Category: Features

Live Music in 2022: Reelin with the Feeling, Don’t Stop Continue

As the spark from one tiny blaze affects various live music re-schedules and new formats to end this year, it becomes important to reflect on how far we’ve come in the past 12 months. As I picked up my matches and was closing the door I had one of those flashes I’d been there before, been there before. 2020 marked the first year of major live music cancellations since Phish’s Curveball Festival in 2018.

However, the show of life must go on. Music finds its way throughout history. We live in the same world where the Vatican once outlawed the saxophone because of its effects. Perhaps the most soulful instrument made its way into the best musicians’ hands across the world over time. In similar fashion, many artists around the state immediately went to the streaming options of performance to not skip a beat. Landscapes and climate also play a big part in what’s capable of music. The summer of 2020 in Upstate New York really showed that distanced live shows were easily doable in these spaces now turned venues.

The Sunshine State started things officially live in 2021. Artists like Dumpstaphunk and Oteil Burbridge resurrected Suwanee’s festival grounds in Northern Florida for a Mardi Gras celebration in February. The North Beach Bandshell in Miami hosted these artists in the spring as well. Both with an option to stream the show or attend it live as we took small steps in reopening this year. The new split screen viewing choice if you will, is something that has almost become the new norm. Do we drive to the show or should we just stay home and stream it?

Oteil Burbridge, Miami Beach, April 2021

The most important thing to come out of this year in live music has been the unexpected artist collaborations. Many of which occurred due to ever changing last minute safety protocol changes backstage. All of the road crew, managers, promoters, and all the people behind the scenes deserve praise handling these alterations so that the show will go on so you could buy a ticket again. A buyer beware mentality has taken on the ticket sales in 2021 with various pending circumstances till the day of the event it seems.

Artists however have been on their musical game at the highest level possible as of lately. Alan Evans told NYS Music in February:

For me it’s like a cleanse, to really look at my life, I can’t just do any old gig , I just take everything away and have time to step back and feel what’s really important. What do I want my life to be about? That’s been a positive for me and I hope it’s like that for a lot of people.
Alan Evans

New Orleans artist Tony Hall had not collaborated with Dave Matthews and Tim Reynolds since their Some Devil Winter 2003 tour. While his band Dumpstaphunk was opening for Dave Matthews Band Labor Day weekend at the Gorge some last minute changes came up. A safety protocol factor had forced bassist Stefan Lessard and drummer Carter Beauford to sit out their first gig in over thirty years. DMB’s Keyboardist Buddy Hall moved to drums and Tony Hall, who was familiar with the catalog, picked up bass on the spot for all three nights so that the show went on. No cancellations, just an alternate format. Silver linings at their finest to bring artists like Dave, Tim, and Tony to play together again for the first time in 14 years. Dumpstaphunk even split the bill for DMB’s two sold out tour closing shows at Madison Square Garden.

Robert Randolph and the Family Band also assisted as part of the alternate format at the Gorge Amphitheater Labor Day weekend shows. His entire band took center stage alongside Dave Matthews and Friends. Robert kicked off New York State’s first free musical festival at the state fairgrounds in June. Randolph was part of the blues festival’s new home at the State Fairgrounds this year. Dumpstaphunk was the last to play its old home in downtown Syracuse’s Clinton Square in 2019. Tony Hall and drummer Devin Trescalir hit up Syracuse’s Funk n Waffles after the 2019 festival. Robert and his band took to Syracuse’s newest music club Jus sum Jazz lounge after the gig in 2021. Them changes. Roll with the funk and turn it around now.

Dumpstaphunk, Syracuse 2019

We should also honor the collaborations that the never ending uncertainties of life’s protocol throw at us as well. The Trey Anastasio Band lost founding bassist Tony Markellis this past Spring. Tony still had his final bow of performing on stage in 2020 with his band mates at the infamous Beacon Jams residency. The first of its kind that still showed how good music will find a way to the masses.

Tony Markellis told NYS Music last November regarding an empty Beacon Theater about his fond memories of playing TAB Fall Tour’s of the past to full theaters in Utica. So full that the balcony was “rocking to the beat of humanity.” His groove carries in “Long Lines” to all future cast members of TAB. The Trey Anastasio Band also took on a new saxophone player for their Fall 2021 tour due to saxophonist James Casey’s personal health challenge.

The freshly formed ensemble itself had another onstage audible due to safety protocol. The band had yet another alternate format the last two nights for the tour’s closing shows at Radio City Music Hall. For the first time outside of Phish, and Trey’s 2019 composition with Tony Markellis on Ghosts of the Forest, Syracuse native drummer Jon Fishman joined him at 30 Rock to finish the tour. Jon and Trey’s first time at Radio City since 2000.

The two night run in Rockefeller felt almost entirely composed by the improvisational material one seeks at any show. How fitting was it that James Casey special guested for the encore on the deep cut “A Life Beyond the Dream” off Ghosts of the Forest only album? It was also Trey’s last performance on his Manhattan island for 2021 after his lonely trip the year prior. Phish has moved their four night New Year’s eve shows at Madison Square Garden till 4/20/2022.

Instead Phish will play a live stream from the 9th cube with its Bat Cave like location to be unveiled on New Year’s Eve. TAB members Russ Lawton and Ray Paczkowski with guest Rob Compa of Dopapod are playing Phish headquarters Nectars in Burlington, Vermont on New Years Eve to live crowd. Trey treated a newly renovated SPAC to a socially distanced three night run of acoustic shows in June and even reunited with Oysterhead for the first time in 20 years on July 4. Mike Gordon’s December 2021 shows in New York were acoustic with Leo Kottke for their first tour in more than 16 years.

Everything feels right since Phish’s last 4/20 show was with the Dave Matthews Band in Virginia in 1994. DMB and Phish crushed “You Enjoy Myself” into “Somewhere over the Rainbow” during the holiday show. The first time Dave Matthews heard Leroi Moore’s saxophone he played Somewhere Over the Rainbow against the Charlottesville bars cash register that Dave was tending at. A week prior to that show coincidentally was Phish’s last New York City April performance on 4/13/1994. What New York venue? The Beacon Theater of course. Ghosts of the Forest closed their tour in the Bronx on 4/13/2019. This could feel like the turn of the dial from Sirius XM’s DMB channel 29 to Phish’s channel 30 on any given day this year. Devon Allman played his father Gregg’s birthday at the Beacon this past December that honored his spirit as well.

Leroi Moore

As we start 2022, we still need to keep rocking to the beat of humanity. Don’t forget about the shows that the cosmos hold above for all of us around the world. They’ve never stopped in all of their live performance history. Jimi Hendrix mentioned it under New York skies during his Woodstock 69 performance. “The Sky Church is still here as you can see.”

Last December Jupiter and Saturn formed “Christmas Star” the first visible “double planet” in 800 years. This December the longest lasting partial lunar eclipse in 580 years formed the Beaver Moon. Not to be confused with the comet in Leonardo Dicaprio’s new film Don’t Look Up. There is Comet Leonard that has been viewed above at the end of this year moving 150,000 mph through space. We need to keep the same momentum with the world’s love for art and music in the new year. Legendary Little Feat’s track “Skin it Back” said it best…

So it seems that the world keeps on turnin’ but so what I don’t doubt it, It just keeps on the move.
Little Feat

December 31, 2021
Flashback: Phish Busts Out The Covers at MSG, December 30, 1997

One of the most influential years in the history of Phish couldn’t end without a stop at MSG, The World’s Most Famous Arena, and it was 1997 that would bring the band to new highs, including their first ever three-night headlining bill at The Garden.

Today marks the anniversary of the second night in this run, a show marked by one of the greatest bust outs in terms of show gap, a legendary “Harpua” with assistance from Tom Marshall, and a handful of fan favorite cover songs played alongside some of the traditional heavy hitters. In addition to all the clips seen below, the entire show can be streamed here.

1997 Holiday Run shirt design by Erin Cadigan via PhanArt

After a quick discussion, Phish casually greets the Garden crowd with one of the greater bust outs of all time. It’s merely the first “Sneakin’ Sally Through The Alley” in 920 shows, last played at Ian McLean’s party in Hebron, NY in 1989, a likely much more intimate gathering. After shaking off some of the early rust, Phish easily settles into a funk groove so reminiscent of this era, fueled by Trey Anastasio on guitar with Page McConnell eagerly aiding and abetting on the clav.

Instead of ramping up towards a (now) customary vocal jam, the funk jam slowly devolves and Anastasio adds some digital delay loops as the tone shifts towards a much more ambient feel before the opening guitar lick of “Taste” ensues. McConnell throws down some thunderous play on the baby grand piano before yielding the floor to Anastasio for a spellbinding crescendo of electric guitar.

Things cool off a bit with the relatively new “Water In The Sky” that follows, still in its early, slower tempo. But Anastasio puts a stop to that quickly at song’s end, starting up the familiar strumming that initiates “Punch You In The Eye” and a quick stop at Gamehendge.

“Punch” goes off without a hitch and after some brief high-intensity feedback, Anastasio seems to make the audible call for “Stash.” Aside from the opening funk produced in “Sally,” this provides the other real notable jam of the first set, a brooding, mesmerizing sequence that has some distinct touches of “evil” Phish. Drummer Jon Fishman continues to push the pace to an almost alarming rate before the reigns are pulled back in, somewhat quickly, and the song finishes rather meekly.

To rev things back up, Phish resorts to a reliable figure, “Chalkdust Torture.” Fishman and bassist Mike Gordon steer the collective ship more than ably as Anastasio reaches back and delivers one last scorching first set guitar solo that the Garden crowd visibly devours with delight.

The first set that opened with a bust out comes to an end with a cover, this time The Beatles’ “A Day In The Life,” with Page McConnell on lead vocals. Some more extended feedback from Phish ends the song in a flourish as MSG collectively shows their appreciation at the conclusion of a rather short opening set, one that barely lasted an hour.

Anyone who would complain about that fact, would soon be put in their place thanks to the giant second set and extended encore for which this show is best remembered. It all starts off with, arguably, one of the better “AC/DC Bag”s ever played. It starts out innocently enough, but soon shifts back into that sinister tone that was prevalent in the first set. In vintage Phish style, simple melodies are stretched out, reexamined and continually revisited until all four band members are firing in sync like gears in a well-oiled machine. Throw in some classic ’97 funk, more relentless guitar play from Anastasio, a sprinkling of Gordon-supplied bass bombs, “Pyscho Killer” and “Third Stone From The Sun” teases and, 25 minutes later, you’ve got the latest in a (now long) line of Phish gems mined at MSG.

After an opening number that took up almost half of the length of the first set, Phish wastes no time in bringing it back to Gamehendge for a well-received “McGrupp And The Watchful Hosemasters.” The band deftly makes its way through the composed section of this classic song before giving way to a brief but beautiful two-person duel between Trey and Page on their respective instruments before it comes to an end.

Afterwards, the familiar oom-pa-pa intro of the first ever “Harpua” at MSG rings out and the Phish crowd erupts with glee. They would have good reason to as this would be a special one, dubbed the “Pentagram Harpua” based on Trey’s “life changing” narration. The following sequence includes nothing less than a Lost In Space reference, a young Trey crafting a pentagram out of lunch boxed goods, and Tom Marshall joining the fray for a hilarious cover of The Proclaimers’ “I’m Gonna Be (500 Miles).”

Phish keeps the proverbial pedal down after all of this madness and launches right into some more classic rock, this time it’s Jimi Hendrix’s “Izabella,” a now revered cover selection that debuted only earlier this summer. Anastasio simply annihilates the guitar solo and MSG is nearly combustible at this point.

Seizing this opportunity, Phish then goes all in with a majestic “Harry Hood” to cap a special sequence of music. A mild glowstick war early on gives way to a “Hood” that’s anything but, with Mc Connell producing a bevy of dulcet tones on the electronic keyboard and the customary mesmerizing guitar solo from Anastasio. It’s as well executed a “Hood” as they come and, along with “AC/DC Bag,” serves as a more than willing co-anchor as far as second set exploratory jams go.

In fact, the normally euphoric outro jam eventually develops into a full-on blues one and instead of bringing “Hood” to an end, Phish slides right into another cover tune – “My Soul.” Steady bass play from Gordon provides the floor for another scorching guitar solo as the band romps effortlessly through another recently debuted favorite. This is followed up with a “Sleeping Monkey” that brings a little levity to the ending portion of the set. Trey then thanks the MSG crowd, promising one “last” song that turns out to be “Guyute,” one of the key tracks from the yet-to-be-released Story Of The Ghost.

Phish fan shirt from the 97 Holiday run via PhanArt

Tonight’s encore gets the 1997 New Year’s Eve celebration off to a rollicking start. Trey begins the encore noting the closeness to midnight and that the band may as well “play two New Year’s Eve shows.” Turns out he wasn’t kidding as Phish then proceeds to drop down one of the more legendary encores of their playing career. Things start off with yet another new number to live repertoire, “Carini,” which features a quick stand-in by the man himself, Phish crew member Pete Carini.

After those pleasantries are dispersed, Phish then immediately drops back into a molasses-thick funk jam that soon reveals itself to be “Black Eyed Katy.” Although not known at the time, this instrumental steeped in cow funk would be the last one ever played before lyrics were added and it would go on to live the rest of its days as “The Moma Dance.”

“Katy” then eventually turns back into “Sally” as Phish slyly segues back into it and revisits the bustout opener in the encore for another go ’round. And as if all this weren’t enough, “Frankenstein” replete with feedback galore, strobelight insanity and Jon Fishman on vacuum for good measure. When all is said and done, it’s a near 30-minute encore that wraps up one memorable New Year’s Run gig, or just another ho-hum Phish show at MSG depending on how you look at it.

Phish Madison Square Garden – New York, NY 12/30/97

Set 1: Sneakin’ Sally Through The Alley -> Taste, Water In The Sky > Punch You In The Eye > Stash, Chalkdust Torture, A Day In The Life

Set 2: AC/DC Bag > McGrupp And The Watchful Hosemasters, Harpua > I’m Gonna Be (500 Miles) > Harpua > Izabella > Harry Hood -> My Soul > Sleeping Monkey > Guyute

E: Carini -> Black Eyed Katy -> Sneakin’ Sally Through The Alley > Frankenstein

December 30, 2021
NYC Ballet Dancer Joshua Thew Releases Delicate and Jazzy “Lose Myself”

Joshua Thew, a London-born, Brooklyn-based singer, songwriter and former member of the New York City Ballet, has released a new single, “Lose Myself,” accompanied by a cinematic music video directed by Jake Kolton.

Thew’s soulful vocals are front and center on “Lose Myself,” demonstrating his first passion (music was the reason he became a dancer in the first place.) In 2017, after nearly a decade in the Company, Thew left the professional dancing space behind to pursue another dream.

Thew grew up in Hertfordshire, England, just north of London, and moved to New York City in 2005 to study at The School of American Ballet, which led to a spot in New York City Ballet.

As I got into my mid to late 20s, I started to feel like I wanted to be in the real world. You live and breathe [ballet], and it’s such a small niche world. I just wanted to get out and make original music.
Joshua Thew

Working with producer and multi-instrumentalist Cale Hawkins at Greylock Studios in Brooklyn, Thew began composing songs in earnest, drawing on classic influences like Donny Hathaway, Nina Simone, and Lee Hazlewood as sources of inspiration. Thew added a contemporary spin, invoking modern icons such as Amy Winehouse and Frank Ocean.

As a singer, Thew creates highly stylized yet unpretentious ballads about love, loss, and starting over. The lush, aching “Lose Myself” chronicles a two-year relationship that ultimately had to end but gave Thew renewed hope around romance itself.

Ultimately, Thew is eager to ingratiate himself with listeners, who will no doubt feel an instant connection to his gentle, meditative ballads. Though he’d been considering a career change for some time, watching fellow dancer and Tony-winner, choreographer Justin Peck doggedly pursue his goals nudged Thew to take a crucial leap.

I just remember always watching him; we were in class together. Dancing was a thing for him, but choreography was always his thing. I remember watching him and part of me would be like, ‘he’s really doing what he really wants to do.’ And that’s how I felt about singing.
Joshua Thew

“Lose Myself” will be featured on Thew’s upcoming second EP, which follows 2019’s Quiet Words.

December 30, 2021
Brookyln Post-Punk Band Catcher Share “Comparing Saviors and Friends” from Upcoming Debut Album

NYC post-punk outfit Catcher have shared a comeback single entitled “Comparing Saviors and Friends,” off their upcoming debut album, due out in 2022. The single is regarded as one of the first tracks they’d written with the genesis of the band, and comes alongside a DIY music video.

Photo by Kevin Allen

Catcher is a Brooklyn-based post-punk band with a reputation for visceral and powerful live performances. Drawing comparisons to Iceage and Protomartyr, Catcher deliver music with a driving and inundating low-end, provided by childhood friends Cameron McRae and Wilson Chestney, on bass and drums respectively. Guitarists Jack Young and Christian Reech, each having been recruited earlier this year via a Craigslist ad and connection via the band’s shared Tinder, interweave melodies and noise to create an environment that manages to be at once both bleak and moving, desolate but hopeful, violent but tender.

Vocalist Austin Eichler commands listeners with a domineering and chaotic presence. From drawling croons to powerful screams, Austin’s narrative lyrics invoke a wide spectrum of emotion while creating a world of their own. Through endless hours of practice and work, the band has crafted a gripping and tight live performance and a growing international fanbase.

With a sludgy bass and frenetic guitar chords, “Comparing Saviors and Friends” charges forward like an angry bull out the gate, with a deep-seated drawl from vocalist Austin Eichler. The new single comes on the heels of the band’s first four singles: “Yesterday’s Favorite,” “The Skin,” “Only Advice,” and “Fallen Stones,” amid playing countless sold-out shows across New York City, as well as their first headlining tour across the U.S. with fellow NYC rockers Been Stellar.

Catch Catcher at Mercury Lounge on January 2, 2022 with Hello Mary. More information and tickets are available here.

December 29, 2021
Hearing Aide: Athena Burke “God is Here”

Inspiring Capital Region musician Athena Burke has recently released her new album, God is Here, on November 19. Produced by Devon Seegers, the album features eleven songs that address healing amid heartbreak and loss, and finding faith in something greater than what your eyes can see.

With a message celebrating the humble joys in life each day, Athena’s tender yet powerful vocals pair with deeply honest lyrics on an earthy and vulnerable electropop soundscape. Burke is honest about the human experience, saying:

No matter what you’ve done or what you believe, you are held in a love that is eternal, universal, and inclusive. God loves the oddballs and God wants to unite us, not divide us. A new era is dawning and although it is chaotic now, there’s a groundswell of unity pulsing in our world.
Athena Burke

Growing up, Athena was abused as a child, and found the piano as a bastion of harmony as a toddler. This led to her studies at Berklee College of Music, followed by street performing and concerts across the country. Inspired to heal her trauma, Athena trained in meditation, breathwork, and personal growth practices, and in wanting to give back, Athena has given thousands of spiritual guidance and healing sessions and performances worldwide.

Athena Burke sings honestly about the human experience of a devotional person. God is Here is not specifically Christian or derived from any specific religion, but rather about finding the divinity and love in everything, everywhere, in everyone, and every situation.

Athena has been featured on the PBS/WMHT AHA! A House of Arts TV show, as well as receiving extensive airplay on WEXT AND WEQX. She is a frequent performer at her local listening room in Cambridge, NY, The Depot.

Order God is Here on Athena’s website here and follow her on Facebook | Instagram | Twitter | Soundcloud

December 24, 2021
Happy Mihalidaze: Speaking For The Trees And Tots at Bearsville Theater
Bearsville Theater in Woodstock played host to Mihali, singer and songwriter known best for his work with Vermont’s Twiddle, on December 11, part of NYS Music’s Jam for Tots series. An enthralled and captive crowd filled the space in Bearsville, eager to celebrate the Mihalidaze.

Mihali’s solo project incorporates loops and layers connecting with lyrics in a mysterious, yet energetically powerful way. The use of everything from beatbox to bass juxtapose with the pure vulnerability of simply a voice and a guitar. The result is a soothing connection between crowd members among themselves, with the stage, the environment in which one experiences this music.

Experiencing Mihali at Bearsville Theater felt different than watching the home streams over the past year. The beautiful wooden circular backdrop bearing a logo with a mushroom not dissimilar in shape to the artist’s Santa hat glowed and pulsed with different colors throughout the show. The impression the backdrop gave was something like “all natural organic forest” but with some magic. The good kind. The kind with cute woodland creatures and the occasional talking fern.

The hardwood of the Bearsville theater is said to hide over 100 speakers in the ceiling of the old listening room. The way the music balanced so perfectly from every corner of the venue continued to reinforce the idea of some type of presence of a universal connection and wordless communication going on that night. Encapsulated in both wood, light and sound, there was an unspoken transfer of energy happening reflecting some type of phenomenon.

The transfer of energy between the green glow-worm-eque necklaces worn by many attendees seemed to balance out the warm salmony-pink glow of the somehow perfect number of chandeliers smiling down from above.

The spinning of Emily’s LED Poi looked to have a more dominant pastel tone as opposed to the vivd colors prevalent at many “up all night” type of festivals. The string light necklaces even looked muted when blended with the color bounding off the hard wood musical cocoon of a venue.

The complimentary nature seemed to continue right down to the colors of the clothing. The particular tint and tone of choice among fans had this young reindeer, almost fawn-like look to it. Whether boots or shirts, jackets or skirts… there was no denying the amount of earth tones out to dance that night.

It felt like an honor to be let into anyone’s home or studio during a time of universal struggle the recognize something familiar. Mihali’s intimacy in the way he communicates his music did not change from home to office and provided the perfect celebration during the holiday season.
December 24, 2021
Every Time I Die get Festive at Buffalo Riverworks
On December 10th and 11th Buffalo was host to TID The Season 2021, one of the craziest shows put on by the hometown band, Every Time I Die. This two day show took place this year at the Buffalo River Works, a venue with two stories, ice skating rinks, ferris wheel, and more. Previous years, this had been held at other venues, such as The Rec Room. This has been a popular event for many years in Buffalo, so much so that when the weekend passes went on sale, they would immediately sell out, so you would have to get your hands on them quickly.

Every Time I Die

Upon arriving Friday evening, the first thing you see is the long, long line of anxious show goers waiting to get it and with the show always being in December and in Buffalo, you just never know what to expect but thankfully the weather was decent. Since the show has a Christmas theme, many showed up in fashion, with their santa hats, matching Christmas PJs, or holiday themed suits. First nights line up was 68’, which if you’ve seen their performance, it’s a sight to see. Then Kublai Khan really got the show and got the crowd going with their hardcore sound.

View from the second floor showing the packed house

A tradition of TID The Season is to mix up the sound and they did that with a band called Mariachi El Bronx, who brought some spicy tunes and the crowd was digging so much that a congo line was started! There was a slight band change as Poison The Well was listed to play but sadly had to drop out so another hometown favorite joined in on the bill, which was Buried Alive and they took things up quite a few notches. In between sets, there were other things to enjoy, food onsite, multiple bars, they even had an ice skating rink and curling available.

Mariachi El Bronx

Also, if you looked around enough, you would catch a Christmas lighted Every Time I Die sign which many throughout the night took photos and selfies with, and even Santa would appear from time to time. Next to take the stage was Circa Survive, which toned things down a bit just before the main event and as Circa’s set ends, a curtain drops, which a yule log burning was projected. The anticipation builds as the band sets up and in all in one motion, the curtain drops and Every Time I Die kicks off and the crowd explodes.

Wrestling kicking off the second day of TID The Season

Saturday started earlier in the day and with something unique to the show. One of the members Andy Williams, the guitarist, has been a long time wrestler and with every TID The Season show, the second day kicks off with a few matches and it’s truly a spectacle to witness, you may catch Santa flying around in the ring.

Every Time I Die performing on their final night of TID The Season

Once the wrestling was over, it was time to get to the music and kick things off was End and then followed by The Dirty NIL. If you ended up being bored in between sets or at the end of one, one of the other activities you could do was a bull riding machine, which was fun to see people doing their best to hold on but ultimately flown to the side.

Ice T

Continuing the music is Spiritbox with their beautiful clean vocals and gut wrenching screams, and by now, countless crowd surfers have made their way to the front. Following Spiritbox is The Bronx, which the previous night, Mariachi El Bronx which consist of some of the same members but The Bronx has a totally different sound that got the crowd to really move, especially when the singer dived into the crowd and sang two songs as a circle pit formed around him.

Knocked Loose with the unique metalcore sound, got the circle pits really going. Now, after them, was another change up from the metal, hard rock with Ice T who is well known on the stage and tv but the energy and vibe was strong nonetheless. Finally, for the conclusion of this entire two day show, we have Every Time I Die closing out again, who this time while setting up, decided the night needed to feel more like Christmas, so let it snow! The night came to an end with Every Time I Die playing their heart out for the second night and fans singing along to every song. This show has been around for awhile and has created so many memories and so many look forward to it, it almost feels like a tradition and hopefully it will continue.
December 23, 2021
Leo and Mike Tour Closer at The Strand: From the Cradle to the Grave

The city of Plattsburgh, New York has an Icelandic glow on the shores of Lake Champlain. The Strand Center for the Arts in town hosted Leo Kottke & Mike Gordon’s tour closing show on Sunday December 19. Just across the Lake is Mike Gordon’s Gamehendge in the city of Burlington. It seemed as if it was his first time performing in Plattsburgh since Phish’s infamous Clifford Ball festival that drew 60,000 to Clinton County in 1996. However, Gordon was making the trip to Plattsburgh well before 1996.

Photo by Kyle Donoghue

SUNY Plattsburgh alumnus and saxophonist Dave Grippo was voyaging from Burlington to Plattsburgh in the early 90s. Like Nectar’s across the lake, Plattsburgh has The Monopole around the corner from the Strand since the 1800’s. Owner of The Monopole, Cory Rosoff, remembers Mike playing in random band formations with Dave Grippo in Plattsburgh over the years. “I used to actually have his bands come in and play Homecoming Weekend being that he was alumni. He just played sax on a lot of their (Phish) albums.”

Mike Gordon on Drums, Monopole, Plattsburgh

The quiet majesty of the Strand Center allowed for great stories in between songs. Samuel Johnson kept the audio levels just right inside the old 1924 vaudeville room. Leo Kottke spoke on the origins of his 20 year relationship with Mike Gordon to the Plattsburgh crowd. He reflected about their first jam session at Trey’s barn in Burlington across the lake. It wasn’t until the last riff of the day that a groove was caught between the two and a blaze from one tiny spark was lit. Gordon reflected on how he sent Leo a tape of him adding bass to one of his tracks.

Photo by Kyle Donoghue

After three months with no reply, Kottke responded to Gordon that a lot of people send him what he did over the years and that it usually comes off “cheesy.” However there was something different about this tape and it helped lead them to that first jam session in Burlington.

photo by Kyle Donoghue

Pete Seeger once referred to Leo Kottke as the greatest 12 string guitar player in the world. The duo covered Pete Seegers “Living in the Country”, that made its notoriety live at New York City’s Bitter End club album. Freight train, freight train goin’ so fast, Please don’t tell them which train I’m on, So they won’t know which route I’ve gone. Leo and Mike played material from all three of their studio albums.

Leo gave the historical origins of their record Sixty Six Steps which naturally is named after the Queens Staircase in the Bahamas that is 66 steps high. Mike stepped out front solo again for Hank Williams “Old Habits.” He also offered a tour debut on its last night by collaborating with Leo on his original “I am Random,” of which the studio version features Jon Fishman on drums.

photo by Kyle Donoghue

The duo continued the tour’s tradition by playing through the encore so that we could all exit The Strand Center for the Arts at the same time. They landed on “From the Cradle to the Grave” from their most recent album Noon, singing, “Running for my life at every moment never have time to catch my breath, sometime I wish this crazy race were over, the thought of living scares me half to death. Everyday is the same… same old ways never change and were going to the cradle from the grave.”

photo by Kyle Donoghue

December 21, 2021
Rita Ryan of WVKR Marks 300th Episode of LocalMotion

Ever since übermanager Albert Grossman and his top client Bob Dylan moved up to Woodstock in the Sixties, the Hudson Valley has been a hot bed of popular music-making. It’s been the longtime residence of many of the best-known names in rock, folk and jazz and the site of a multitude of legendary recording studios where they waxed their classic albums. It’s also been home to an ever-changing array of clubs and tiny bars where the stars who call the area home can be found sharing their world class talent with intimate audiences.

Since 2015, Rita Ryan has been passionately profiling this ever-evolving scene on LocalMotion, a weekly two-hour, free-form broadcast on Vassar’s non-commercial radio station, WVKR, 91.3 FM.

Unlike some area shows that claim to be dedicated to “homegrown” talent (but are too often peppered with musicians from Austin, Nashville, Brooklyn and more in my listening!), Rita has kept her focus 100% local.

The second hour of her weekly Wednesday broadcast traditionally features interviews with many of extraordinary music-makers who call the Hudson Valley their home. Her guests have included Lovin’ Spoonful songsmith John Sebastian, jazz great Jack DeJohnette, dobro master Cindy Cashdollar, roots music maven Amy Helm, bass masters Tony Levin (King Crimson, Peter Gabriel) and Gail Ann Dorsey (David Bowie) and Stevie Wonder producer/electronic music pioneer the late Malcolm Cecil, to name just a few. Rita also interviews stars who swing through so frequently for performances that they seem like locals, like the six-time interviewed Jefferson Airplane/Hot Tuna guitarist Jorma Kaukonen.

Ryan has also explored the local scene in interviews with club owners like Neil Howard of Colony Woodstock, Lizzie Vann of The Bearsville Theater and the late Tony Falco of Live at the Falcon. She’s also talked with music producers/recording engineers like Jerry Marotta of Dreamland Studios, David Baron (The Lumineers, Lenny Kravitz) and Scott Petito (The Band, The Fugs, Mercury Rev). And every week, she clues her audience in on the best live music coming to area venues, shows that she will often be frequenting herself.

The first hour of LocalMotion is dedicated to spinning a truly diverse selection of new sounds from local musicians. Her playlist spans rock, blues, folk, Americana, rockabilly, jazz and even the occasional electronic and experimental offering.

Earlier this month, Rita celebrated her 300^th episode with a return interview with her first guests, Larry Campbell and his partner Teresa Williams. Here is a look at the past and what’s ahead for Rita and LocalMotion.

Sal Cataldi: To begin, what is your connection to the Hudson Valley?

Rita Ryan: I consider myself a native to the area. I moved to Tivoli in Dutchess County in 1972 while in elementary school. I was born in Long Island and then my family moved to Germany, where I went to school through 2^nd grade. My mom was from Germany as are most of my entire family, and for the exception of one cousin, they all still live there.

My interest in music started with my mother. There was always music on in the house. She listened to classical and German music and I remember Engelbert Humperdinck, Frank Sinatra, Glen Campbell and others being played on either albums or cassettes. As a young teenager, I would spend my weekly allowance by going to Caldor in Kingston on a Friday night to buy vinyl or a book. The first album I bought was Tapestry by Carole King.

SC: How did you connect with WVKR?

RR: I began working at a commercial radio station in 2010 doing advertising sales. I had no intention or ever thought of being on air. At one point, the station where I was working was holding a contest. We planned on doing a one-hour live broadcast at a remote store location to announce the winner. No DJ was available to go do the broadcast, so the owner of the station suggested I go do this live remote! I laughed at him saying, other than voicing commercials, I have never been on air! He told me to go try it anyway, So I did. My client, the store where the live broadcast was to be at, also encouraged me. So, there I was (laughs). My first broadcast was a live one, for one hour. I immediately felt very comfortable being on air. It just felt natural. Of course, I was nervous at first, but not for more than a few minutes. It really was easy and fun!

Not long after, the station where I was working offered me a show, while I also held down my sales job. I took them up on the offer and was able to pre-record my shows. For a while, I was the weeknight evening show host. Soon, that became too much for me with my regular job so I hosted a show on Saturday afternoons. I did this for several years before I left that job.

When I left, I knew I was going to miss hosting a radio show. A few months into a new job, an acquaintance called me and said he missed hearing me on air. He asked if I ever heard of WVKR and that I should try contacting them. I thought about it for a few days and decided to make the call – I mean I had nothing to lose, right? I called WVKR in June 2015 and the General Manager called me back immediately. I had given him my background and my idea of starting a show focused on music in the area, the local scene. I wanted to start hosting interviews with musicians that live here and those coming to the area to perform in our venues. They said they were actually looking for someone to host such as show, so the rest is history (laughs).

SC: What is the format of LocalMotion and how has it changed over the years?

RR: The greatest aspect of WVKR is that it’s a college radio station, at Vassar College, so it’s completely free-form, like in the good old days. It’s run by a Student Executive Board that has help from Vassar’s staff. It’s a non-commercial station. No advertising. So, all DJ’s format their own shows to their liking.

At first, in 2015, it began as a one-hour show. It pretty quickly moved into a weekly two-hour block, Wednesdays, from 4 – 6 pm. The format really hasn’t changed since the show began.

I always spend one of the hours hosting an interview and the second hour promoting musicians who will be playing in the area and new releases from local musicians. I also host a segment called “Musical Happenings” where I give info from venues as to who will be playing there. I’m a huge supporter of the local live music scene. I typically go out at least once per week to enjoy live music, if not more.

SC: Unlike some radio shows in the Hudson Valley that claim to be local, yours truly is, 100% in my opinion. It seems to be all about musicians who live in their area or the big names who pass through regularly, like Jorma Kaukonen, who almost seem like locals. Is it a hard to promise to always deliver a full slate of local music?

RR: It’s not hard at all to keep my show truly local because we have such an incredible and diverse scene of music in the area. There’s always someone coming to perform at an area venue to interview and many of those live right in the area. I do interview national and internationally renowned musicians but only because/when they perform in our area. There’s never a shortage. I typically book my guests 6 to 8 weeks in advance!

SC: So, what are some of your favorite venues in the area, old and new?

RR: I don’t think it would be fair of me to say what my favorite area venues are as there are so many! I say to people, go support music at all local venues and see which you like best and keep going to support the music!

SC: How has the Hudson Valley music scene evolved over the years and where is it headed?

RR: Well, it’s definitely evolved over the decades and, I believe, we’re in a time now when it is truly exploding in the area. For example, look at Woodstock. The newly renovated and restored Bearsville Theatre is back in full swing, Levon Helm Studios (home of the legendary Midnight Ramble shows), The Colony (also renovated and restored), Station Bar, Pearl Moon and the Woodstock Playhouse are all top-notch live music spots. We’re also in an area where there are world class recording studios which brings many musicians here from all around the globe.

I believe the music and arts scene will continue to grow in this area. We are incredibly lucky to live not just in a visually beautiful area, but also an area filled with culture of every stripe.

SC: Now that you’ve celebrated your 300^th show, can you let us know who some of your favorite guests has been?

RR: This is another question that’s difficult to answer about favorite guests because there are really too many to say. I typically respond to that question by saying it’s the last guest I had on the show (laughs)!

Since 2015, I’ve hosted over 290 interviews as most every episode has a guest. I was most nervous for my first ever interview. I remember it like it was yesterday. I began the show in July 2015. I remember when I first conceptualized the show and sharing my idea with Larry Campbell at shows when I’d see him perform. He would say to me: “Rita, when you get that show, let me know. I’ll be happy to be your first guest.” Well, I got the show and Larry held true to his word. My first guests on LocalMotion on 91.3 WVKR were Larry Campbell and Teresa Williams. I prepared for over 5 hours for my first interview. I was so nervous but it went so well.

Since LocalMotion airs live, so I don’t have the luxury of edits. The next time I saw Larry in person after our interview, he told me it was one of the best radio interviews he’s ever done in his career. That to me was the highest honor I could be given.

I haven’t been too nervous interviewing since my first show. I get excited with anticipation for each and every guest. I do lots of “homework” to prepare for my interviews and I absolutely have the time of my life doing them.

SC: As a listener, I know you give every genre of music a spin, from folk and Americana through to jazz and experimental. So, do you have any personal favorites on the new local talent front?

RR: I dislike giving out my favorites, just like I don’t do a “Top 10” end of year album release list any longer. I mean, after all, who am I to say! My favorites are just that, my favorites. Doesn’t mean anyone else would agree. I do play music I’m not particularly fond of, that isn’t really to my taste sometimes, because I only think it’s fair to promote all worthy musicians in the area.

SC: Anyone who follows you on social media knows, your daughter is quite a serious musician. Tell us a little about her?

RR: Well, here I could go on and on! My daughter Caroline recently turned 21. I began introducing her to the arts when she was maybe 4 years old. Her first live theatre event was The Nutcracker at Bardavon Theatre in Poughkeepsie. We would go annually while she was young. Shortly thereafter, I took her to NYC and we began seeing Broadway shows.

She began playing violin in 4^th grade. We rented her a violin because we weren’t sure how long she’d stick with the instrument. She stayed with it for one year then began playing cello. But she didn’t like playing the cello as much as the violin, so she went back to her violin. We gave her private lessons immediately and she just loved her teacher. We also learned of an organization in Dutchess County called “Stringendo.” It was an orchestra school for students from 1^st through 12^th grade that met each Saturday during the school year. You had to audition to get in. There were numerous levels in the school and Caroline began in “Prelude.” She stayed in that school for 8 years throughout high school. This school was invaluable to her. She would not be the musician she is today without having those years in that school. Also, her private lesson violin teacher, Kate Rymph, who taught her first lesson until she graduated high school was instrumental in transforming Caroline into the musician she is today.

She will be graduating Ithaca College in December 2022 with a degree in Music Performance, a degree in Economics and a minor in Art History. She recently performed her Senior Recital and it was inspiring to see how far she’s come as a violinist. I could not possibly be prouder of my daughter. Not because of her talent as a musician, but because of the woman she’s become. I’m an incredibly lucky woman to be her mom. It’s the honor of my lifetime.

SC: Any local musicians you still want to interview but haven’t?

RR: Funny you should ask that! It just recently happened that I did interview two musicians who I’ve been wanting to interview the past 6 years! I had the great honor of interviewing John Sebastian and Jack DeJohnette. They had both been on my list and what an honor for me to have had the opportunity to talk with both of them. Both American icons.

I’m looking forward to continuing LocalMotion. It’s a lot of work but when you’re passionate about something it’s worth it. It’s a true honor to be hosting this weekly show. I look forward to seeing the show grow further and keeping up with all the incredible new music that’s coming out. Please support live music – especially local live music!

SC: How can people listen to LocalMotion?

RR: Several ways! The old-fashioned way if you’re in the area on the radio dial at 91.3 FM, also online at wvkr.org or on the app TuneInRadio under WVKR. I also record and upload each interview on my YouTube channel. Please consider subscribing to the channel at “LocalMotion on 91.3 WVKR hosted by Rita Ryan.” All interviews are also uploaded as a podcast which you can listen to on several streaming platforms such as Spotify, Apple Music, etc. You can even keep track on my Facebook page which features links to interviews, videos I shoot at local concerts and more.

December 21, 2021
In Focus: State Champs Headline Frozen Fest 2021 at Empire Live
Saturday, December 18, was the return of Frozen Fest in Albany, New York, at Empire Live. The show was headlined by Albany’s own State Champs, with Origami Angel, Young Culture, and Pollyanna. Pollyanna, and Albany-based Young Culture opened up Frozen Fest 2021 and primed the crowd for Origami Angel. The Washington D.C. duo took the stage and rocked harder than any duo should be able to. By the end of their set, the Frozen Fest audience was feeling loose and ready to party with State Champs.

State Champs

State Champs walked on stage before a rowdy crowd that had no idea there was a 24-song set in store for them. The long setlist bounced around State Champs’ discography and the audience loved every minute of it. The hometown band opened with ‘Criminal’ and crowd surfers immediately began pouring over the guardrail. The show’s energy slowly increased over the course of the next hour, until fans received good news.

Origami Angel

After what felt like an entire show, Derek announced to the crowd that their set was only halfway over. A few hundred sweaty and out-of-breath fans gained a second wind and the night’s energy continued on its upward trajectory. Not too long after this midpoint though, the show hit a tipping point. Fans who were too scared to crowd surf earlier had gained the confidence to try, and one person after another began giving the “up” signal to the nearest strongman they could find.
The evolution of a crowd surfer.
Eventually though, the good times would have to end. As State Champs played their final songs, the party in the crowd continued with pushing and shoving blurring with hugging and singing. The only thing that could take the night higher was a 5-minute break before a three song encore. State Champs’ set peaked during this encore as the Albany fans sent up as many crowd surfers as was physically possible. Frozen Fest 2021 would go on to end in a shower of hundreds of balloons as the crowd sang along with their hometown band.

State Champs are heading to Europe next, but you can keep track of future dates on their website.

Setlist: Criminal, Mine Is Gold, Outta My Head, Shape Up, Frozen, Xmas, Tonsil Hockey (Intro), Critical, Something About You, Shades Of Gray, Hurry Up and Wait, Our Time to Go, Breaking Ground, Hard to Please, Just Sound, Simple Existence, Slow Burn, Losing Myself, All You Are is History, Dead and Gone
Encore: Time Machine, Elevated, Secrets
December 20, 2021