Rochester is home to some long standing music venues, one in particular is Montage Music Hall. This venue has seen many acts from locals to national artists ever since it opened its doors many years ago, it has been host to bands such as Tantric, All That Remains, Clutch, and many other big names. On October 5th, Montage Music Hall hosted Attila on their “Day Drinking Tour,” along with Jynx and with local support from Destroy//Create, and Perspectives. The show had a great turnout and energy throughout the night, especially for the show being on a weekday. Head over to the Montage Music Halls site to find out what shows are next.
Goose made it look almost all too easy to sell out their second night of Terminal 5 on October 9, 2021. The Connecticut-based quartet undeniably took the audience on a full fledged journey that encompassed the multitude of genres that have influenced the band, thus far. Lucky New Yorkers had a chance to experience the powerhouse that transported us somewhere outside New York City this weekend.
Stage lights dim welcoming Rick, Peter, Trevor, Ben, and Jeff on stage, accompanied with a roar from fans begging “GOOSE”, echoing from all three stories inside the terminal. “Tumble” opened the show where Ben Atkind (drums) did us the favor of pulling us into the groovy funk dictating the addictive dancey beat that defines Goose. Rick Mitarotonda (guitar, vocals) spoke indefinitely through the gorgeous Paul Reed Smith Hollowbody II, putting the audience in a trance with his guitar shredding improv through Bob Don.
Peter Anspach makes his first lead vocal debut of the night with a new song from the band, Life On the Shelf. Clearly an unreleased hit, without knowing any words fans were hooked on the chorus, dancing and swaying to the sincere folk tune, highlighted by Rick and Peter’s buttery harmonies. Followed with “Jive Lee” and “Jive II,” Peter’s funky solos and Trevor Weekz thick bass lines brought the crowd furiously jumping and screaming once again. Without any hesitation the audience was pulled into a surprise cover of “Rock the Casbah” from the Clash shaking the floor until the end of set I.
“Wysteria Lane” kicked off the second set with a smile and Peter’s earnest vocals, with some help from the Luigi plush on one of his three dazzling double casio keyboards. Unbelievable Goosian-shredding kept the crowd mesmerized cheering with each cadence as both Rick and Peter swiftly moved up and up the neck leaving the audience asking if they came to a hard rock concert. Rick guided us through Seekers on the Ride I and II with ease reminding fans of their versatility as artists. The loudest cheers of the night broke when Rick’s eccentric solos pushed to the well known hard twangy intro of “Hot Tea.” Ending with “Dragon Fly I & II,” Rick eased our anxieties with a smile “Don’t worry we have one more set.”
“Get The Funk Out of My Face” was not the only cover of set III, but Goose’s folk rock cover of Foster the People’s “Pumped Up Kicks” made it sound like Goose could’ve written the song. Just when we thought Trevor Weekz might just be too cool for us, being the backbone of Goose with his 5-string bass and sunglasses, the spotlight shined on him as he read a “Acquainted with the Night” by Robert Frost backed by Ben Atkind (drums) and Rick filling some eerie melodies. The band endurance was unrequited through three full set of nonstop music eventually wrapping with an Encore of “Hot Tea.”
Goose – Terminal 5 – Friday, October 8, 2021
Set 1: So Ready, Look Out Cleveland, Honeybee, Indian River, The Whales, All I Need
Set 2: 2021> Old Man’s Boat >2021, Rosewood Heart > Into the Myst, Echo of a Rose > 2021
Encore: Flodown
Goose – Terminal 5 – Saturday, October 9, 2021
Set 1: Tumble, Bob Don, Life on a Shelf*, White Lights > Jive 1 > Jive Lee > Rock the Casbah
Set 2: Wysteria Lane > It Burns Within, Seekers on the Ridge [Part I & II], Hot Tea > Dragonfly [I&II]
Set 3: Get The Funk Out Ma Face, Creatures > Pumped Up Kicks, Madhuvan** > Turn on Your Love Light > Madhuvan
Video game covers and dark medieval Prog-Rock were on hand for Friday, October 8 as Comic Con came to a close, ShwizZ, You Bred Raptors?, and Bonus Level treated New York City to a night of technically sound musicians, nostalgic video game inspired covers, and a lot of booty shaking at The Loft at City Winery.
Tetracube, aka Chris Gironda, played DJ sets between the bands throughout the night. The night kicked off with ShwizZ; any combination of musicians including Andy Boxer on drums and Ryan Liatsis on guitar is an all-time great lineup to witness. With the new additions of Scott Hogan on bass and Will Burgaleta on keys, ShwizZ continues to deliver that powerhouse flavor with a couple of new spices to give it zest.
Following ShwizZ was a band that was well worth the wait. From the first second You Bred Raptors? started playing, you felt as if you had been teleported into an orchestra conducted by Tim Burton, as if Jack Skeleton was the inspiration behind their twists and turns of their demonic symphony.
To close the Comic Con night, Bonus Level, a new project consisting of Corey J. Feldman and Nate Searing of Brooklyn-based band Cousin Earth, along with Tom Tompkins on guitar and Darren Denman on keys took us through a journey of classic video game covers and improvisational Easter eggs. The crowd was extremely impressed with how well they created different paths of spontaneity, while also staying true to the original soundtracks. Their Type II video game jams made for a fun combination of musical prowess and nostalgia at its finest.
The phrase ‘this darkness has got to give’ originates in the Robert Hunter penned Grateful Dead song “New Speedway Boogie,” a line that speaks of hope and aspirations of a brighter future ahead.
In June 2020, NYS Music started the series “This Darkness Has Got to Give,” amid uncertain times where we did not know what the next few weeks or months would provide for the musicians, venues, music industry staff and employees, as well as patrons across New York State. We hoped for the best, and while the era of streaming sufficed for a time and is permanently ingrained with bands and venus, live music has returned.
Sort of, at least. We have had some false starts, with tours cancelled shortly after they are announced, tours scaled back, and artists opting to require patrons to show proof of vaccination, as well as wear a mask inside venues. All of these are not major asks for patrons who have been deprived of live music, just as musicians have been deprived of audiences in the last year and a half. Given the tight COVID-19 protocols in place for touring musicians and at music venues, especially here in New York State, the result has been the return of live music to many venues, the arrival of crowds to outdoor and indoor events alike, and a feeling of normalcy, even if things don’t seem all the way normal just yet.
We are still not out of the woods yet. So long as mask policies are abided by and those eligible to be vaccinated do so, the full live music experience – at venues, music festivals, on cruise ships or in basements of college houses – can return in all parts of the state and country.
This edition of “This Darkness Has Got to Give” has a different angle to it. While we are looking at the music venues that dot the landscape all across the Empire State, we take a look this time not just at the venues, but at the crowds of fans who have flocked back to support their favorite artist and venue, and recharge ourselves through the power of live music. We begin where we started the series in June 2020, in Western New York, courtesy of Contributing Photographer Samantha Rychlicki.
An iconic venue located on the Lower East Side of Manhattan, known for being a hotbed for indie talent since the early-1990s, the Mercury Lounge welcomed country singer-songwriter sensation Maggie Rose on Tuesday, October 5. An emerging star based in Nashville by way of Potomac, Maryland, Maggie Rose has created her own original recipe of the rock, pop, blues and soul genres.
No stranger to the road or to the stage, Maggie Rose is approaching the century mark for appearances at the legendary Grand Ole Opry, while also touring extensively over the past few years with the likes of Sheryl Crow, Kelly Clarkson, Heart, Joan Jett, Emmylou Harris and Jason Isbell, just to name a few. Having honed her power-packed vocal talent since getting her first start in 2009, Maggie Rose is currently in the midst of a headlining tour in support of her third album titled Have a Seat(Starstruck Records), released this past August and recorded at the legendary FAME Studios in Muscle Shoals, Alabama. On this early autumn night, her frequent touring collaborator Them Vibes (a sextet formed in 2013 and also hailing from Music City) would once again be backing her.
The night’s proceedings were kicked-off by Dylan Hartigan, the “Jersey Boy” who calls home only a short distance away, when he casually walked onto the stage with the confidence of a seasoned veteran. Dylan Hartigan was officially introduced to the music industry in 2018, as a contestant on “The Voice,”where he impressed many. One of those who praised Dylan’s musical talents was Maggie Rose herself, who would go on to co-produce his brand new album out this week, titled The Way My Bones Creak.
In the short time that it took for Dylan Hartigan to remove his sneakers, adjust the height of his microphone and grab his acoustic guitar, the patrons I navigated around the bar entrance to the stage minutes earlier had seamlessly appeared around me, drinks in hand. I was now a witness to the exhilarating scene of Dylan’s friends, family and loyal fans of his Americana music, jam-packed from wall-to-wall, joyfully singing along to his lyrics. One highlight of Dylan’s 30-minute set was a song called “Tucson, Arizona,” introduced by him revealing to us that he wrote the lyrics based entirely on someone telling him that “it gets so hot there that you can fry an egg on the sidewalk.”
With the opening set nearing its completion, and while standing on the edge of the stage sans guitar, Hatigan acknowledged the crowd for their support. In near darkness behind him, the band members of Them Vibes were quietly taking to their instruments. Suddenly, the stage lights exploded back to life, fully revealing Them Vibes at their respective stage positions. Dylan Hartigan once again collected his guitar and closed out his thrilling and emotional set.
After a brief intermission, Them Vibes reappeared for the middle set of the night. Only a few moments after their frontman Larry “Brother Love” Florman lit an incense stick and its smoke began to bellow across the front of the stage, this rock and funk band pounced into their first song with an inspired and electric fervor. As he navigated around the intimate stage, Brother Love’s uniquely raw and intense energy was immediately apparent, with sweat quickly running down each side of his face as he twirled around the stage. Maggie Rose delighted her fans by appearing onstage for Them Vibes’ last song of their set, “Right On,” taken from their 2017 EP titled Electric Fever, which also featured Maggie’s passionate vocals.
With the moment we had all been waiting for now upon us, Maggie Rose took to the stage for her second turn, greeted warmly once again with applause and whistling. The first seven offerings from her 16-song set were taken from 2021’s Have a Seat, including the show opener and first single “Do It,” along with the gospel-powered “Saint.” After performing “Smooth” from her second album released in 2018 (Change the Whole Thing), the apex of the evening was capped by Maggie’s performance of “Crazy” with Dylan Harrington, who thrilled the “hometown” crowd with his reappearance and newest single. The final song of the night, “The Letter” (a 1967 cover by The Box Tops), left everyone in attendance still wanting more.
If you want to see more of Maggie Rose, you still have the chance as she continues her North American tour with several more shows over the next few months, commencing on December 18 in Chicago. Tickets are available here.
Setlist: Do It > Telephone > What Makes You Tick > For Your Consideration > Are We There Yet > Now and Then > Saint > Smooth > You Got Today > Best In Me > Crazy (with Dylan Hartigan) > Help Myself > Pull You Through > What Are We Fighting For > It’s You > The Letter (The Box Tops cover)
On October 8th, Jake Miller, Fly By Midnight and Just Seconds Apart packed a crowd at Buffalo Iron Works for the “hi, i missed you tour.”
Just Seconds Apart, a trio of triplets from Arizona, opened the show with an incredible performance. Followed by the duo Fly By Midnight, who brought the energy and kept it going through their entire set. Lastly was Jake Miller and the crowd was absolutely nuts over him.
Before he stepped on stage, I talked to a few people who were in the crowd because I had never really listened to his music before. I stood next to a young woman who told me this was her tenth time seeing him. She told me that his music saved her life. This felt fitting as soon as Jake came out singing his song “Saved Me.” This made me a little teary-eyed.
Just Seconds Apart. Photo by Samantha Rychlicki
This wasn’t Miller’s first performance in Buffalo as he performed at the Kissmas Bash at the Key Bank Arena “I remember that performance,” Jake said “It was my first real time singing in an arena and I was nervous that not a lot of people would know my music. Then I stopped singing and the whole arena kept it going. It’s a memory that I will never forget.”
Jake Miller, Fly By Midnight and Just Seconds Apart provided a fun, high energy concert. The talent of each performer made it hard for you not to become a fan of each group, if you weren’t already.
Jake Miller. Photo by Samantha Rychlicki
Slavo of Fly By Midnight. Photo by Samantha Rychlicki
Ari of Just Seconds Apart. Photo by Samantha Rychlicki
Alex of Just Seconds Apart. Photo by Samantha Rychlicki
Justin of Fly By Midnight. Photo by Samantha Rychlicki
Justin (left) and Slavo (right) of Fly By Midnight. Photo by Samantha Rychlicki.
Fly By Midnight. Photo by Samantha Rychlicki
Sela of Just Seconds Apart. Photo by Samantha Rychlicki
Proclaiming the longevity of Shake Your Money Maker, The Black Crowes took to the road this year to celebrate its 31st anniversary. The Black Crowes tour, originally scheduled for 2020, included 37 dates across the U.S., culminating at Bethel Woods in Upstate NY.
Putting stories of infighting between Chris and Rich Robinson in the rear-view mirror, the two could be seen grinning from ear to ear during this final night of the tour. The show opened with The Texas Gentleman. Dirty Honey had been supporting the Crowes during the run. A switch was made for the closing date. The Dallas based band proved satisfactory as a warmup. With a Jim Carrey styled lead singer/keyboard player at the helm. Paying homage to the Woodstock music scene, they closed out with The Band’s “The Shape I’m In.”
Chris and Rich Robinson
To begin their part of the evening at Bethel Woods, the Black Crowes assembled at a what appeared to be a dive bar situated in the back corner of the stage. Separately, Chris Robinson sat on a drum riser in the dark, hidden by a large umbrella with the Black Crowes logo on it. A woman stepped out from the shadows and headed to an old-fashioned juke box located mid stage. Dropping a coin in and selecting a song, Elmore James’s “Shake Your Money Maker” filled the house and the show was on.
On cue, the band stepped forward, plugged in, and started with “Twice as Hard,” the opening track from Shake Your Money Maker, following the sequence of the album (“Jealous Again”, “Sister Luck”, etc.). At the midway mark, Chris called out praise for “The Big O” (Otis Reading) before the opening beats of “Hard to Handle” was heard.
Chris Robinson had his dancing shoes kicking his heels up and twirling with every number…
You could feel the energy from the band exceeding its limits as if the governor had been ripped off this rock and roll engine. Chris Robinson had his dancing shoes kicking his heels up and twirling with every number leaving no part of the stage untouched. Rich Robinson, offering a somewhat a stoic stance through the night, let his powerful guitar chops show this was not a one-man band
Guitarist Isaiah Mitchell stood out with power solos confirming his supporting role. Backup singers Mackenzie Adams and Leslie Grant along with keyboard player Joel Robinow helped add that little extra something to acknowledge the Money Maker milestone. With the completion of side two of Shake Your Money Maker, the band continued on. Pulling out tunes from their long career including “Thorn In My Side” and “Remedy.”
To close the night out, the encore gave praise to The Velvet Underground with a cover of their song “Rock & Roll.” Was this night a fairy tale? A happy ending for the brothers Robinson? One thing is for sure, it was not grim.
For as many shows in New York that the Grateful Dead have played, it’s almost amazing that there are only three of them that took place in Queens. Today marks the anniversary of the third and final one. The Grateful Dead treated a ravenous crowd at Colden Auditorium on the campus of Queens College to a show featuring songs from, perhaps, two of their most iconic albums of all time. In just a few weeks, the band would release American Beauty, taking them to an entire new level of national popularity. And with Workingman’s Dead still fresh from earlier in the year, this shows falls in a time period where the band is simply rife with creativity as they continue to from their own unique version of country-folk blended with West Coast psychedelia.
Colden Auditorum
It begins with some extended tuning, during which guitarist Bob Weir tells the crowd that “Marmaduke stayed home,” a reference to their friend from New Riders of the Purple Sage – a band that often tagged along with the Dead for New York City shows. Weir chides that, “This is the economy package.” Elements of “Truckin’” and “Deep Elem Blues” can be heard in the pre show fine-tuning and that’s exactly how the show begins. Weir leads the band on vocals for the Dead’s brand new hit “Truckin’,” a song only months old at the time. Then, after some lighting and monitor directions, Jerry Garcia takes over for a modern take on a traditional blues tune, “Deep Elem Blues.” Weir throws in some well placed harmonies at song’s end before the Dead hand the proverbial baton off to Pigpen for a typically rousing cover of Otis Redding’s “Hard to Handle.” Pig’s bluesy vocal efforts bookend a winding, exploratory jam spearheaded by Garcia on guitar.
This opening sequence of Grateful Dead music has the Colden Auditorium crowd clamoring for more. The band responds in kind with “Sugar Magnolia,” another eventual classic still very much in its early stages. This is the ninth one ever performed. Garcia has the wah-effect in full gear for this one as the band rips into another brief, explosive jam after Weir deftly navigates the lyrics. The “Candyman” that follows may slow the tempo down a bit, but still serves as a first set highlight anyway with a sublime and harrowing Garcia guitar solo placed between more delicate vocal harmonies.
This clears the way for a dynamic closing sequence to the opening set, starting with “Cryptical Envelopment,” which gets an instant vote of approval from the crowd. At its conclusion, a “Drums” immediately emerges, shining the spotlight on drummers Bill Kreutzmann and Mickey Hart who take the rapt audience on a percussive ride, in the first set no less. This immediately segues into the explosive opening of “The Other One,” with all of Colden Auditorium now clapping along in time earnestly. It winds up producing perhaps the best jam of the evening, a searing, psychedelic journey that varies in intensity before rounding back into form. The opening set then closes with another rousing cover, this time Buddy Holly’s “Not Fade Away.” The jam briefly dips its toe into “Goin’ Down The Road Feeling Bad” but no lyrics are actually sung before “Not Fade Away” resumes and caps off a whirlwind ending sequence that would later finds its place closing out second sets instead.
The Dead’s second set at Colden Auditorium, after a false start of sorts, resumes with “Casey Jones,” along with more full-fledged audience participation via clapping. They follow this with a familiar cover of “Cold Rain and Snow” that gets considerable support from Pigpen on organ and Phil Lesh on bass. Bob Weir then resumes vocal lead for the dark, country western-themed “Me And My Uncle.”
Unfortunately, there’s a significant gap in the recording due to a tape flip issue that cuts out the portion of the second set that follows. And it’s likely another one of the more memorable parts of the show as it features “Good Lovin’,” sung with natural flair from Pigpen as always, sandwiching yet another “Drums” sequence that surely went deeper than its first set predecessor.
The recording picks up at the tail end of the “Cumberland Blues” that follows all of this. One last pre-song tuning session finally gives way to “Uncle John’s Band,” the last song of the evening. It’s fitting selection to end with another cut from their iconic Workingman’s Dead album as they, and the world, prepare themselves for the American Beauty era.
Grateful Dead – Colden Auditorium – Queens, NY 10/10/70
Set 1: Truckin’, Deep Elem Blues, Hard To Handle, Sugar Magnolia, Candyman, Cryptical Envelopment-> Drums-> The Other One-> Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away
Set 2: Casey Jones, Cold Rain & Snow, Me & My Uncle, Good Lovin’-> Drums-> Good Lovin’, Minglewood Blues, Cumberland Blues, Uncle John’s Band
Spirit Of The Beehive made their way to Brooklyn’s newest live music venue, Brooklyn Made, on Thursday night in support of their outrageously creative 2021 LP ENTERTAINMENT, DEATH. The five-piece Philadelphia based band drew a sold out crowd to the week-old venue, stretching out the legs of the new PA with their heavily distorted and layered backing tracks.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
One can always expect growing pains in a new space, and Brooklyn Made was no exception. The group was forced into a brief delay after running through the opening track of ENTERTAINMENT, DEATH as the backing distortion tracks were not coming through the main speakers. The sound techs resolved the issue, and the band fell right back into step much to the delight of an extremely patient and understanding audience.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
Brooklyn Made is a sprawling space with several different areas, but the performance space is quite intimate and very unique in presentation. A super-wide, crescent shaped stage lines the back wall (similar in style to The Sultan Room) with a very shallow, sunken dance floor that allows for even late-comers in the back row to be rather close to the stage. Off the back doors is a separated bar area equipped with a pool table and direct sound feed from the live show. There is a courtyard, with a staircase up to a large rooftop space overlooking the many Bushwick Collective street murals and offering views of the Manhattan skyline.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
ENTERTAINMENT, DEATH is a continuous, artistic expression of the themes suggested in the title. Different songs cyclically build into ferocious rhythms and fade into distorted ambience over and over again across the 37 minute runtime. Motifs and instrumental pieces do not repeat themselves, even with the confines of a single track, and the listener reaches the end of the record with a strong desire to play the album back. On first listen, the record seems more of an unfinished collection of demos, but the more you listen, the more you discover a meticulously crafted artistic experience the delivers a new perspective with each listen.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
Spirit Of The Beehive have one more scheduled show on this run, which takes place Friday, October 8th in Washington DC. The band will also open for a couple shows on the Japanese Breakfast residency at Union Transfer in Philly next August. Check out a full concert calendar for the new venue Brooklyn Made HERE. More photos from the Brooklyn Made show below.
Halsey performed two songs on last night’s episode ofSaturday Night Live, with influencer and reality star Kim Kardashian West as host.
The episode’s cold open depicted the Facebook whistleblower hearing, with an appearance from Pete Davidson as Tom from Myspace. Last week, former Facebook employee Frances Haugen alleged that the company’s properties “harm children, stoke division and weaken our democracy.”
Kim Kardashian West’s opening monologue came next, and it exceeded everyone’s expectations. Fully conscious of the backlash to her hosting, she roasted her equally polarizing family to appeal to her critics. Between her sisters, Kanye West, and Kris and Caitlyn Jenner, no one was safe. Kardashian West appeared in many skits throughout the night, such as Princess Jasmine in a parody of Disney’s Aladdin, and a Freaky Friday-inspired sketch with Aidy Bryant.
Other celebrity guests included Chace Crawford, Tyler Cameron, Blake Griffin, SNL alum Chris Rock, Jesse Williams, John Cena and Amy Schumer, all as Kardashian’s potential suitors in a The-Bachelorette-meets-Squid-Game reality show sketch.
Around the episode’s halfway point, Halsey performed her first song. “I Am Not a Woman, I’m a God” is the lead single from her latest album, If I Can’t Have Love, I Want Power. While Halsey’s music has always had a dark bent, her latest effort is a major step up. It’s far more experimental and risky than her past work, with Trent Reznor and Atticus Ross on production duty. “I Am Not a Woman, I’m a God” in particular is a dead ringer for Nine Inch Nails’ “Closer.”
https://www.youtube.com/watch?v=bwiasA-IGCs
Weekend Update was less eventful than in last week’s premiere, but Michael Che managed to get in a good dig at the evening’s host.“This week Instagram was down for an entire day, forcing many Instagram addicts to fill their time with Twitter, TikTok or hosting SNL.”
Halsey concluded the episode with “Darling,” one of If I Can’t Have Love, I Want Power’s warmer and quieter moments. Accompanying her was surprise guest Lindsey Buckingham of Fleetwood Mac, and she deliberately styled herself to resemble Stevie Nicks. “Darling” is dedicated to Halsey’s first child, born last July.
https://www.youtube.com/watch?v=H099BjA6FKk
No Time To Die star Rami Malek is hosting next week, with rapper Young Thug joining him as the musical guest.
