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Halloween Flashback: Raven, Liege Lord and Never More perform at L’Amour in Brooklyn in 1986

New Wave of British Heavy Metal band Raven were no strangers to playing Halloween shows in the New York City area – their first American gig ever had been just over 4 years to the day, October 30, 1982, when they opened for Riot and Anvil in Staten Island at the ‘Halloween Headbangers’ Ball.’

Raven hail from Newcastle, in England, and their first three albums – Rock Until You Drop (1981), Wiped Out (1982) and All For One (1983) – still stand as ahead-of-their-timel classics, raw, fast real metal records, all hailed being massively influential to the thrash metal scene in the later 80s.

The band – made up of brothers John and Mark Gallagher on bass/vocals and guitar, and hockey-helmeted Rob ‘Wacko’ Hunter on drums – had also made significant headway in the USA in the early/mid-80s, first with a New York/New Jersey-area late 1982 tour with Anvil, and then the legendary ‘Kill Em All For One’ US tour in 1983, where the band had crossed the States with opening band Metallica, bringing underground metal to all corners of America.

By the time of their 1984 ‘Live at the Inferno’ US tour (with New York’s own Anthrax as support band), the band were signed to legendary NY/NJ metal indie label Megaforce Records, and big enough to sell out Roseland Ballroom in Manhattan, where they headlined in August 1984 with Metallica and Anthrax opening – a show which resulted in Raven (by this time New York State residents, living in Cortland, NY) being signed to major label Atlantic Records.

John & Mark Gallagher – photo by George Putt

Opinions differ on whether the band’s Atlantic Records output advanced their career, or damaged it. The 1985 album, ‘Stay Hard’, certainly raised the band’s profile outside the metal underground, especially via the MTV video for the single “On & On”, but their hardcore metal demographic scoffed at the less-thrashing sound of Stay Hard, and the rear-cover photo of the band looking more airbrushed and cleaned-up, as opposed to their more street-level, rough-hewn image of yore.

Their underground credibility was further damaged by the early 1986 LP The Pack Is Back, on which producer Eddie Kramer gave them a more slick, polished sound, and the band dabbled with guitar synths and a more commercial sound. The band’s slicker sound on TBIB, combined with a frankly ill-advised album cover, featuring the costumed band bursting out of sports lockers, damaged their standing with the growing thrash metal audience, yet was still too heavy to appeal to the Ratt and Motley Crue demographic.

Raven bassist/vocalist John Gallagher – photo by Sean McFerran

In Summer 1986 the band righted the ship with the ‘Raven Mad’ EP, a welcome, raw return to form after the woefully overproduced and unusually weak The Pack is Back LP. This Halloween 1986 gig was the final date of the ‘Mad’ tour, after which they went upstate to make follow-up album Life’s A Bitch.

First band Never More did not impress: strange, horror-themed costumes and warbling vocals, terrible stuff. Second band Liege Lord were much better, Iron Maiden-stye metal, fast and powerful.

Raven guitarist Mark Gallagher – photo by Sean McFerran

Raven, however, were on total form this night and erased any concerns that the TPIB record had changed their high-intensity metal assault. L’Amour was pretty packed, and the set-list was fantastic – the band hit the stage with the All For One-era classic “Hung, Drawn & Quartered”, high-speed and raging, straight into the then-recent “Stay Hard,” heaver live than he recorded version. The set featured more stuff (5 songs) from the great ‘All For One’ than any other album, three tunes each from ‘Mad’ and ‘Rock Until You Drop’ (including the classic 1980 debut 7” single “I Don’t Need Your Money”), a couple from “Stay Hard” (the title track and the “hit”, “On & On”) and only one from The Pack Is Back: “Young Blood” which sounded much heavier live than on the record.

The only album they skipped was ‘Wiped Out,’ which is the only remotely negative thing I can say about this amazing show. Early in the gig John Gallagher’s wireless mike packed it in, and he played most of the show singing at a mike stand, which gave it a cool ‘early Raven’ vibe. The encore included a cover of the Status Quo song “Big Fat Mama” which, because we are in America, almost no one recognized, and they finished with the classic “Hell Patrol” from the first LP, with the band virtually destroying the stage at the end, Wacko tearing his drum set to pieces, and John Gallagher hanging over the crowd from ceiling pipes. Truly, the band erased any fears that The Pack Is Back had turned them into lightweights. A tremendous show.

Mark Gallagher on the floor – photo by George Putt

Three and a half decades later, the band is still going strong, with a new drummer and a killer 2020 album, Metal City. All hail Raven!

Raven at L’Amour, Brooklyn, NY, October 31, 1986

Setlist: Hung, Drawn & Quartered/Stay Hard/Gimme Just A Little/All For One/Young Blood/Mark Gallagher Solo/Speed Of The Reflex/I Don’t Need Your Money/Rock Until You Drop/John Gallagher solo/On & On/Seek & Destroy/Break The Chain/Mind Over Metal. Encores: Do or Die [w/ drum solo]/Big Fat Mama/Hell Patrol.

October 31, 2020
Peakin’ at the Beacon with Trey: Week Four Recap

The anticipation leading up to the fourth week of Trey Anastasio’s Beacon Jams was at an all-time high as there was a palpable energy among fans online. Last week Trey Anastasio rearranged a beautiful rendition of “What’s The Use?” with the Rescue Squad string section and debuted “The Lizards” with TAB, proving that each installment of his virtual residency is not one to be missed.

photo by Jake Silco

Trey kept that momentum in full swing this week and treated fans to another surprise intro. Earlier this summer Page McConnell and Trey recorded a few songs at Trey’s infamous barn in Vermont. Last week the duo shared a recording of Sigma Oasis’ “Evening Song” as well as a personal message from Page congratulating Trey on the success of his residency thus far and especially the newly founded non-profit The Divided Sky Fund, which focuses on delivering quality care and compassionate treatment for those struggling from addiction. This week fans were treated to a recording of Trey and Page playing a tender stripped-down version of “Waste” at the barn before the broadcast.

One of Trey’s many talents outside of playing music is his robust sense of humor and keen sense of the evolving culture among Phish fans. Before the music started, a video showed Trey alone inside an abandoned Madison Square Garden stuck on the same platform suspended in air from the 2019 New Year’s Eve stunt.

Trey played his best Tom Hanks in Cast Away and as he lowered himself to the floor of the arena and started walking around. Trey found himself outside of section 119’s famous spicy chicken sandwiches and holding a plastic bag over his arm recreating a viral candid shot took by a fan of him inside a juice bar (Trey also recreated this exact scene on Halloween 2017 in Las Vegas with TAB). A barefoot Anastasio with long hair and a long beard, wearing his green jumpsuit from NYE, proceeded to walk from MSG to the Beacon where he sat in the audience as the camera panned to live time and the band was on stage.

The band opened up with an instrumental jam based on John Murphy’s “In The House – In A Heartbeat” from the horror film 28 Days Later before moving into “Say It To Me S.A.N.T.O.S.” There were several highlights from this week of the Beacon Jams including a stellar version of “Gumbo,” the first “Quantegy” since May of 2005, and a rousing two-song punch of “My Friend, My Friend” > “Guyute” with the Rescue Squad strings and pianist Jeff Tanski. At the end of “Guyute,” Trey also recited Vincent Price’s narration from Michal Jackson’s “Thriller” since this was the eve before Halloween.

The conclusion of the fourth week of Trey’s virtual residency marks half way through the run and an astonishing 75 total songs played thus far without a single repeat. The energy, thoughtfulness, precision on stage, playful chemistry, and choice song selection makes this run eerily similar to Phish’s iconic Baker’s Dozen residency at Madison Square Garden in 2017. Fans are encouraged to donate to The Divided Sky Fund if they can. Trey and company will continue the Beacon Jams next Friday on his personal Twitch channel.

photo by Jake Silco

Trey Anastasio, Beacon Theatre, October 30, 2020

Setlist via Phish.net

In the House – In a Heartbeat [1] -> Say It To Me S.A.N.T.O.S., Quantegy, Snowflakes in the Sand [2], Mountains in the Mist[2], Heavy Things > Breath and Burning [3], Gumbo [4] > Lonely Trip [5], Pigtail, My Problem Right There, Till We Meet Again [6], My Friend, My Friend [7], Guyute [8], More[6], Frost [9], Alaska, Bounce > Bug > Architect

[1] TAB debut.
[2] Trey solo acoustic.
[3] Full TAB debut. Lyrics changed to “rage on the Beacon stage.”
[4] Full TAB debut.
[5] Debut.
[6] Just Trey on acoustic guitar and the Rescue Squad Strings.
[7] Just Trey on acoustic guitar and the Rescue Squad Strings and Jeff Tanski on piano. No “MYFE” ending.
[8] Just Trey on acoustic guitar and the Rescue Squad Strings and Jeff Tanski on piano. Trey quoted some of Vincent Price’s lines from Thriller.
[9] With The Rescue Squad Strings.

This performance was part of The Beacon Jams series and began with a video of Trey finally escaping from his riser from Phish’s December 31, 2019 concert at Madison Square Garden and making it to the Beacon Theater to watch the himself and his band playing the TAB debut of In the House – In a Heartbeat before they segued into Say It To Me SA.N.T.O.S. This show marked the full TAB debuts of Breath and Burning and Gumbo and the debut of Lonely Trip. Ray teased Happy Birthday after wishing his mother a happy birthday. Quantegy was performed for the first time since May 3, 2005. Trey performed Snowflakes in the Sand and Mountains in the Mist solo acoustic. The lyrics of Breath and Burning were changed to “rage on the Beacon stage.” Trey quoted If I Had A Hammer (The Hammer Song) after Pigtail. Til We Meet Again through Frost were performed with The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello) and with Til We Meet Again and More featuring just Trey on acoustic guitar and My Friend My Friend and Guyute just Trey on acoustic guitar and Jeff Tanski on piano. My Friend My Friend did not contain the “MYFE” ending. Guyute included Trey quoting some of Vincent Price’s lines from Thriller.

October 31, 2020
Harlem Renaissance: Ethel Waters Breaking Barriers

Ethel Waters was born on October 31, 1896 in Chester, Pennsylvania. She was raised in poverty by her grandmother as well as two aunts and an uncle. When asked about her childhood, Waters once said “I never was a child. I never was cuddled, or liked, or understood by my family.” On her 17th birthday, she attended a costume party and sang two songs. Her performance impressed the audience so much that someone immediately offered her a job in Baltimore.

Baltimore

When offered the job at the Lincoln Theatre in Baltimore, she received $10 per week, nearly double what she was making before. Even with her success, she fell on hard times and joined a carnival of freight cars going to Chicago. Soon after, she headed to Atlanta where she worked at the same club as Bessie Smith. Smith demanded that Waters not compete with blues songs, and Waters agreed to sing ballads and popular songs.

Harlem

Waters moved to Harlem in 1919, getting her first job at Edmond’s Cellar, a club that specialized in popular ballads. When she arrived in Harlem, female blues singers were becoming more and more powerful. She became the fifth black woman to make a record, originally joining Cardinal Records, but later switched to Black Swan.

At Black Swan, she was accompanied by Fletcher Henderson. Over the next two years, Waters became the highest paid black recording artist at the time. In 1924, Paramount bought Black Swan and Waters stayed for the year.

https://www.youtube.com/watch?v=tJBI2E_6lFA

She switched to Columbia in 1925 and began working with Pearl Wright. She continued touring, joining with Earl Dancer in what was colloquially called “white time,” the Keith Vaudeville Circuit, performing for white audiences. In Chicago, they earned an unheard of $1,250. Later, in 1926, Waters recorded “I’m Coming Virginia” which was a hit partially due to her performing it on Broadway. In 1929, Waters and Wright arranged “Am I Blue?” which became a hit and later her signature song.

Film, Theater, and Television

In 1933, Waters appeared in a satirical all-Black film, “Rufus Jones for President”, featuring future star Sammy Davis Jr.. She went on to star at the Cotton Club. Later that year, she stared in the successful Broadway musical, “As Thousands Cheer”.

Waters held three jobs: in “As Thousands Cheer”, as a singer for Jack Denny & His Orchestra on a national radio program, and in nightclubs. Due to these three jobs, she became the highest-paid performer on Broadway. Even with her success she still had difficulty finding work.

Waters moved to Los Angeles in 1942 to appear in “Cairo”. That same year, she starred in “Cabin in the Sky”. In the latter, Waters sang the Academy Award nominated “Happiness is Just a Thing Called Joe”.

In 1939 Waters became the first African American to star in her own television show, The Ethel Waters Show, a 15-minute variety special. She was nominated for an Academy Award for Best Supporting Actress for the film “Pinky”.

In 1950, Waters won the New York Drama Critics Circle Award for her performance in “The Member of the Wedding”. Later that year, she became the first Black actress to star in a television series with “Beulah”.

Awards and Accomplishments

Her recording of “Stormy Weather” was listed in the National Recording Registry in 2003. She became a member of the Gospel Music Hall of Fame (1983). In 2004, she received a star on the Hollywood Walk of Fame. Additionally, three of her recordings have been inducted into the Grammy Hall of Fame: “Dinah” (1998), “Stormy Weather” (2003), and “Am I Blue?” (2007).

https://www.youtube.com/watch?v=_QbeNSatFFo

October 31, 2020
Flashback: 311 Plays Special Halloween Show for the Long Island Excitable Ones
On October 31, 2017, reggae rock band 311 treated their Long Island fans to a special Halloween show at The Paramount in Huntington. They really took the spirit of Halloween seriously with vocalist/turntablist SA Martinez, bassist P-Nut, lead guitarist Tim Mahoney, drummer Chad Sexton and lead vocalist and guitarist Nick Hexum taking the stage in full costume. The event was presented by Long Island radio station 94.3 The Shark. Fellow rap rockers Shinobi Ninja opened the show and were also dressed in costumes.

I have been to many, many 311 shows, but I would say this show in particular had the best old school setlist. Of course it made perfect sense that they opened the show with “Jackolantern’s Weather.” They even pulled some of their more popular songs like “Amber” and “Come Original” and replaced them with deeper cuts for their hardcore fans such as “Visit,” “Unity” and “Hive.”

They also added “Gap” that was featured on their 1996 Enlarged to Show Detail EP. It seems to me whenever the guys come to Long Island they really make an effort to tear the roof off the venue. Growing up the Island I can tell you they have a huge loyal fan base here and they definitely know it.

The set was two-and-a-half hours long and even included some bits of spooky Halloween themed music such as the theme song of Stranger Things and “This is Halloween” from The Nightmare Before Christmas. You can tell they guys were really enjoying themselves as they covered songs from almost every album from Music to Mosaic. The set ended with two more old school songs “Who’s Got the Herb” which I think they have to play at every Long Island show and “F— the Bull—-” which is the best show closing songs ever written.

As part of their 30th anniversary tour, the band was scheduled to co-headline a North American tour with Incubus in the summer of 2020, but it was cancelled because of the Covid 19 pandemic.

Setlist: Transistor Intro, Jackolantern’s Weather, Galaxy, Flowing, Gap, Extension, Light Years, Sick Tight, Visit, Bass Solo, One and the Same, Hive, Inner Light Spectrum, Wildfire, Rock On, Applied Science, Hey Yo, Lose, Transistor, Use of Time, Unity, Hydroponic, Feels So Good

Encore: Livin and Rockin, Who’s Got the Herb, Fuck the Bullshit
October 31, 2020
Trampoline Jetstream’s “Jerry” was worth the wait

Utica band Trampoline Jetstream just released their latest single, “Jerry,” which has been in the works since 2018.

The four person indie rock band began to record “Jerry” in Utica two years ago. Before they could finish, vocalist Nick Vanderwood suffered an injury that left him unable to sing. The band put the project on hold until February 2020, just before the COVID epidemic put everything on pause. Trampoline Jetstream had finished recording, but had to delay production and gigs further.

The band joked that the album was cursed. “At one point we almost abandoned the project completely to begin writing a new album,” said drummer Adam Manion. “In the end, we felt too strongly about these songs and decided to release them as an EP.”

It’s no shock that Trampoline Jetstream couldn’t abandon the project – the songs are incredibly personal. “These songs really are about figuring out your place in the world and wishing you could rewind yourself,” said guitarist Alex Verbickas. This feeling is present in “Jerry,” which “was inspired by a feeling of nostalgia and longing for youthful memories that have passed while also growing older” noted on the band’s SoundCloud. The indie band draws inspiration from different genres but pulls it all together with solid guitar and lyrics. With their varied style, even their instrumentals have the same nostalgic quality that their lyrics speak about.

Fans are glad the band didn’t abandon “Jerry,” too. Audiences loved it so much that the band changed their name to the track’s first title, “Trampoline Jetstream.” Now, years later, those audiences along with the rest of the world can listen to “Jerry” and the other tracks to come.

The full EP, Jerry, will also feature “I Confide” and “Rewind/Barney’s Quadrant.” The band will follow it with a companion EP released early 2021. Stream “Jerry” and Trampoline Jetstream’s other music now on SoundCloud and Spotify. Follow the band on Instagram and Facebook so you don’t miss any updates on their new releases!

October 30, 2020
Skyloft in Crossgates Mall Falls Victim to Music Industry Shutdown

Skyloft, which opened in early 2019 in at Crossgates Mall near Albany, has closed permanently. Announcements were made via the establishment’s social media.

With rising “concerns and restrictions brought forth by the COVID-19 pandemic” it left the operators no choice but to close according to the post.

The statement from operators on Facebook said:

“Although endings are bittersweet, we are forever grateful for the support we have enjoyed since opening our doors. Our mission was to reignite musical tastes across the vast genre spectrum, and provide a full scale home for the area’s live music community. We were welcomed with open arms, and for that we thank each and every one of you. Without our patrons, our artists, and our staff, we would not have been able to accomplish our goals, and we wish to acknowledge our deepest appreciation for all three.
What comes next, we do not know. Rest assured the beat will play on and in some capacity or another and we will meet again on a dance floor somewhere soon. Until then, be excellent to each other, to yourselves, be safe, and party on.”

Since March the pandemic has forced the closures of venues nationwide in attempts to control the spread of the virus. The sudden end to business threatened a number of the region’s entertainment businesses, which were forced to furlough or lay off an unknown number of employees.

Skyloft opened in April 2019, offering a menu that featured barbecue food and a space for concerts with a capacity of 600-800 people.It was the second venue of its type to open at Crossgates Mall. Lucky Strike Social, the large bowling alley, concert venue and bar and grill that opened in 2016, closed just months after Skyloft opened.

October 30, 2020
Charley Orlando Writes a Simple and Honest “Note to Self”

My extended family have tried to sell me on Bob Dylan’s music for years. Although it took them all my life, I’ve come to appreciate Dylan’s influence. The Folk and Americana genres have certainly grown on me. And I’m not the only one. Many folks listen to and play folk music. Need another example? Look no further than Charley Orlando — who is prepared to launch a new album, called Note to Self.

Photo by Ian LaRochelle

The new/old wave of Folk Music

It seems like just a few years ago, only independent artists exposed themselves as folk lyrics require. But recently, Top 40 artists such as Post Malone and Taylor Swift have both released charting records with folk backbone. As such, folk music has a lot of new listeners from the Millennial and Zoomer generations.

Looking at the music industry in terms of trends like this, Orlando could not have picked a better moment to release his new songs.

Who is Charley Orlando?

Orlando’s career spans 30 years with jam band Dexter Grove on his resume. But instead of a group with multiple instruments, Note to Self contains acoustic guitar and raw vocals almost exclusively.

But this doesn’t make the project any less ambitious. Note appears with visual aid with Orlando performing each song at various locations. And Orlando is an ambitious person with a cult following. Note holds a spot in a lineup of over fifteen releases, and it’s of course hard to say where this one falls. But it doesn’t matter. The album is accessible to those hearing Orlando for the first time.

Starting From the Bottom…

Like many of Dylan’s songs, you can pretty much start anywhere and you’ll eventually hear the right track. Both Orlando and Dylan’s lyrics make me think, “yeah, that is a good idea. He’s totally right.”

They say, “Less is more.”

The thing that draws me to this album is that unlike many albums of this year, Charley relies on few, if any, sound effects or ProTools plugins. While I do emphatically enjoy a good polished sugar pop album — such as the aforementioned Swift or Post — there is something wonderfully real about an acoustic guitar and a voice coming from a backyard or by a lake.

And it is real. Orlando convinces the listener of his true emotions in this effort while making larger statements about the world in 2020. Orlando leaves a positive impression while also asking relevant questions.

Another thing I find so accessible about this album is that — especially due to the visual element — Charley seems like a person that you could have a jam session with on your back porch, not the impossibly busy celebrity persona that surrounds many musicians. It is likely for this reason that Orlando has built himself a steady listener base without the aid of major labels or big advertisement.

That realness on Note to Self the exact same thing I enjoy so much about the Bob Dylan songs I’ve heard so far. And I don’t have to say much more about it, because good art sells itself.

Note to Self is available October 30th 2020 on all major streaming services.

Key tracks: Note to Self, Torch, All It Can Be

October 30, 2020
Small Music Venues Get Relief from Nonprofit Live Music Society
After months of being shut down and struggling to make ends meet, small business music venues will, finally, get the help they’ve been asking for. Live Music Society, a new nonprofit organization, announced their launch of relief efforts for the industry.

Caffe Lena in Saratoga Springs, NY.

The Society’s first phase is getting monetary grants to 20 small venues around the country. For the first two years of their operation, they promise to give $2 million in grant money to the live music industry.

The Society’s relief program has a broader approach to ensure small venues will get their aid. The Live Music Society Grants will supply philanthropic aid to music venues that have been in operation for three years or more with a sellable capacity of 250 occupants or less, with maximum one-year individual grants ranging from $10,000 to $50,000.

Across 14 states, the Society’s first grant recipients are known for their community engagement. Caffe Lena in Saratoga Springs is a quaint venue, with a mere 110 seats. This compact concert hall hosted an array of artists throughout the years, most notably, Bob Dylan. Other venues in New York State receiving grants are The Bowery Electric in Manhattan and Levon Helm Studios in Woodstock.

Music is magic. It has tremendous power to connect people and create energy. There are small venues around the country that create soul-filling experiences for their audiences, staff, and for the local and touring musicians that play there. These clubs are a precious and important part of our nation’s music ecosystem, and our goal is to help them continue to be excellent at what they do.
Founder and Board Chairman of Live Music Society Pete Muller

Muller is a singer-songwriter and a champion of music education. He helped in the saving of New York’s Power House Studios along with Berkley College of Music in Boston and the NYC Mayor’s Office of media and entertainment.

As the pandemic soared around the world, live music was put to an abrupt halt, leaving thousands of industry workers jobless.

The National Independent Venue Association pushed hard for economic relief. They were able to get Congress to pass the Save Our Stages Act, which allowed the Small Business Association to give grants and loans to venues, but it only extends to December of this year and there are limitations.

During such trying times, the society’s hope is to keep struggling venues from closing their doors.

Our original goal was to support a small network of like-minded clubs around the country that could share best practices and learn from each other. But then the pandemic hit, and now we are simply trying to help these clubs stay afloat until they can open their doors again.
Executive Director Joyce Lim

Live Music Society will open the next round of applications for the 2021 cycle starting in early January. The criteria for application include:
- Venues with sellable capacity of 250 seats or less
- Venues that have been in operation for 3 years or more
- Venues that are committed to live music as its primary activity
Here are the recipients for the first phase:

LIVE MUSIC SOCIETY GRANT RECIPIENTS

(OCTOBER 2020)

The Hotel Café (Los Angeles, Calif.)

Dazzle Denver (Denver, Colo.)

Hi-Dive (Denver, Colo.)

SPACE (Evanston, Ill.)

The Jazz Showcase (Chicago, Ill.)

Club Passim (Cambridge, Mass.)

Jonathan’s Ogunquit (Ogunquit, Maine)

Seven Steps Up (Spring Lake, Mich.)

The Word Barn (Exeter, N.H.)

The Bowery Electric (New York, N.Y.)

Caffé Lena (Saratoga Springs, N.Y.)

Levon Helm Studios, Inc. (Woodstock, N.Y.)

BOP STOP @ The Music Settlement (Cleveland, Ohio)

Mercury Lounge (Tulsa, Okla.)

The Kennett Flash (Kennett Square, Pa.)

Club Café (Pittsburgh, Pa.)

McGonigel’s Mucky Duck (Houston, Texas)

Jammin Java (Vienna, Va.)

Barboza (Seattle, Wash.)

The Royal Room (Seattle, Wash.)
October 30, 2020
Ok Cowgirl descends into a fuzz-laden abyss with “Get Gone”

Ok Cowgirl, the lofi indie rock project of Leah Lavigne, a Brooklyn-based multi-instrumentalist has released their debut single “Get Gone.” The song describes the desire to abandon younger insecurities with appearances, wealth, and beauty. It could also be described as an unimpressed response to a superficial culture.

They discussed the various topics associated with the track, speaking about radical-self acceptance, beauty standards, and capitalistic norms. Lavigne said, “At a certain point I knew I needed to let these emotions be what they were. I needed to stop filtering them and stop judging myself for feeling these things.”

Look At My Record praised Lavigne’s “powerful and domineering vocals” of song, and mentioned her strong expression of the frustration with our current cultural values. They also described it as “descending into a fuzz-laden abyss” and finally being able to release the pent-up emotion. Ok Cowgirl has an artistry that goes into the idea of the musician and the role we provide to this world, especially with our modern challenges.

This project also represented a major change for Leah Lavigne. Her earlier solo career up consisted of a more softer energy. People would come up to her in shows and say that she was their favorite sad girl. The Detroit native realized there was so much more to her style and has expanded her lane. Lavigne used to play the piano and switched her focus towards the electric guitar.

Since the summer of 2018, Lavigne performs alongside long-time collaborator and percussionist Matt Birkenholz, bassist Jase Hottenroth, and lead guitarist Jake Sabinsky. They have been noted for their lyrically-driven rock tinged sound, with a soft synth and melodic, angsty influence.

Their new single will surely not disappoint fans of the Brookyln-based group. Their follow up single, “Don’t Go,” will also be out on November 20. “Get Gone” is out now on Spotify, Bandcamp, and Soundcloud.

October 29, 2020
Dirty Heads perform Drive In Concert at Lafayette
The Dirty Heads performed in Lafayette, NY at the Apple Festival grounds on Saturday, October 24. The Drive-In style show was brought by Creative Concerts, one of the only promoters currently booking shows in the Syracuse region.

The concert experience was certainly a unique one. Concert goers had assigned parking spots by color coded rows. Each row had a limited amount of parking spaces made out of string barriers to ensure proper distancing between vehicles. Each row had their own designated restroom to use as well. The venue was equipped with large projector screens on each side of the stage to broadcast the performance. It ensured a good view no matter the location. The sound quality was good and the stage constructed to give off a music festival vibe.

The Set: Dirty Heads Lafayette

The Dirty Heads came on around 8pm, allowing everyone to get in their designated parking areas before the show started. While the temperature was brisk, 40 degrees, that did not stop the high energy performance and excitement from the crowd. For many, if not most of the people in attendance this was their first concert in at least 7-8 months. People were in very good spirits: laughing and smiling, BBQ-ing at their vehicles,and just enjoying the moment of experiencing live music- something that has been missing from a lot of our lives this past year.

All the band members were dressed appropriately for the weather: jackets, gloves and hats. It is still a strange site to see an entire band performing all bundled up. However, it did not effect their performance at all as they flowed through a 21-song setlist. Dierits such as “Oxygen”, “Burn Slow”, Vacation”, and “Dance All night”.

Dirty Heads performance in Lafayette gives high hopes, at least for the near future of live music. The ability to successfully and most important, safely put on a show with a large draw of people while adhering to all guidelines in regards to the pandemic.

The next shows at Lafayette Apple Festival Grounds will be The Disco Buscuits performing for three nights, October 29, 30, and 31. More info can be found from Creative Concerts.

Check Out Photos From Dirty Heads
October 29, 2020