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
The Capital Region’s OmniZen Studios has announced a brand new album from founder Shane Morris. Dubbed Memories of Life, an album release party is set to occur at the historic remodeled Madison Theatre in Albany. The show is free with the purchase of food on October 24 from 6 p.m. to 9 p.m. Joining Morris will be Capital Region songwriter Corry Loveday.
Memories of Life is Morris’s first album in nine years. Previously he had released Waves of Inspiration in 2011 while a student at the College of Saint Rose in Albany. Since graduation numerous musical ventures have taken place for Morris including the formation of OmniZen Studios in 2017. NYS Music spoke with Shane Morris on how life has changed for OmniZen particularly during the pandemic.
Jessica Sherman: What pulled on you to create music?
Shane Morris: The thing that really got me into music was the guitar. A childhood friend and I would listen to his mother play the guitar. So one day I told my mom that I really wanted a guitar for my birthday. They got me guitar lessons from a music shop in Walden, NY and off we went.
In two years I went through two guitar teachers with the latter turning into a future jam buddy. Then I started singing in choir during middle and high school. Through conversations with my choir director I realized that having a career as a musician was plausible.
Now I own OmniZen Studios with a Latin Grammy nomination under the name, thanks to work completed with Alex Torres y Su Orchestra in 2018.
JS: What drove you to record the album?
SM:The inspiration for this album actually came from the feelings and experiences I had during COVID-19. Specifically, during this time I actually fostered a new friendship. Six of the songs on this album are based on this friendhsip. I also chose to re-release a few of my older songs from my previous album, ‘Waves of Inspiration’. This album came out after my graduation from The College of Saint Rose in 2011.
JS: How do you think the pandemic has affected the music industry specifically?
SM: I think COVID has impacted the music industry in, honestly, one of the worst ways imaginable. My business has taken an approximate revenue loss of about 50% during this time period when compared to last year. It put me in a few really uncomfortable positions, and I’ve had to make some tough choices along the way. Usually during the summer months I’m out doing live sound reinforcement for festivals and shows while my other employees produce music back at the studio. With COVID, that side of my business basically doesn’t exist.
For example, it took OmniZen Studios three venue changes just to put on a fundraiser for my friends whose house burned down in June. The two venues I was considering in Albany for the fundraiser eventually just ran into too much red tape to host my event, and I came to the decision that the best place for it would be Stable Gate Farm and Winery in Schodack, NY.
JS: Any dream collaborations in the future?
SM: I’m always very open on who I collaborate with! It’s actually part of my musical philosophy that music is part of the human spirit, and it helps us all to connect to each other. I love to host jam sessions in my space and make music with whoever is really interested in what we’re doing. One of the main focuses of OmniZen from its inception was to bring an open forum and space to the musical community where lower income artists can come together and help raise up and promote the entire Capital Region music scene.
Some of my favorite collaborations include a roots/reggae album produced for Joseph Fleuriot, also known as Papa Joe, and most recently, my re-recorded version of “I’ll Be There Soon”, featuring the super talented Stephanie Gettys on backup vocals, which is also included on ‘Memories of Life’. In the future, I really hope to collaborate with some of the up and coming hip hop artists such as area native Freedom Stratton, who recently released his album titled The Future.
OmniZen Studios Jam Session
JS: What does the future hold for OmniZen and Shane Morris?
SM: That is really an open ended question at this point. COVID has brought me to a point where I’m currently re-organizing the way my business operates to make sure it’s still profitable in the future, which involves taking on more remote and voice over type work.
Also, I’m currently enrolled in a certificate program with the NYU Clive Davis Center for Recorded Music. After that is complete, I’m planning on applying to masters degree programs. I might even end up on the west coast in the next year or so. Of course, OmniZen will still exist in some capacity.
On Oct. 20, U.S. Senators Ron Wyden and Jeff Merkley co-sponsored a brand new inclusive package that, if approved by the House and Senate, will provide more that $370 billion to small businesses and music venues in Oregon and nationwide that were most affected by the pandemic.
Live concert pre-pandemic
The Heros Small Business Lifeline Act is an off shoot of the Paycheck Protection Plan, which gave small businesses loan forgiveness and grants at the start of the pandemic. Heros 2.0 essentially would extend those programs and give more help to those businesses in need.
This legislation would provide an urgently needed lifeline for thousands of small businesses struggling to keep their doors open and to employ Oregonians who want very much to earn a paycheck.
Senator Ron Wyden
For the National Independent Venue Association, this bill needs to be passed so that venues can get the relief they need since they were of the businesses that were hit the hardest.
Last month, the House passed the Save Our Stages Act. This was a huge accomplishment for NIVA in that the SOS authorizes the Small Business Administration to makes grants eligible to live venue operations and other music industry workers. They now need to go a few steps further in the Senate in order for music venues to keep their doors open.
This is urgent. Our members cannot wait any longer for emergency relief. Once independent venues go under, they do not come back. We respectfully implore our elected officials to come together and Save Our Stages.
NIVA
As of today, 95% of music industry workers have been furloughed and are still not operating. NIVA urges Congress to move forward with HEROS 2.0.
A 2,000 mile border wide concert is being planned amid the upcoming 2020 election. The event “Rock The Border, Stop The Wall.” Over 30 musicians, activists, and artists, will perform in a CO-VID-safe online concert. The concert will take place on Friday, October 23rd at 5PM CST/6PM ET in the bordering states of California, New Mexico, Texas, and Arizona.
Tension at the southern U.S. border has peaked in the past few years, due to U.S. immigration policy. To downplay and unite in spite of all the controversy, musicians gathered togther in high spirits to perform and play music. “Fandango At The Wall” was a film centered on gathering musicians on both sides of the Tijuana-San Diego border. Musicians played big band jazz arrangements and enjoyed the harmonious music on both sides of the border. Another border-related concert is coming soon, although it’s not exactly a film.
The event aims to motivate young latinos for the upcoming election and aid efforts in stopping the controversial border wall project. The event is a 2,000 mile border-wide concert and it will be hosted by the “#No Border Wall Coalition” in Laredo. Formed in February 2019, The #No Border Wall Coalition is a network of community members, artists and activists who oppose the border wall. With this upcoming election, the youth latino vote may be crucial to the final results.
The number of Gen Z latinos likely voting for the first time may surpass numbers from the 2016 election. Adrian Quesada of the “Black Pumas” says “The time is now to make our voices heard against injustice, oppression, division and hatred. Joining together to stop the border wall is the first step, and voting is more important than ever to head in the right direction.”
The concert has garnered plenty of support from artists. “The border wall is the physical manifestation of everything we have to mobilize against in this election: hate, fear, xenophobia and division,” guitarman Beto Martinez says. “This concert is a show of solidarity and a statement of hope against all those things that would divide us.” In addition to being a performer, Martinez is also the creative organizer of the event.
The concert will be at 5PM CST/6PM EST. The full line up of the event includes the Black Pumas, Aloe Blacc & Maya Jupiter, Ozomatli, La Santa Cecilia, Grupo Fantasma, Gina Chavez, Making Movies, Trans-Border Orchestra (Orkestra Mendoza + Mexican Institute of Sound), Anais Mitchel & the Cast of Hadestown, Las Cafeteras, Superfónicos, XIXA, B Side Players, Amalia Mondragon, Tiarra Girls, Bidi Bidi Banda, Radio La Chusma, Nosotros, Nohe y Sus Santos, Native Creed, Esther Martinez, Papaya Con Chile, Baracutanga and Rizu X.
For more information on “Rock The Border Stop The Wall” the organization has a website along with a Facebook and Instagram page. Navigate through the details of the organization, their mission statement, and relevant news.
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.
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
On October 16, indie-rock band El Modernist released their newest single, ‘Evolution,’ proudly played as an LGBTQ+ Fight Song. All proceeds from the track will be donated directly to The Trevor Project, an organization dedicated to providing crisis intervention and counseling to America’s LGBTQ+ youth.
Both Elton John and Freddie Mercury were able to be successful, even with the stigma that came with being queer. They were able to lay a path for future queer artists. More recently, Lil Was X, Frank Ocean, Tyler the Creator, and many others have taken what Elton and Freddie gave them and ran. In today’s time of social upheaval, more and more queer artists are fighting for the rights they deserve.
According to their lead singer, Will Freddette, “This is an anthem for the queer artists that have been contributing and pushing the boundaries of art since the beginning of time, while more often than not having to hide their true selves while doing so.”
El Modernist deliver a new take on the world of indie-rock, notably with ‘Evolution.” The band combines upbeat, catchy garage-rock with a modern alternative hip-hop sound. They are a very high-energy group, and bring that to their performances, resonating with fans of all ages.
All members come from diverse musical backgrounds and find great joy in blending various influences. This allows them to create something entirely new and entirely their own. Featuring a concoction of acoustic and electronic drums with screaming guitar riffs, every El Modernist show is a party that you do not want to miss.
El Modernist, founded in 2018, is based out of Albany and have played various venues in the Capital District. Additionally, they help to curate the “We Are Albany NY” Spotify playlist which features music from any and all Albany-based who wish to be a part of it.
The single will be released on all streaming platforms on Friday, October 26.
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.
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.”
