour with an intimate show at Brooklyn Bowl. The jam veterans treated loyal fans to two sets filled with covers, rare originals and new music. The Sunday closer was a change of venue, but the intimate atmosphere of Brooklyn Bowl proved to be the key ingredient in a night where the entire band felt comfortable and dialed in to the show and their fans.
The first set began with “Looks” and continued with “The Fussy Dutchman” which included a “YYZ” tease that continued the themed tribute to Rush and the late Neil Peart for the entire weekend run. The first set concluded with a “Miss Tinkle’s Overture” that segued into the band’s original take on LCD Soundsystem’s “Tribulations,” debuted for the first time during the recent New Year’s run, before returning back to “Miss Tinkle’s Overture,” closing out a fantastic first set.
After a short set break, the band came back with the rare opener “Front Porch,” rewarding a die-hard fan who has been chasing that track for a few tours. The 30+ minute opening track was the highlight of the night, showing off the prowess of the veteran rockers. The set continued with fan favorites “40’s Theme,” “Gulf Stream,” and “The Floor.” But it was the debut performance of “Suxity,” a brand-new song, that closed out an amazing show and was proof that 2020 will be a good one for Umphrey’s Mcgee.
Set 1: Looks, The Fussy Dutchman, Maybe Someday > Got Your Milk (Right Here) > Walletsworth, Domino Theory, Miss Tinkle’s Overture -> Tribulations > Miss Tinkle’s Overture
Set 2: Front Porch > Resolution > Front Porch, 40’s Theme, Miami Virtue -> Out Of Order > Gulf Stream, The Floor
