With live music having returned to New York, Warsaw Brooklyn finally reopened its doors to fully vaccinated crowds for Andy Shauf’s sold-out two night run on September 9 and 10, 2021. Tomberlin opened both nights with lighthearted stage banter and mellow acoustic tunes, lending to the venue’s naturally intimate atmosphere.
Andy Shauf at Warsaw Brooklyn, photographed by David Reichmann
After closing its doors during 2020 for the pandemic, Warsaw Brooklyn finally brought back their famous pierogis and reopened their stage for the starting leg of Andy Shauf’s North American tour. Shauf’s latest album, The Neon Skyline, had only come out in January of 2020 when their scheduled tour had to be postponed due to the pandemic.
Tomberlin Opening for Andy Shauf, photographed by David Reichmann
Tomberlin opened for Shauf on both nights at Warsaw, playing some of her hits, including the sorrowful but sweet song, “Seventeen.” She also invited the crowd to sing along during her performance, which went over well as she smiled and sang along with her captive audience.
Andy Shauf at Warsaw Brooklyn, photographed by David Reichmann
Shauf’s latest album gained some extra attention when the title track of his latest album, The Neon Skyline, was featured in Barack Obama’s Summer 2020 Playlist. Shauf’s setlist included several tracks from The Neon Skyline as well as highlights from the preceding album, The Party.
Andy Shauf at Warsaw Brooklyn, photographed by David Reichmann
Andy Shauf’s North American Tour continues through the Fall, and you can check out his music here.
British indie rock icons Glass Animals started off their Dreamland North America tour right in Buffalo. With a sold-out show at Artpark on August 30, this band completely steam rolled the crowd. Getting to this level of success was nothing short of hard work and dedication.
Photo Credit: Maddie McCafferty
How It Started
Glass Animals members Dave Bayley (lead singer), Edmund Irwin-Singer (bass), Drew MacFarlane (guitar) and Joe Seaward (drums) met each other at age 13 in school. They began making music as a side hobby in 2010 and released their debut album ZABA four years later. This release accelerated their careers significantly, especially due to the viral hit “Gooey.”
After touring globally and appearing on several popular night shows, the band began developing their second album. As a singer, songwriter, and producer, front man Dave Bayley wanted to stray away from standard lyricism. Instead of writing about himself, Bayley sought to tell the stories of people he met on the road. And that’s how the How To Be A Human Being album was curated.
Photo Credit: Maddie McCafferty
Creating Their Dreamland
These musicians built a community by celebrating the ability to be unique and different. Bayley felt this openness with his fans and decided to finally write material that was personal to him. The band faced a significant hardship as Seaward got into a horrific accident. This caused the group to have to reset as the drummer went through rehabilitation. It wasn’t until years later that they made their comeback with multiple singles and further on released their most ambitious album yet: Dreamland.
The 2020 autobiographical album was the most personal and raw material of theirs to date. Unsure of the outcomes of the future, Bayley spent time looking at his past. Dreamlandis about growing up and learning to be vulnerable even in the strangest of times. The band looks to challenge conformity and embrace the inevitable uncertainties of life. In hopes of capturing the essence of getting older, Bayley chose to add audio from old home movies. He layered audio from his Mom’s videos between the songs as interludes to provide a narration aspect.
Photo Credit: Maddie McCafferty
Dreamland is nostalgic, funky, and very intricate. So many elements of this album are detailed in such a meticulous way that often go unnoticed. From creating a table of contents in the intro song to paying homage to Bayley’s favorite artist to alluding to album features on their website through games, everything was thought through. Basically, nothing went untuned when it came to producing this masterpiece. Glass Animals had to transform their at home production talent to an onstage experience after many years away, and let’s just say they did not miss a beat.
From Quarantine to Tour
The stage at Artpark was an immersive experience no matter where in the crowd you were located. The stage set-up felt like you were in a dream or rather submerged in Bayley’s head. A desktop computer image was loading in the background as the stage was filled with peculiar materials like a diving board, basketball hoop, neon signs, and even palm trees. Seeing all this made the packed crowd pumped up. It also helped that opening artist binki kept the funk alive. The indie musician filled the venue with groovy tunes and also performed magic tricks.
Photo Credit: Maddie McCafferty
When Glass Animals hit the stage, the screams echoed throughout Artpark. The band has undeniable infectious energy that had everyone up and dancing. They opened the show with the beloved single “Dreamland” which set the mood for the night. After that, not a single person sat down.
The hypnotic beats mesh effortlessly with Bayley’s delicate vocals. In addition, the rippling guitars and background psychedelic imagery was entrancing. The liveliness of the audience was incomparable as the band had to stop playing multiple times just to listen to everyone cheer. Being back to live shows never felt so good. They continued throughout the night playing hits off of all three of their albums including “Hazey,” “Pork Soda,” and “Space Ghost Coast to Coast.”
The energy shared from Glass Animals and the crowd made one huge epic dance party. No one wanted the night to end as multiple encores were cheered for. They closed the set with the streaming hit “Heat Waves” which did not disappoint. The song resonates with many as it deals with the struggle of identity and confronting one’s true emotions. Beyond that though, the beat and tempo in this is what makes it even more popular among fans. The night ended as an image of a desktop computer read, “It’s now safe to turn off your computer. Thank you, Lewiston.” There was no room for anything but feelings of awe as everyone left the venue.
Photo Credit: Maddie McCafferty
Future Outlooks
If there was a “plain-Jane” section in the record store then Glass Animals’ discography would be located on the complete other side. Wait no scratch that, they would be located in their own area outside the store. Their sound is unmatched. From the use of rainforest audio, to obscure lyrics which always includes some kind of food, to mixing genres in innovative ways, this band cannot be contained. It’s only up from here and with all the growing momentum, the sky is the limit for Glass Animals.
Make sure to check out upcoming shows at Artpark. GOV’T Mule performs on September 7 and Phoebe Bridgers has a show on September 15.
Setlist: Dreamland, Life Itself, Tangerine, Black Mambo, Hot Sugar, Hazey, The Other Side of Paradise, Space Ghost Coast to Coast, Cane Shuga, It’s All SO Incredibly Loud, Your Love (Déjà Vu), Take A Slice, Gooey, Youth, Pork Soda
Capping off the Summer with a “wild” performance, the 2021 Capital Concert series came to a bittersweet close Wednesday night in Albany, with the final event at the Empire State Plaza headlined by Saratoga Springs’ hopefuls Wild Adriatic and Troy mainstays Super 400.
The free event presented by SEFCU was initially scheduled to be outdoors, but with lingering precipitation from Hurricane Ida, organizers made the early call to move inside and underground to the underutilized Convention Center.
Holding nothing back on this night, Wild Adriatic [Travis Gray(guitar), Rich Derbyshire (bass) and Mateo Vosganian (drums)] expanded from trio to five-piece for this special performance, enlisting keyboard player Dusty DeLuke and Let’s Be Leonard saxophone player Connor Dunn to help fill out their sound. The additions paid dividends early as the band opened with some of their oldest material, a one-two punch of “Letter” and the always upbeat “Mess Around.”
From there the band slipped into the opening track off their 2019 Our Time EP, “Hard Living.” Now firing on all cylinders, it felt like the boys put a little extra stink on a riff-rockin ‘Same As It Ever Was>Mistreated” jam sandwich, which at one point included a bit of call-and-response interplay between Gray and the audience.
Not done with sandwiches and segues just yet, Wild Adriatic would also uncork Tight Grip >Duende >Tight Grip and then finish up the set with an impressive triple decker treat that went from ” 40 Days, 40 Nights” to “Appleton” to a surprising cover of the Phish song “Carini,” one of the headiest type-II vehicles in their catalogue.
The band would eventually find their way back to “Appleton” to close out the set. After taking a bow and walking off stage, there seemed to be some confusion if they’d be back for an encore. After a few minutes of wonder, a buzz started growing when people collectively realized the stagehands were actually adding instruments to the stage, not breaking it down. When Wild Adriatic finally emerged from the shadows, they weren’t alone.
Now joined by their friends from Super 400, the stage was set for a super-jam scenario. Much to the delight of those who stuck around, fans were treated to a memorable three-song encore of classic covers; “Cissy Strut” by The Meters, “Loving Cup” from the Rolling Stones and finally, the show concluded with reggaed-out version of “I Shot the Sheriff.”
Wild Adriatic – Capital Concert Series, Empire State Plaza Convention Center, Albany – Wednesday, September 1, 2021
Setlist: Letter, Mess Around, Hard Living, Same As It Ever Was > Mistreated > Same As It Ever Was, Ain’t The First Time, New Orleans, Tight Grip > Duende > Tight Grip, 40 Days 40 Nights > Appleton > Carini > Appleton
Superjam: Cissy Strut, Lovin’ Cup, I Shot The Sheriff
After long anticipation, Buffalo came together for the Beau Fleuve Music and Arts celebration. This 5-year event brought crowds of people to the Buffalo Central Terminal on August 29.
Photo credit: Maddie McCafferty
The atmosphere was uplifting as performers took over three different stages and venders filled the walkway. In addition, silent disco sets continued throughout the day. There wasn’t a dull area in the festival as many embraced the numerous exhibits.
Musicians with an array of different genres established their unique presence on stage. From alternative to rap to rock and everything in between, nobody left room for disappointment. Mom Said No was instantly a crowd favorite from the moment they walked on stage in matching blue suits. Not to mention their infectious energy that felt reminiscent to those harmonic alt boy bands.
Photo credit: Maddie McCafferty
Just when you think the intensity can’t get any greater, it did just that. Other artists like Billie Essco, A.I. The Anomaly, and FREAK THE MIIGHTY got the crowd even more wired up. Their stage presence and crowd engagement kept many up on their feet.
Photo credit: Maddie McCafferty
Throughout the day many were highly anticipating an exciting performance from the headliner Jae Skeese. His accolades are nothing short of the clear skill and passion he places in his craft. Guests stayed alongside Jae Skeese throughout the set while dedicating the night to a friend who passed, Weeze.
Photo credit: Maddie McCafferty
Beau Fleuve Music and Arts celebration brought together a diverse group of local musicians, artists, fashion designers, and other contributors to support Buffalo. The community collectively united to uplift the talented artists that are located right in their backyards. Supporting the arts has become a priority and with that comes even greater potential in the future. This event is just the start of a more profound movement.
Dead and Company continued their Empire State run on Wednesday, August 25 at Darien Lake Performing Arts Center, with the amusement park behind the venue giving the performance an county fair vibe. John Mayer sported a pair of headphones after noticing a slight ringing in his ears post show in Bethel Woods and wanted to protect his hearing. The headphones also allowed him to hear the band better and in turn, play in the band better.
photo by Josh Davis
Mayer immediately lit up the show with opener “Viola Lee Blues.” In a Tales from the Golden Road conversation with NYS Music, Mayer said he loved bringing his approach to the Grateful Dead’s mixolydian blues catalog. “A song like ‘Viola Lee Blues’ I can really pull the Hendrix thing to it. It’s not that different.” Thus, “Viola Lee Blues” jammed and was weaved into both sets. Mayer stayed out front vocally on “Cold Rain and Snow” that hit inland from Lake Ontario to cool off the summer crowd. Bob Weir got on the mic for “Feel Like A Stranger” to remind the crowd that it’s “gonna be a long long crazy silky night” with Oteil Burbridge really fueling the funk level. He told NYS Music earlier this year “Well I mean there is so much funk in the Grateful Dead’s music. The Jerry Bands’ music. It’s just like there for the picking. So I just lean into it” Oteil and John really bring a new energy to this celebrated catalog and traded lead vocals on a swaying “Ship of Fools.”
The New York western plain vibe continued with “Friend of the Devil” that had Jeff Chimenti leading with saloon style piano – Chimenti has been playing with Bobby in “Ratdog” for a reason for over 20 years. Bob Weir started howling vocally on “Loose Lucy,” with a tone that night very in the moment and full of raw emotion. Mayer got another stab at the mixolydian blues to close the set with “New Speedway Boogie”. Mayer said of the musical concept in Dead and Co., “It’s very ascending and descending that’s what’s allows people to ride it”
photo by Josh Davis
The second set started with a nod to the western terrain of Darien, with “Truckin’” (up to Buffalo), followed by the first song Dead and Company ever played as a group, naturally, “Playing in the Band.” A beyond welcoming composition for Mayer, Burbridge, and Chimenti who joined the 3 core members on this musical journey six years ago. Burbridge said in an interview with NYS Music in Miami about the band’s first gig: “That was a harrowing night. That was a trip. That beginning time. But when Bill Walton says you’re good, you stop worrying.”
The ensemble then unfolded a “China Cat Sunflower” into a “I Know You Rider” that shone the light back on Weir’s vocals, taking on the spirit animal of an old wolf howling under the night tent at Darien. This sole survivor momentum lead into the band’s tribute to Rolling Stones drummer Charlie Watts who passed earlier this week with a cover of “The Last Time”. Again Bob Weir lead the pack in the moment, “This could be the last time, I don’t know.” Billy and Mickey’s “Drums” segment opened up some chakras with their vibrations, and the band returned for “Space.” After orbiting it was time to bring the children home with “Uncle John’s Band” The final song of the evening brought great imagery to a late August night with “Wharf Rats” and the band came full circle by closing the show with a reprise of “Playing in the Band.”
The encore was truly chilling as they covered Bob Dylan’s “Knocking on Heavens Door.” Although Bobby and John both sported cut off tees like Guns & Roses, this was truly their take on this song, a very heavy way to end a show. A night of music like this brings all your feelings to the surface. Jerry Garcia once said of music’s effects “I don’t know why. It’s the same reason why you like some kind of music and not others. There’s something about it YOU like. Ultimately I don’t find it’s in my best interests to try and analyze it. Since it’s fundamentally emotional.”
Dead and Company – Darien Lake Amphitheater, Darien Center, NY – 8/25/21
Set 1: Viola Lee Blues > Cold Rain and Snow, Feel Like a Stranger, Ship of Fools, Friend of the Devil, Loose Lucy > New Speedway Boogie
Set 2: Truckin’ > Playing In The Band > Viola Lee Blues > China Cat Sunflower > I Know You Rider > The Last Time* > Drums/Space > Uncle John’s Band > Wharf Rat > Playing In The Band (Reprise)
A New York Welcome at Citi Field – Review/Photos by Steve Malinski
It was otherwise just a typically warm summer NYC evening to usher in this past Friday night when Dead and Company took the stage at Citi Field. After some strange times in the two-year gap since their last stop in NYC (and some Covid-19 checks before entering), however, the music restored a sense of normalcy and familiarity with experiencing a large-scale concert.
Just as if Dead & Co. hadn’t skipped a beat since their 2019 tour, they took the stage without an ounce of rust from their pandemic downtime. As they shuffled into the first set with “Good Times,” John Mayer commanded the mic, signaling the core role he has developed in this iteration of the Grateful Dead family. Bob Weir stepped up to the plate sharing the lead with Mayer on vocals throughout the night, rallying the Queens crowd for the New York City line in “Ramble on Rose.” The youngest surviving member of the original Grateful Dead lineup, Weir was nimble on his feet as he enjoyed crafting the rhythms just as much as the crowd relished the sound.
Set two took a trip to the late 1970s-era Dead setlists, featuring the classic pairing of “China Cat Sunflower/I Know You Rider” and fluidity from the start to finish of the set. The night was capped off on a high note with an energetic “U.S. Blues” and an encore covering The Band’s “The Weight,” featuring a trade of choruses between Jeff Chimenti, Mayer, Weir, and Oteil Burbridge.
Dead and Company Citi Field – Flushing, NY 8/20/21
Set 1: Let the Good Times Roll, Bertha, Good Lovin’ -> Big Railroad Blues, Ramble On Rose, They Love Each Other, Cassidy -> Casey Jones
Set 2: Eyes of the World -> Uncle John’s Band -> China Doll -> China Cat Sunflower -> I Know You Rider -> Drums/Space -> Spanish Jam -> Althea, Stella Blue, U.S. Blues
Dead and Company Recreate 1969’s Woodstock Performance at Bethel Woods – Review by Matt Romano, Photos by Steve Malinski
It’s true, The music never stopped for the Grateful Dead. It’s newest reincarnation as Dead and Company continued its trip through the Empire State at Bethel Woods Performing Arts Center on Monday, August 23. The band played on a stage set among the rolling hills of the original 1969 Woodstock festival. A sense of delight was in the air for all those on the adjacent path of the site towards the stage for this year’s festivities.
They opened with “Hell in a Bucket,” this time enjoying the ride. Jeff Chimenti immediately stepped out as he would the whole night on the keyboards. The band really seems to play off Jeff and the musical ideas he passes onstage. John Mayer especially picks up on the mixolydian blues concept Pigpen started in the ‘60s by taking lead on “Easy Wind.” This track is ideal for Mayer’s blues background and the words, “Easy wind going ‘cross the Bayou today. There’s a whole lotta women. Out on the streets in a red today.”
Mayer also stepped out in front for “Brown Eyed Women,” singing as humbly as Jerry sang about Delilah Jones. The band then drifted off into the seas to end the first set. A “Row Jimmy” out in the mist led to a “Lost Sailor,” and they came back to shore with a “Saint Of Circumstance.”
Tigers in trance deserve a second chance. That’s what the band was able to get on the other side of the hill from their Woodstock ‘69 performance. The Grateful Dead may have been one of the more famous performers at Woodstock, but their set didn’t exactly knock it out of the park. They played from 10:30 pm to midnight on the second day, but their entire performance was filled with technical difficulties. The band was even subject to electric shock on stage although that truly could have been them representing their infamous logo.
But on this night on the other side of the hill, Bob Weir said at the start of the second set, “Now 50-some years ago right here, we tried this next little sequence and it didn’t go so well. It didn’t work so we’re gonna try it again.” With that, Dead and Company, in all their glory, recreated the five song setlist from the 1969 festival that includes covers by Merle Haggard and Bobby Blue Bland: “St Stephen,” “Mama Tried,” “Dark Star,” “High Time,” “Turn on your Lovelight.”
Weir, who was 22 during the original Woodstock, sang Merle’s “Mama Tried” with the same howl in 2021 that he had in 1969. “I turn 21 in prison doing life without parole. No one could steer me right but Mama tried.” Bobby Bland’s “Lovelight” percolated throughout the set with John Mayer, who is no gravity stranger, wanting to be where the light is. The old memory set faded into a “Drums/Space” jam that featured a new “bass” segment from Oteil Burbridge – who has joined the Rhythm Devils on Halloween at Madison Square Garden – took his own featured piece. He was left on stage solo with only pure bass notes to the crowd’s ears. The band joined Oteil on his sky journey for “Space” While up there, they decide to return to the Garcia classic “Standing on the Moon,” to remind of summer tours past. Bob Weir and John Mayer then brought out the acoustics to send everyone back on the tree lined paths with “Ripple.”
You certainly could feel Jerry’s spirit in the same rolling Catskill hills that his music happily haunts. His music helped Dead and Company continue to set the bar high for likely their only recreation of this old performance. “It’s not enough to be the best at what you do. You must be perceived as the ONLY one who does what you do”
Dead and Company hit Darien lake Wednesday night, then head to Saratoga Springs on Friday.
On your way to SPAC, don’t forget that Stewart’s Shops is your ice cream shop! With over 345 shops in 31 counties across New York and southern Vermont, the convenience store chain is known for their fresh & local dairy products. With dozens of choices at the cone counter, you’re bound to find something you love! Try a shake, sundae, or cone today, What’s Your Flavor?
Dead and Company Bethel Woods Performing Arts Center – Bethel, NY 8/23/21
Set 1: Hell in a Bucket, Easy Wind, Loser, Brown-Eyed Women, Throwing Stones, Row Jimmy, Lost Sailor -> Saint of Circumstance
Set 2: St. Stephen -> Mama Tried -> Dark Star -> High Time -> Turn On Your Love Light, Drums/Space/Oteil Bass Solo -> Deal -> Standing on the Moon -> Turn On Your Love Light
Thousands of fans packed the beautiful grounds of the Saratoga Performing Arts Center (SPAC) in Saratoga Springs on a spectacular August evening to listen to the familiar and steady voices of James Taylor and Jackson Browne.
Jackson Browne got the evening started, singing a mix of his classic songs. If you closed your eyes during the performance, you’d be hard-pressed to know that it was not the Jackson of one of his early albums. Fans enthusiastically greeted each song, many singing along with the familiar lyrics. The audience erupted in cheers when Jackson brought out James Taylor to accompany him on a few songs. He mentioned that knowing this tour was on the horizon made the last year and a half more bearable. Both performers mentioned how much fun they’ve been having on this tour, so much so that they have added 18 new dates.
Jackson Browne at SPAC
After a short break, James Taylor‘s set began with images and videos playing on a gigantic fretboard above the stage. Pictures of James throughout his career, fans at different James Taylor shows, and videos of fans playing some of James’ songs warmed up the enthusiastic crowd. As the darkened stage lit up, James emerged in his trademark cap and jacket and performed songs from his massive songbook.
James Taylor at SPAC
The crowd didn’t hesitate to call out requests, and James interacted with the crowd to set up his next selection. “It’s funny you should mention North Carolina,” before segueing into “Copperline,” a song about the area he grew up in. As a James, I was happy to hear “Sweet Baby James” make the setlist. The songs served as a lullaby of sorts to me and transported me back to my youth. Jackson Browne joined Taylor for an encore of “Take it Easy,” and James ended the night with “You Can Close Your Eyes,” a duet with his son Henry
The tour continues in the northeast with one more show in New York at the Northwell Health at Jones Beach Theater, and two shows in New Jersey before heading south and west in the fall.
James Taylor Setlist: Country Road, Never Die Young, Copperline, That’s Why I’m Here, Mexico, You Make It Easy, Line ‘Em Up, Steamroller Blues, Easy as Rollin’ Off a Log (Johnnie ‘Scat’ Davis cover), Sweet Baby James, Fire and Rain, Carolina in My Mind, Shower the People, How Sweet It Is (To Be Loved By You)
Encore: Shed a Little Light, Take It Easy (with Jackson Browne), You’ve Got a Friend, You Can Close Your Eyes (with Henry Taylor)
On August 16, 2021, Lindsey Stirling graced Saratoga Performing Arts Center with an incredible performance. From daredevil aerial spinning to intricate choreography, her show is one for the ages. Sterling said during her set that she always imagined herself becoming what she is today, a badass playing violin and dancing to dubstep, wearing the most fantastical costumes.
Photo by Zach Culver
Lindsey’s Artemis Tour, named after her latest album release, is just as outrageously out of this world as any of her work. Every few songs a video would come up on the massive LED screen behind her playing a fable of sorts, usually incredibly strong and uplifting, inner beauty and strength being a key point in all her messages. She dives deep into each genre of… well, everything she gets into. Her music ranges from heavy dubstep to classical and back to pop, and her stage performances always have incredible themes.
Artemis is very much an album based in ancient fantasy. The videos between songs showed Lindsey Stirling in full costume in the middle of the woods, bow in hand, among her clan of pre/post-apocalyptic hunters. As she dove into her other albums, her costumes and themes changed with them. A Choose Your Own Pirate Adventure got the crowd cheering as the fair maiden and her crew acted out insanely hilarious and amazing choreography.
The Artemis Tour takes Lindsey out west for a handful of shows before a five-month hiatus. In late February 2022, she begins her World Tour of the same name beginning in Sydney, Australia and ending in Kiev, Ukraine.
Setlist: Artemis, Til the Lights Goes Out, Darkside, Shatter Me, Masquerade, Master of Tides, Love Goes On and On, Crystallize, Married Life > Once Upon a Dream > A Dream Is a Wish Your Heart Makes / You’ve Got a Friend in Me, Between Twilight, Sleepwalking, The Arena / Underground, Roundtable Rival / Don’t Let This Feeling Fade, First Light, Mirage
Rescheduled from 2020, Daryl Hall and John Oates had been waiting to get their tour on the road for almost as long as we’ve been waiting to see them again. On Sunday, August 15th, they arrived with some 13,000 fans at Saratoga Performing Arts Center, one of the biggest crowds this venue has seen in some time. English band Squeeze opened the show.
Photo by Zach Culver
The duo came out, clad in their best rocker gear, followed by their band. Starting out with the classic “Maneater” the crowd was in from the start. They ripped through a few of their oldies before Daryl moved over to his grand piano for “Sara’s Smile.” After tearing up the crowd’s heartstrings he moved back over to center stage with his counter-part. The whole band came in strong for “Back Together Again,” surely being a very meaningful track for them after this past year.
30 minutes before their slotted end time they left the stage, leaving the crowd hungry for more. Little did they know what they were in for. Hall and Oates came back on stage for a four song encore, starting with “Rich Girl” and flowing into “Kiss on My List,” “Private Eyes,” and lastly, “You Make My Dreams.”
The duo headed west after Saratoga and the next time they will be near New York State will be September 18th at the Merriweather Pavilion in Columbia, MD and Foxwoods Casino in Mashantucket, CT to close their tour on December 3rd and 4th.
Setlist: Maneater, Out Of Touch, Method of Modern Love, Say It Isn’t So, You’ve Lost That Lovin’ Feelin’ (Barry Mann cover), She’s Gone, Sara Smile, Is It a Star, Back Together Again, I Can’t Go For That (No Can Do),
Encore: Rich Girl, Kiss On My List, Private Eyes, You Make My Dreams
Billy Joel performed at Highmark Stadium in Orchard Park on Saturday, August 14 for his rescheduled 2020 date, with thousands of fans packing the Buffalo Bills stadium in a highly anticipated event that marked the return of concerts at the venue since the pandemic began.
This was the first full capacity event to happen at Highmark Stadium, and the fans were really enjoying it. From tailgating out in the lots, to everyone together in the stadium the atmosphere was nothing short of electrifying.
The rules in place were well respected to give the best and safe experience as possible. Masks were required by all fans and staff when inside of the stadium concourses or in the bathroom.
Shortly after 8:30pm the stadium filled in as eager fans waited for the Piano Man to take the stage. The piano sat front and center in plain sight looking immaculate as anticipation grew for the performance to start. Fans were up front holding an assortment of different signs expressing their love and gratitude to Billy Joel, one woman even holding a sign saying how she named her child after him.
With an eruption of applause and cheers Billy Joel took the stage, giving a brief wave and smile to the crowd before taking his seat at the piano. Immediately he opened up with “Movin’ Out’ setting the crowd off into cheers. Billy Joel transitioned his songs flawlessly as one would expect from the lifetime of experience of performing music. Billy Joel performed “Miami 2017” and then “Pressure” before addressing the crowd with a “Hello Buffalo!”
While being considered one of the greatest musicians of all time, Billy Joel also brings with him a fun and witty sense of humor. This was showcased when he informed the crowd of the origins of Buffalo’s name, stating it was too difficult of a French word to pronounce, so it ended up being “Buffalo”
Billy Joel went on to perform an electrifying 24 song set that seemed to go way too quickly. Joel is known for bringing other musicians on stage with him, and it was no different for Buffalo. Introducing John Rzeznik of the Goo Goo Dolls, a Buffalo native, they performed the bands hit “Iris” This was very well received by fans as everyone in the stadium was singing along, as Rzeznik looked like he was having the time of his life.
The set consisted of many of Billy Joels top hits including “New York State of Mind”, “Allentown”, “She’s Always a Woman”, “Scenes From an Italian Restaurant” and of course to end the set was “Piano Man”. But Billy Joel wasn’t finished yet – coming back for a five song encore of “We Didn’t Start the Fire”, “Uptown Girl”, “It’s Still Rock and Roll to me”, “Big Shot”, and “You May Be Right” to finish the night off.
Billy Joel gave a masterclass in live performance in Buffalo, and he shows no sign of slowing down. He truly is one of the greatest performers of all time, and demonstrated that with the combination of a beautiful production and his ability to command the crowd with his presence.
Setlist: Movin’ Out(Anthony’s Song), Miami 2017(Seen the Lights Go out on Broadway), Pressure, Summer, Highland Falls, The Entertainer, Vienna, Zanzibar, New York State of Mind, Don’t Ask Me Why, Iris(Goo Goo Dolls cover with John Rzeznik), Allentown, My Life, She’s Always a Woman, Sometimes a Fantasy, The River of Dreams (With “Tush” by ZZ Top interlude), Only the Good Die Yound, Nessun dorma (Giacomo Puccini cover with Mike DelGuidice) Scenes From an Italian Restaurant, Piano Man
Encore:We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, You May Be Right
