Twiddle headlined 4 nights at Apple Valley in Lafayette, NY over Memorial Day weekend, and welcomed Dopapod and Aqueous for two nights each. It was a rainy run of shows just south of Syracuse, but the weather didn’t damper spirits one bit.
Dopapod and Aqueous each opened two nights, with Dopapod taking the honors on Thursday and Friday, and Rob Compa & Eli Winderman joining Twiddle on night one for “Syncopated Healing.” The next night all members of Dopapod, including Chuck Jones and Neal ‘Fro’ Evans joined for the evening’s closing number, “Latin Tang.”
photo by Dave Decrescente
Aqueous would also join Twiddle on Saturday and Sunday, with Mike Gantzer sitting in for “Slippin in the Kitchen” and “All along the Watchtower.” Similar to their Dopapod counterparts, all of Aqueous joined in for “Shakedown Street” to close out the weekend.
Apple Valley Park has a great lineup this summer, with Get the Led Out, Allman Betts Band, Billy Strings, Umphrey’s McGee, Tedeschi Trucks Band and many more arriving over in the next couple months. Get your tickets here.
Amid the festivities in Lafayette, Long Island’s Baked Shrimp performed two afternoon shows at the Westcott Theater in Syracuse, welcoming Ryan and Mihali from Twiddle, and Mike from Aqueous, to join them. Baked Shrimp are poised for a breakout year, especially after building up momentum during this last year and heading to the finals of NYS Music’s March Madness. Check out photos of the early afternoon action from Zak Radick.
Dopapod Setlists May 27: Mucho, Freight Train, Upside of Down, Bats in the Cave, Vol. 3 #86
May 28: Cloudworld >PLSS >Braindead, We Are Not Alone, Trapper Keeper, FABA
Aqueous Setlists May 29: Origami, Little Something to Me, Aldehyde1, Random Company2 1 – Puddle of Mud teases after Aldehyde 2 – Rob playing half time through vocals
May 30: Second Sight > Timmy’s Blades > Second Sight, Weight of the Word, Kitty Chaser (Explosions) > Funky Monks²³⁴ > Kitty Chaser (Explosions), Be the Same 1) Featuring David Loss on tambourine 2) Red Hot Chili Peppers 3) MKDevo (Dave Peck) on vocals 4)FYMFYD full band quote
May 27: Collective Pulse, Carter Candlestick, Second Wind, Hattibagen McRat, Beehop -> Ganja Medley -> Beehop Moments, Zazu’s Flight, Syncopated Healing% % w/Rob Compa & Eli Winderman of Dopapod
May 28: Amydst the Myst, Jamflowman >Frankenfoote, Brown Chicken Brown Cow, White Light >WIRIP * D’yer Mak’er%, Latin Tang # % Led Zeppelin # with all members of Dopapod
May 29: Enter > Orlandos > Apples > Funky town > Apples, Dr Remedies, Tiberius > River Drift> LITC, Honeyburste Encore: Slippin in the kitchen^, All along the watchtower^ ^ w/Mike Gantzer of Aqueous
May 30: Peas and Carrots -> Gatsby the Great -> Harry’s Pond -> Gatsby -> Bronze Fingers, My Truck, Machine, Beethoven and Greene, Milk%, Shakedown Street! % with Mike Gantzer ! with Rob Compa, Mike Gantzer, Rob Houk & Dave Loss
Episode 122 of the Rochester Groovecast Podcast highlights a returning guest, Anthony Siciliano of “Head To The Roots.”
From high energy stomp to mellow campfire acoustic, Head to the Roots is the music mind-child of Anthony Siciliano. Anthony pulls at the roots of folk, blues, rock and reggae music. The fabric of his songwriting is both thought-provoking and playful, woven with themes of life exploration, travel, and love, while carrying undertones of spirituality and human coalescence.
From the main stage at Rochester’s beloved Cornhill Arts Festival to stages spanning across the Northeast, and New England, Anthony has shared his music in New York, Vermont, New Hampshire, and Maine. In the midst of his musical career, Siciliano has shared the stage with members of Twiddle, and has played with members of The Buddhahood, and Multibird.
Since September 2020, Head to the Roots has evolved into its mightiest form yet, with joining members Chris Palace (drums) and Drew Rosenberg (bass and keys) bringing power and groove to this newforming trio. Aside from live performance, Anthony continues to write, produce and release original music, where April 2021 marks the horizon line for a brand new album release.”
In this episode, host, Ben Albert, and Anthony Siciliano discuss what’s happened this past year, most importantly, Head To The Roots’ new album, “Seeker.”
During the podcast, the boys isten to and discuss two brand new tracks, “Seeker” and “Flower City!” Keep in touch with Head To The Roots on their website.
Listen To The Full Episode:
Watch The Full Episode:
At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen firsthand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.
This summer, Joe Russo’s Almost Dead (JRAD) performs monthly at Westville Music Bowl in New Haven, CT. With shows from Memorial Day weekend through September 4, there are ample opportunities to see the fantastic reimaging of the extended Grateful Dead catalog, along with a heavy dose of improvisation.
Revisit the shows below with photos by Vince Brazen, video from the band, and the detailed setlists for each night.
JRAD at Westville Music Bowl – September 4, 2021 Setlist
Set 1: Don’t Ease Me In*> Cats Down Under the Stars w/ Norwegian Wood and Throwing Stones teases> Tell Me, Momma w/ Jessica tease> Mama Tried, Candyman, Jam w/ The Other One tease> Truckin’ w/ The Other One teases and New Speedway teases
Set 2: Feel Like A Stranger> Help on the Way> Throwing Stones w/ Shakedown teases> Shakedown Street W/ throwing Stones teases> Throwing Stones reprise w/ Land Down Under and Shakedown teases, Comfortably Numb> Morning Dew**
Joe thanks the crowd, tells them we all need live music! Dave Niedbalski from Westville Music Bowl/Lovely Day Presents thanks everyone, said it was the best 9 nights of the summer! Then they unveiled a banner from the upper deck commemorating the 9 show residency.
Encore: One More Saturday Night***>Sugar Magnolia
*First since 3/3/19, 5th time played by JRAD **First time played since 9/13/19 ***First time played since 9/14/19
JRAD continued their no repeat streak in their Westville Bowl residency from July 30-August 1. Amid perfect weather all weekend, a nice change of pace from their two previous runs this summer. The partial capacity crowd (~3,000) at Westville had more seating on the floor this weekend, making it feel a little more crowded, but still short of 50% capacity at the tennis stadium.
Saturday’s show had a jam of Pink Floyd’s “Pigs” during “Birdsong,” bassist Dave Dreiwitz singing “Broken Arrow”, and a monster “Terrapin Station” suite to end the second set. The venue erupted during “Sugar Magnolia,” marking 16 sets of no repeat Grateful Dead covers.
JRAD at Westville Music Bowl – July 31, 2021 Setlist
Set 1: Stagger Lee > Stuck Inside of Mobile with the Memphis Blues Again* > West L.A. Fadeaway^ > Unbroken Chain jam > West L.A. Fadeaway > I Need A Miracle@ > Birdsong > Pink Floyd Pigs (Three Different Ones) jam > Birdsong Set 2: Broken Arrow > Throwing Stones$ > Ship of Fools > Dark Star > Terrapin Station (full suite) Encore: Sugar Magnolia
*w/ Big Boss Man and Eleanor Rigby teases ^ w/ Uncle John’s Band, Let It Grow and “Your Party” (Ween) teases @ w/ vocal jam and Dark Star teases $ w/ 2001 teases and Phishy Duo jam
On Friday, “Jack Straw” > “Wharf Rat” > “King Solomon’s Marbles” closed a strong first set, and they returned with no let up for set two, with a stellar stretch of “Althea” > “Lost Sailor” > “Saint of Circumstance,” and an acoustic “China Doll” as well, featuring Eric Johnson of Fruit Bats taking lead.
JRAD at Westville Music Bowl – July 30, 2021 Setlist
Set One: Jam -> Friend Of The Devil -> Jack A Roe, Jam -> Black Throated Wind @ -> Jack Straw > Wharf Rat # -> King Solomon’s Marbles Set Two: MB Solo -> Yazoo St Scandal $ -> Jam % -> Golden Road To Unlimited Devotion, Althea > Lost Sailor ^ > Saint Of Circumstance &, China Doll *+, Box Of Rain * Encore: Never Been To Spain *, When You Love Somebody * @@
@ – With a Jack Straw Jam – With Dark Star Teases (TH) $ – With Tennessee Jed Teases (Band) % – With “Maze” (Phish) Teases (Band) ^ – With Let It Grow & Playing In the Band Teases (JR) & – With Terrapin Station Teases (MB & TH) and a “I Can’t Help Myself (Sugar Pie Honey Bunch)” (Four Tops/Holland-Dozier-Holland) Tease (DD) With Eric D. Johnson (Fruit Bats) on Acoustic Guitar and Vocals Not Played by Almost Dead since 2017-10-13, Brooklyn Bowl Brooklyn, NY, a gap of 101 shows @@ – Fruit Bats Cover, Not Played by Almost Dead since 2019-08-16, Greek Theatre, Los Angeles, CA, a gap of 25 shows
Six shows into their run at Westville Music Bowl and JRAD has still not repeated a song. More than 70 songs have been performed since their Memorial Day weekend run, meaning that perhaps, when JRAD returns to Westville July 30-31, they may still continue this streak. To start the night, a 5-piece brass band walked through the crowd towards the stage. Many of them sat in throughout the course of the show, which had four The Band covers, with violinist Katie Jacoby sat in on “Rag Mama Rag.”
JRAD at Westville Music Bowl – June 20, 2021 Setlist
Set 1: Iko Iko, China Cat Sunflower, Ophelia, Operator, Why Don’t We Do It in the Road?, Hard to Handle, Casey Jones
Set 2: Alabama Getaway, Feel Like a Stranger, Mississippi Half-Step Uptown Toodeloo, Good Lovin’, Let it Rock, Road Runner, Rag Mama Rag, Cats Under the Stars, C.C. Rider
Encore: The Night They Drove Old Dixie Down
Highlights from June 19 include JRAD playing the Bob Weir solo tune “Gonesville” as well as working in a few Allman Brothers tunes. “Whipping Post” was teased during “Cumberland Blues” and in Set 2, “In Memory of Elizabeth Reed” got the full band treatment.
JRAD at Westville Music Bowl – June 19, 2021 Setlist
Set 1: Jam ->They Love Each Other ->Gonesville ->Cumberland Blues @, Row Jimmy, Mr. Charlie # ->Viola Lee Blues ->Brown-Eyed Women Set 2: Jam ->Here Comes Sunshine >Uncle Johns Band, Alligator >Man Smart, Woman Smarter $, In Memory of Elizabeth Reed %, Peggy-O Encore: Brother Esau @ – With “Whipping Post” (The Allman Brothers Band) Teases (Band) # – Unfinished $ – With a “Reveille” (Traditional) Tease (SM) % – With Dark Star Teases (TH) & a JR Solo
On June 18, JRAD returned to Westville Music Bowl for their second run of the summer. With five bustouts and covers including “All Along The Watchtower” and “Atlantic City,” a sold out crowd was treated to a rare cover of Warren Zevon’s “Werewolves of London” to close the night.
JRAD at Westville Music Bowl – June 18, 2021 Setlist
Set 1: Jam @ ->New Speedway Boogie # ->Let It Grow, Black Muddy River >All Along The Watchtower$ > Greatest Story Ever Told % -> Dear Prudence Jam -> Greatest Story Ever Told Reprise ^ Set 2: Atlantic City & ->Tell Me Mama * ->Big River, Tennessee Jed +, Cryptical Envelopment @@ ->Crazy Fingers -> The Other One > Stella Blue Encore: Werewolves Of London ##
@ – With “Spoonful” (Willie Dixon ) Teases & Truckin’ Teases (TH) # – With a Playing In The Band Jam & Let It Grow Teases (Band) $ – Scott Vox, Not Played by Almost Dead since 2014-12-29, Capitol Theatre, Port Chester, NY, a gap of 212 shows % – With a “Dracula” (MMW) Tease (MB) ^ – Not Played by Almost Dead since 2018-03-17 State Theatre, Portland, ME, a gap of 74 shows & – With “China>Rider Transition” Teases (Band) * – With a “Chuckles” (Wolf) Tease (SM) + – With a Hell In A Bucket Tease (Band) and a bit of a “Becky” (Benevento Russo Duo) reference (MB & JR) @@ – Part One, With a Dark Star Jam, Not Played by Almost Dead since 2019-03-16 Masonic Auditorium, Cleveland, OH, a gap of 34 shows ## – Not Played by Almost Dead since 2019-03-01 Palace Theater, Albany, NY, a gap of 40 shows
Over three rainy nights at Westville Music Bowl in New Haven, CT, Joe Russo’s Almost Dead (JRAD) brought music back to life and satiated sold-out crowds with their improvisational takes on the music of the Grateful Dead.
JRAD at Westville Music Bowl – May 28, 2021 Setlist
Set 1: Not Fade Away@ -> Ruben & Cherise -> New Minglewood Blues, Sugaree#, The Wheel$ ->Touch Of Grey% Set 2: When I Paint My Masterpiece^, Foolish Heart& -> Help On The Way -> Slipknot!* -> Hey Bulldog Jam+ -> Slipknot! Reprise, Hell In A Bucket, Dancing in the Street@@, Ripple## Encore: Fuckin’ Up $$ @ – With a “Serpentine Fire” (Earth Wind & Fire) tease (SM) # – Not played by Almost Dead since 2018-01-13 $ – With a “Cold Rain & Snow” Jam (Band) % – With “Ruben & Cherise” Teases in the intro (TH) ^ – Bob Dylan Cover, second time played. Not played by Almost Dead since 2016-11-12 & – With Slipknot! Teases (TH) * – With a “Tom’s Diner” (Suzanne Vega) Tease (SM & JR) + – With some lyrics. Not played by Almost Dead since 2016-11-12 @@ – Proceeded by a Dark Star Tease, with a Loose Lucy Tease (SM), a DD Solo, an MB Solo, hints of “The Wizard” (Black Sabbath), and a JR Solo ## – Not played by Almost Dead since 2019-01-18 $$ – Neil Young Cover, with Chris Harford on Vocals and Guitar
JRAD at Westville Music Bowl – May 29, 2021 Setlist
Set 1: Silvio ->Bertha, Me & My Uncle ->Shakedown Street@, Black Peter# >Music Never Stopped Set 2: Such A Night, Cream Puff War >Truckin$ -> New Speedway Jam% -> Truckin Reprise^ ->St. Stephen& >Tough Mama > I Know You Rider Encore: On The Road Again * @ – With Let It Grow Teases (Band) # – Not played by Almost Dead since 2018-07-19 $ – With a Cryptical Tease (TH) % – Not played by Almost Dead since 2017-08-31 ^ – Not played by Almost Dead since 2018-07-19 & – With Not Fade Away and Good Times Bad Times Teases (JR) and a Caution-esque Jam * – Not played by Almost Dead since 2016-12-29
JRAD at Westville Music Bowl – May 30, 2021 Setist
Set 1: Eyes of the World> Estimated Prophet, Cassidy > Going Down the Road Feelin’ Bad > Candyman, The Eleven, Franklin’s Tower Set 2: Scarlet Begonias > Fire on the Mountain, Beat It on Down the Line, He’s Gone >Playing in the Band, Samson and Delilah Encore: Born to Run
Stuart Bogie sat in on saxophone and flute throughout the night
While it may be Memorial Day Weekend, it’s also the ten-year anniversary of the one and only Phish run at the Bethel Woods Center for the Arts. In 2011, the band was still very much trying to gather its collective footing after reuniting only two years earlier. For some, these shows represent the first true “return to glory” moments for the band and fans alike. It’s only fitting that it took place on the hallowed grounds of Bethel, NY, the same ones that served as host for one the most influential music events of all time, Woodstock. Even though it was only Phish performing in Bethel this weekend, there were still plenty of magical moments to be had.
An argument can be made that some of the most passionate and inspired music of the entire weekend never even made its way to the public. On the night before the run was set to begin, Phish blessed their sound check with what many consider to be one of the best “Waves” of all time. It’s a version that stretches out to nearly a half hour, diving way beneath the surface without coming back up for air.
Night One – May 27, 2011
The first night of this memorable run also served as the 2011 summer tour opener. The only other show Phish had played this year to date was their 1/1/11 gig at Madison Square Garden to cap off the New Year’s run. Some rain leading up to this evening wreaked havoc on the fertile and lush grounds of Bethel Woods. But that certainly wasn’t going to deter anyone.
The rain had left some parts of the lower lawn in a treacherous state, to say the least. So boots, tarps and blankets were en vogue. But rather than play it safe and ease into the show, Phish instead opened night one of Bethel Woods with a raging “Tweezer” that caught everyone off guard, in a good way. Summer tour and the band’s third year since returning from a self-imposed breakup were now officially underway.
Considered tame by today’s standards, the show opening “Tweezer” doesn’t stray too far and elicits a mild jam. But the joy of it opening the show, and the tour, was never in doubt. Instead of stretching it out, they immediately transition into “My Friend, My Friend” and night one is off and running.
The rest of the first set is comprised of multiple covers that paint a clear picture of what influences Phish musically. First is their take on Ween’s “Roses Are Free,” a song forever immortalized in Todd Phillips’ Bittersweet Motel documentary. Next, keyboardist Page McConnell shines on his solo on Son Seals’ “Funky Bitch.” The first set also features a take on James Gang’s “Walk Away” that’s properly fueled by Trey Anastasio on guitar and it finishes with a splendid cover of Jimi Hendrix’s “Bold As Love.”
Aside from an earlier “Wolfman’s Brother,” some of the more exploratory work from the band in the first set came during “Stash.” A jam that starts from near ambience quickly picks up speed while never quite shaking the framework of the song. It provided a nostalgic glimpse of a song that used to be a first set powerhouse for a band still very much rounding into form.
With one set under their belt, Phish opens up the second with another rager, “Carini.” Those who called that and “Tweezer” both as set openers should be commended. Again, compared to modern day versions, this “Carini” doesn’t veer too far off the path, but rather sets the table nicely for the crescendo-building “Get Back On The Train” that succeeds it.
The second set also contains a “Waves” that has its moments but doesn’t come close to the majesty and weirdness offered up in the one from yesterday’s soundcheck. And, of course, more choice cover selections. This included the always popular “Boogie On Reggae Woman” (Stevie Wonder), with Mike Gordon and his signature bass line/effect leading the way. The set picks up in a major way, and possibly peaks, with a deep dive of the Talking Heads’ “Crosseyed and Painless.”
Once drummer Jon Fishman finishes leading the group through a funkified version of this cover, the rest of the set plays out in somewhat traditional fashion. “The Squirming Coil,” replete with an enchanting, set-ending piano solo from McConnell closes out the set before “Julius” and its infectious “don’t take another step” mantra closes the book on the first night of Bethel.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/27/11
Set 1: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch, Wolfman’s Brother -> Walk Away, Stash, Bouncing Around The Room, Kill Devil Falls, Bold As Love
Set 2: Carini >Back On The Train > Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading In The Velvet Sea > Possum, The Squirming Coil
Encore: Julius
Wolfman’s contained a Streets of Cairo tease from Trey. Before Stash, Trey teased The Fish (Schindleria Praematurus) by Yes.
Listen to the complete show on YouTube, or track-by-track at PhishTracks.
The second night of the Bethel Woods run began as so many Phish shows do, with people scurrying everywhere to secure their spots as notes from the opening song rain down. In this instance, the selection is “Theme From The Bottom” while plenty of viable spots on the lawn are still being secured.
Traditional first set stalwart “NICU” then follows, with McConnell wasting no time getting down to business on the Hammond organ. A super funked out take of another Talking Heads cover, “Cities,” then gives those on the lawn and everywhere else more than enough reason to get down and dance. The “outro” jam lasts well longer than it should and serves as a legitimate highlight of the weekend.
The rest of the night two’s first set is best encapsulated by a couple of song pairings. “Halley’s Comet” picks up on the experimental vibe and takes it the distance, fomenting a certifiable Type II jam momentarily. But before it can explore any further, the opening chords of “Runaway Jim” enter the fray, serving as the back end of a powerful two-song sequence whose jam gets the full on ‘Plinko’ treatment. The first set then later wraps up with another Phish staple, “Bathtub Gin” that gets a taste of “Manteca” and a distinct “Golden Age”-type jam midway through before rounding back into form.
Like most Phish shows, much of the heavy lifting takes place in the second set tonight. An explosive “Down With Disease” starts things off nicely, with Jon Fishman providing one intricate drum fill after another in a jam that comes to an early vigorous peak. Instead of returning to finish “Disease,” the jam meanders for a while until Anastasio signals for a wonderfully patient “Free” to begin.
As the second set progresses, Phish continues to show their mastery of juxtaposition. A zany “Makisupa Policeman” immediately goes off the rails, with mentions of spliff smoking and imaginary trips to Mike and Page’s respective “houses” that eventually sends the Bethel Woods crowd into an uproar, along with a healthy clav-driven, mini-funk jam. But instead of going to Fish’s “house” and carrying on with the silliness, the band turns on a dime and crafts an emotional “Harry Hood.”
The set later concludes with another Phish classic, “David Bowie.” And another longtime cover favorite, The Beatles’ “A Day In The Life” puts the finishing touches on night two in Bethel. With two nights now in the books, only the Sunday show remained. And, as the saying goes, those are not to be missed.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/28/11
Set 1: Theme From The Bottom, NICU, Cities, Halley’s Comet > Runaway Jim, Gumbo > Quinn The Eskimo > Limb by Limb, Horn, Bathtub Gin -> Manteca > Bathtub Gin
Set 2: Down With Disease > Free > Backwards Down The Number Line > Makisupa Policeman > Harry Hood > Cavern > David Bowie
Encore: A Day In The Life
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members’ houses (and Trey’s favorite show, House).
As to be expected, Phish closes out the Memorial Day Weekend in fine fashion. The “AC/DC Bag” opener “gets the show on the road” in a major way and Phish coasts from there. “Ocelot,” still a fairly new tune at the time, gets a surprisingly monstrous jam attached to it. The “Ya Mar” and “Timber” that follow serve as a nostalgic throwback of sorts, giving the set a temporary old school vibe.
“Suzy Greenberg” makes a first set appearance and then instantly morphs into a rowdy “46 Days.” And the quality cover selections continue as well, with Lynyrd Skynyrd’s “Ballad of Curtis Loew” getting the call tonight. Just like old times (again) the opening set then concludes with a “Run Like An Antelope” that does just that.
For their last Bethel set, Phish decides to maintain the traditional feel and opens it with a vintage “Mike’s Song” > “Simple” -> “Weekapaug Groove” trifecta. “Simple” yields an especially spacey, ambient-type jam before the rhythmic law firm of Fishman & Gordon kickstart the “Groove.” Afterwards, the band takes some time to reintroduce a certain dance some may have forgotten.
The second set later comes to a close with another powerhouse trio. “Also Sprach Zarathustra,” aka “2001,” offers one last definitive dose of funk for the weekend before giving way to the newly established jam vehicle that is “Light.” And “Slave to the Traffic Light,” with its customary soaring jam that evolves from near silence is the final emotional stamp.
By the end of the weekend, so much great music had transpired that it was hard to take inventory of everything. That’s why it came as a shock to many when, after “Loving Cup,” the distinct riff of “Tweezer Reprise” rang out, bringing the entire weekend full circle. It’s more than an ideal choice to close out the final chapter of music for the weekend, with the hopes that it won’t be the last one Phish writes here.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/29/11
Set 1: AC/DC Bag > Sample In A Jar, Rift, Ocelot, Ya Mar, Timber (Jerry) > The Oh Kee Pa Ceremony > Suzy Greenberg > 46 Days > Twenty Years Later, The Ballad of Curtis Loew, Run Like An Antelope
Set 2: Mike’s Song > Simple ->Weekapaug Groove, Meatstick > Fluffhead > Joy, Also Sprach Zarathustra > Light > Slave to the Traffic Light
Encore: Loving Cup > Tweezer Reprise
Ya Mar included Express Yourself (Charles Wright & the Watts 103rd Street Rhythm Band) teases from Mike. Antelope contained a Curtis Loew tease from Trey and Manteca teases from Trey and Page. Page teased Magilla in Simple.
“Opera singer-turned-indie singer-songwriter Sally Drutman seemed to appear as a sudden apparition last July when she released her dream-like first single “Milky Blue” as Sally Louise. Less than a year later, Louise has wasted no time in expanding her stylistic palette across a sprawling collection of 10 self-possessed songs with “My Hands Are On Fire,” available via Desert Flower Records…” “
Her vocal sincerity and technical skill seize the spotlight.”-Daniel J. Kushner of City Newspaper “Here lyric writing is powerful and her vocals are stunning.”-Prism Reviews In this episode, host, Ben Albert, and Louise dive deep into performance, practice, marketing, and everything LOVE of music! The best part, we listen to two of Sally’s most popular singles, “I Won’t Call Your Bluff” and “Never Be The Same Again!”
At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered. Listen to all episodes of the show:
Closing out Season 46 of Saturday Night Light, musical guest Lil Nas X worked through a wardrobe malfunction as The Queen’s Gambit star Anya Taylor-Joy hosted flawlessly on an emotional finale.
The episode began with a full cast cold open looking back on the ups and downs of the past year, including an appearance by the host of the first episode of the season, Chris Rock. This also marked the first time all season that SNL had full (and vaccinated) in-studio audience.
Just over a week before the start of Pride month, Nas appeared in a pre-recorded take on Madonna’s “Holiday” with Kate McKinnon, Bowen Yang and Punkie Johnson all looking forward to all things Pride – parades, brunch, clubs, drama – that were missed due to COVID-19 in 2020.
For his first song, Lil Nas X performed “Montero (Call me by your Name),” the music video for which he received criticism from the religious right for twerking with Satan. On the stage in Studio 8H, Lil Nas X used a stripper pole while flanked by dancers, and with 30 seconds left in the song, split his pants. Seamlessly, Lil Nas X continued to perform with his hand covering his crotch, ending with a striking image of himself with giant wings projected behind him. He didn’t let on about the malfunction until a Tweet a few minutes later.
The second performance of the night featured the just released track “Sun Goes Down.” The more vulnerable turn finds Lil Nas X wearing a white suit and reflecting on the suicidal thoughts he had while growing up gay and in the closet. With lyrics “Since ten, I’ve been feelin’ lonely / Had friends but they was pickin’ on me / these gay thoughts would always haunt me / I prayed God would take it from me,” “Sun Goes Down” elaborates on why he was so bold about trolling conservatives with more vulnerability than we’ve seen yet.
That’s all for Season 46 of Saturday Night Live. Stay tuned for Season 47 starting in September/October 2021. What was your favorite musical guest of the season? Share in the comments below.
Lo-fi artist Jxst J , releases a new single “Alone” with a hilarious and entertaining music video. Teasing his debut album “How to Pronounce Jxst J.” After spending his formative years in. LA playing in bands and making music videos, the multi-talented artist is now. Brooklyn-based, where he continues his synesthetic approach to music.
Jxst J
The song “Alone” will have you closing your eyes and bopping your head back and forth as his soothing. voice goes perfectly over his low-fi beats. Drawing from genres like dream pop, indie, and trip-hop, he seamlessly blends acoustic and. electronic elements for a sound that is as eclectic as it is catchy. He achieves a polychromatic sound that shows off his mix of stretched samples, acoustic instruments, analog synths, and his silky vocals.
As for the music video somehow just goes perfectly with the song easily putting a smile on your face. Although a simple music video, Jxst J is able to make the most out of it making it seem to go flawless with the song. It is most definitely a video that will have you want to watch it every time you listen to the single “Alone.” Jxst J (aka James Pratley Watson.) is a visual artist just as much as he is a musician. Before Jxst J he was recognized for his lo-fi visuals with his band Pratley. Now he is bringing his visual literacy to Jxst J with a trippy, arthouse aesthetic shot primarily on super 8 film
He plans to release a music video with each. song over the summer until the album “How to Pronounce Jxst J” full release this fall.
When terms like the Grateful Dead and Barton Hall come up in conversation, there’s a good chance the show being discussed is the band’s venerable May 9, 1977 performance. But there were two other shows played at this field house on the campus of Cornell University in Ithaca, NY. The final one occurred 40 years ago today. Pound for pound, it can certainly hold its own with the legendary ’77 show. And it’s certainly one of finer shows from 1981. So much so that the band recently included it on their massive 30 Trips Around The Sun box set that was released in 2015, 80 CDs worth of previously archived Dead shows celebrating the band’s lifespan. One listen shows why this was an easy choice for inclusion.
This year, the Dead take off from the starting blocks with “Feel Like A Stranger,” and Brent Mydland making his presence felt early with his electronic keyboards that are turned up way high in the mix. As the opener progresses, Jerry Garcia and the effects his guitar bring to the table rise to the top, giving it an injection of funk. For a song that had only been debuted weeks earlier at the Capitol Theater in Passaic, NJ, the groove is easy and seamless already, serving as the perfect opening salvo for this powerhouse show. Almost surprisingly, they decide to ease up immediately afterwards with a slowed down and soulful take of “Friend Of The Devil.” Mydland’s keyboard tone takes a turn for the heavens, lacing the Dead classic with an ethereal tone throughout. His efforts are rewarded with a spot for a solo and he produces a phenomenal one before handing the reigns back to Garcia.
The “Me And My Uncle” that follows finally gives Bob Weir a chance to take center stage and he navigates through the longtime Dead staple effortlessly. Mydland, still turned up plenty high in the mix, and Garcia go back and forth supplying the instrumental harmony for a band that sounds completely locked in. As was now Grateful Dead custom, once “Uncle” wraps up the drumbeat doesn’t stop and carries right over into a smoking “Big River,” highlighted by a jaw dropping run on the fretboard from Garcia. For gigs going as far back as 1978 and until 1982, these two songs would be joined at the hip just like this.
One of the real high points of the first set is the “Althea” that follows. It’s Garcia at his peak, delivering both soulful lyrics and another poignant guitar solo. Bassist Phil Lesh adds some nice extra layering on a somewhat slower but certainly potent version.
Weir then takes over again for “C.C. Rider.” But the Dead’s take on this blues standard is really fueled by another Garcia solo and the wailing rhythms emanating from Mydland’s Hammond organ. The two go back and forth once again, building the onstage chemistry that would be a mainstay of the ’80s.
The first extend inter-song break gives the Barton Hall crowd a chance to catch their breath and then it’s back to business with “Brown Eyed Women.” Garcia’s mid-song solo seems to go on a little longer than usual, only serving to ramp up the emotions even more. The band then shifts gears from old school to new with “Passenger,” with Mydland filling in the vocal part vacated by Donna Jean Godchaux. His raspy overtones don’t quite carry the same effect and, sadly, this song would be shelved for good at the end of the year. Though certainly not due to lack of effort.
A slow shuffle beat then signifies the start of “High Time,” and it never lets up. Garcia and company nail the harmonized vocals and delightfully toy around with this crowd favorite. The Dead then shift gears in the blink of an eye, with Weir quickly strumming and Garcia moving in rapid fire up and down the fretboard as they launch into “Let It Grow.” This one means business from the get-go as the rest band follows in pursuit, led in earnest by Lesh on bass. There’s a four-minute span before the song’s breakdown that’s a pure whirlwind, with each band member almost chasing one another, creating a rich texture of sound. It’s another one of the true first set highlights. A quick run through “Don’t Ease Me In” then caps off another stellar first set of Dead at Barton Hall.
The second set starts off with a “Shakedown Street” that seems to live up to its title early with some shaky lyrics from Garcia. As it progresses though, the kinks get ironed out and the funk increases, albeit at a somewhat slower pace. Weir’s rhythm guitar and Mydland’s keyboard fills mesh perfectly, and before long, a bluesy three-part vocal harmony is in full gear. But the real action takes place once this breaks down, with Garcia and Mydland soon engaging in a call and response-type jam. In keeping with tradition, “Shakedown” is immediately answered with “Bertha,” just like the Dead opened last year’s second set at Barton Hall.
https://www.youtube.com/watch?v=1IDpVffVSY4
Afterwards it’s another vintage Dead 1-2 tandem with “Lost Sailor” once again spearheaded by Weir. It proves as a more than worthy respite until the familiar chimes of “Saint Of Circumstance” kicks in. Weir navigates seamlessly between the two, with emotions respectively aligned with the respective moods of each. Almost abruptly, “Saint” comes to a halt and another immersive jam begins to develop. This one manages to work itself into a full fledged “Spanish Jam,” with influences from Miles Davis and his Sketches Of Spain album in full bloom.
As the “Spanish” element of the jam recedes, “Drums” begin to kick in and takes its usual assignment in the latter portion of the second set. The last Dead show at Barton Hall show has a lot to offer still , and the drumming tandem of Kreutzmann and Hart plays a major part. A particularly rowdy last movement of percussion soon finds its way into the familiar overtones of the beginning of “Truckin’.” As to be expected, the State that’s got the “ways and means” gets an appropriate response in Ithaca,
The ensuing jam soon sparks another one of the show’s highlights, as it devolves into a bluesy, funky ” Nobody’s Fault But Mine” jam that would make Led Zeppelin proud. Although no lyrics are sung, the sentiment is made clear and creates one of the better, off-the-cuff moments that make this last show at Barton Hall a special one.
https://www.youtube.com/watch?v=PrGmm6fEsXc
“Stella Blue” then emerges from this, winding things down and allowing one last chance to get sentimental. Garcia delivers the lyrics, and another staggering guitar solo, with raw emotion and just a bit of flare. The music slows a near crawl at one point, with the Cornell crowd so rapt and quiet one can hear a pin drop. Before long, the energy skyrockets back, with “Blue” turning into more of a rocker, a true testament to the Dead’s versatility.
This gives “Going Down The Road Feeling Bad” an opportunity to make an appearance and the Dead run with it. Afterwards, Bob Weir gets the last laugh, closing out the second set by leading the band through a peppy and near raucous “One More Saturday Night.” Barton Hall rings out in a roar of applause at its completion, leaving no doubt about their feelings on this one. The Dead then grace the crowd with a bit of an atypical encore selection. Instead of a cover or a quick song, it’s an “Uncle John’s Band” that produces one last patient and inspired jam – more than a fitting choice for the final song they would ever play at Barton Hall.
Grateful Dead Barton Hall – Ithaca, NY 5/16/81
Set 1: Feel Like A Stranger-> Friend Of The Devil-> Me & My Uncle-> Big River, Althea-> CC Rider, Brown Eyed Women, Passenger, High Time-> Let It Grow-> Don’t Ease Me In
Set 2: Shakedown Street-> Bertha-> Lost Sailor-> Saint Of Circumstance-> Spanish Jam-> Drums-> Truckin’-> Nobody’s Fault But Mine-> Stella Blue-> Goin’ Down The Road Feelin’ Bad-> One More Saturday Night
Heading into the homestretch of the season, Saturday Night Live welcomed Keegan Michael Key with musical guest Olivia Rodrigo. Led by a cold open with Dr. Fauci (Kate McKinnon) reviewing scenarios related CDC mask regulations being lifted, the evening also featured The Muppets return to SNL.
Rodrigo got her start on the Disney Channel, and is the lead in High School Musical: The Musical: The Series on Disney+. She released her first song (unrelated to the show), “Driver’s License,” in January where it debuted at #1 and stayed there for eight weeks. The inescapable breakup ballad about co-star Joshua Bassett has a mix of Lorde, Taylor Swift, and Billie Eilish.
Beginning the song sitting atop a grand piano, she moved about the Studio 8H stage, slowly revealing the full band spread around the perimeter of the state. With a light up floor, Olivia Rodrigo poured her heart into her breakout hit.
https://www.youtube.com/watch?v=HBik0MjXeMs
The second performance featured “Good 4 U,” a breakup song with an old-school Paramore vibe, released this past Friday, May 14.
https://www.youtube.com/watch?v=kiaCdUACJp8
Saturday Night Live‘s 46th season will come to a close on Saturday, May 22 with host Anya Taylor-Joy (The Queen’s Gambit) and musical guest Lil Nas X.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music fromHaley Moley, Architrave and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Haley Moley
Haley Moley’s newest release, “Narcissus,” is equal parts rock and electronic. Sporting a silver spoon on the single cover, the song’s lyrics speak of a selfish lover. Jennifer Maher Coleman’s vocals fade in and out, acting as another instrument beside the pulsing guitar and synths. Based in Troy, NY, Haley Moley also features Paul Coleman on guitar, Andrea Kosek on keyboard and guitar, Pat Thorpe on bass and Mike Broomhead on drums.
Architrave
Architrave, another project from Jennifer Maher Coleman and Paul Coleman, channels the new wave of the early 80s. The title of their recent single, “Headcount,” is deceiving. Its opening lines say, “There’s safety in numbers, here’s the headcount / One, one, and another one, I’m the only one.” While equally moody as “Narcissus,” Coleman’s vocals take center stage here.
Anacortez
Anacortez harkens back to the alt rock sound of the early 2000s. Consisting of Jessie Comtois, husband Michael Comtois and drummer Kevin Couture, the band is named after a town in Washington. Their latest single, “Another Sad Song,” resides on the softer sound of 00s rock.
Danger! Ken
Lastly, multi-instrumentalist and composer Danger! Ken will be playing “Astral Traveler” off his new release, Up is Down.
