Category: Features

Faye Webster Brings Peace and Pedal Steel to Higher Ground

Atlanta singer Faye Webster brought her I Know I’m Dangerous Haha tour to Burlington, VT on Friday, playing Higher Ground’s Showcase Lounge. The Atlanta singer/songwriter released her album I Know I’m Funny Haha in June to critical acclaim.

Accompanying Faye Webster on the tour, and putting meaning to the tour name, are Atlanta rap duo Danger Incorporated. The pair, composed of Boothlord and Louie Duffelbags, got the crowd hyped with heavy-beats hits like “Diamonds.”

Though Danger Incorporated and Faye Webster couldn’t belong to more different genres, their opening set felt fitting. Their mournful, introspective trap proved an apt opener for Webster’s melancholy country. When Boothlord, Webster’s partner, hops on an electric guitar, you can see why they may get along on. And from his DJ table, the perpetually stoic Louie Duffelbags’ reverberating beats made the small venue feel enormous.

“This next one’s an emotional banger, so beware,” Duffelbags warned before one song. But “emotional banger” could describe their entire repertoire: music for the lonely drive home from the club, when the bass still reverberates in your ears but bleakness starts to filter in. Their latest single “Shut the F**k Up :,)” is a slow, thundering anthem with a simple message: leave me alone. Danger Incorporated’s whispered tones match, in their own emo-trapper way, the laidback, woozy delivery that makes Faye Webster’s music so special.

Before Faye Webster took the stage, a resounding chorus of “ha-ha’s” played from the speakers; different voices, different intonations, but the same haunting laugh. Illuminated by bright red circles reading “haha” that also emblazon her latest album’s cover, Webster played a stunning set to an enraptured crowd. From more upbeat anthems like “Cheers” to the breezy bossa-nova of “Kind Of,” the set flowed into one river of emotion and light drums.

The emotional depth and sense of wisdom in Faye Webster’s music makes it easy to forget she’s only 23. Her exceedingly casual onstage persona evokes youth. Interacting with the audience, she alternates between avoiding attention and extending audience conversation for moments. When a fan called out that they love her, she laughed shyly and mumbled, “That’s sick.” But when an audience member called out, “What’s that guy playing?” referring to Matt “Pistol” Stoessel expertly playing a pedal-steel guitar, Webster became noticeably excited by the question. She called for the crowd to make a pathway for the curious viewer.

“Can you see it yet?” Webster called out, as Stoessel and bassist Noor Khan continued to lay down a groove. “It’s a pedal steel. It’s fucking sick.”

This old-soul, young-spirit quality is exactly what makes Webster’s heart-achey alt-country feel so arresting. Her fascination with old-school country instruments, mixed with a taste for the soul-bearing lyricism of R&B, creates something totally new. At what other show could an emo-trap duo open for a band with a pedal-steel, and flow seamlessly together? This is music for a new generation.

As melancholy as the material she works with is, Faye Webster’s performance felt anything but sad. In fact, her singular, wavering voice and that mesmerizing pedal steel felt like a warm embrace. Webster is a friend who may not know you well but knows exactly what you’re going through.

“I’ve been getting really good at taking care of myself these past few years,” Webster said at one point to thundering applause. And that night in Burlington, self-care was the name of the game. From Webster’s constant onstage hydration to the brimming tears in audience members eyes, clutching each other to especially emotional tracks like “A Stranger” or beloved older track “Jonny,” the set was restorative. If Webster’s dazzling latest album came from an effort to care for herself better, her performance offered that care to the crowd.

Faye Webster’s East Coast tour will continue with an upcoming New York set at Governor’s Ball on September 26. Watch her latest music video, for “Overslept” with mei ehara, below:

September 24, 2021
Griz Dazzles “In The Round” At the Brooklyn Mirage
Electro-funk maestro Griz made his way to The Brooklyn Mirage on Wednesday night, September 22, for the first of two shows dubbed “in the round and phone free.” A small stage was set up in the middle of the Mirage’s courtyard, just barely big enough to house Griz’s performance platform and a host of guest singers and musicians throughout the show. The simplified staging gave the fans in attendance a much more intimate experience than is typical in the venue for most layouts.

Griz at The Brooklyn Mirage, 9/22/21. Photo by Buscar Photo

Upon arrival, all attendees were given a Yondr pouch – a magnetically sealed pouch that secures your phone while remaining in your possession. The idea behind them is to force people to disconnect from their phones and outside lives for a few hours while enjoying the show, while at the same time eliminating the view of dozens of video-taking cell phones typically seen above a concert crowd. The pouches are a great concept and they are really effective at promoting a positive concert environment. Aside from no longer having access to the current time, I did not miss access to my phone one bit.

Griz “In The Round” at The Brooklyn Mirage, 9/22/21. Photo by Buscar Photo

The Brooklyn Mirage is one of several venues within the vast Avant Gardner complex. The venue has become one of the premier performance spaces in the city over the last few years, hosting some of the biggest names in electronic music all year long. Shows at The Mirage can feel overwhelming at times; the GA floor is quite expansive and there is an entirely separate space that exists along the walls that surround the courtyard with bars and lounges hidden throughout.

However, the cavernous feeling within the venue was vastly mitigated by the production for this show. A small rectangular area less than 20 feet in length was fenced off in the middle of the floor that housed Griz’s DJ tables and a small stage. Fans along the rail of the stage were no more than ten feet from Griz, and even if you were further away from the center, you still felt immersed in the action given the concentration right in the middle of the floor. This level of intimacy is rarely experienced in The Mirage.

Griz at The Brooklyn Mirage, 9/22/21. Photo by Buscar Photo

Griz blends hard hitting dubstep beats with a live, funky saxophone for a style of music uniquely his own. The electro-funk DJ added to his catalog this past June with the excellent new album Rainbow Brain. Night two of the Brooklyn Mirage shows is tonight, September 23, but due to the strong rain and wind expected, the “in the round” set-up was abandoned for a more protected set-up on the main stage of the venue. The show is still a phone free night, but it is a shame that the crowd for night two will miss out on the incredible intimacy of the night before. After tonight, Griz heads to Ohio for a set at the Lost Lands Music Festival before a b2b performance with Zed’s Dead in Arizona – catch the full run of shows HERE.
September 24, 2021
Patti Smith Greets a Harvest Moon for Hometown Show at SummerStage
Author, poet, songwriter, and Queen of New York Patti Smith graced the stage at Rumsey Playfield in Central Park with her bandfor a free Sunday evening show this past weekend as part of the Capital One City Parks Foundation SummerStage concert series.

Nearly one month ago Smith was set to perform as part of the mega NYC Homecoming Concert in the Great Lawn, which was cut short by the watery remnants of Hurricane Henri before she had her turn on stage. Confirmed in an interview she did that evening with Anderson Cooper, she we would have performed a duet with Bruce Springsteen on the song they penned together, “Because the Night.” While there was no surprise Bruce appearance, Smith made a full-hearted fancy of the tune in dedication to her late husband Fred Smith.

A NYC-cultivated setlist payed tribute and honor to Smith’s equals who’ve either passed or fortunate to still be contributing to the arts. Early in the show Smith dedicated the reggae-infused “Renando Beach” to the late Jamaican record producer Lee “Scratch” Perry and went on to pay tribute to Charlie Watts with “Beneath the Southern Cross.” In tribute to former Saturday Night Live star Norm Macdonald Smith introduced Stevie Wonder’s “Blame it on the Sun” with a quote from the late comedian. Her band paid homage to Hilly Kristal and his CBGB legacy with a cover of the Rolling Stones’ “I’m Free” with an interlude of Lou Reed’s “Walk on the Wild Side.” Lastly, Smith tipped her hat to Bob Dylan with her take on his song “One Too Many Mornings.”

As a poet Smith performed her spoken word poem “Perfect Moon” to welcome in the approaching Harvest Moon leading seamlessly into the lyrics and music of “Dancing Barefoot.”

After a short encore break, Smith’s show ended with a message of strength “People Have the Power.” With fists in the air, many sang along in solidarity with that message.

The Capital One City Parks Foundation SummerStage concert series continues into early October; for more information check out the schedule here.

Setlist: Grateful, Redondo Beach, Free Money, Ghost Dance, Perfect Moon (poem), Dancing Barefoot, Ain’t It Strange, Beneath the Southern Cross, Blame It on the Sun, I’m Free -> Walk on the Wild Side -> I’m Free, Because the Night, Pissing in a River, One Too Many Mornings, Land / Gloria

Encore: People Have the Power
September 23, 2021
Soul Blind Aim to Please with new EP “Third Chain”

Soul Blind is out to impress us once again. The Hudson Valley based alternative rock band has released their new EP Third Chain on Other People Records. Drawing from The Smashing Pumpkins, Alice in Chains, and Deftones, Soul Blind releases a nostalgic track that mimics something out of the 90s.

The newly released music video captures the band performing in a kaleidoscope of swirling colors through a fisheye lens. If that doesn’t give you 90s nostalgia then maybe Justin Sarica and Finn Lovell’s entwined guitar riffs will remind you of The Smashing Pumpkin’s sheer rock groove.

This track also reminds us the endless range of what the rock genre truly encaptures. Steve Hurley on drums is the foundation urging the beat forward urging nothing but a head-banging session leaving the listener engaged, asking where the melody will head to next. Third Chain gives us the original hard rock we have come to know and love while still having an original sound. Soul Blind’s other tracks including “Misplaced” and “Phantom Pool” continue delving into the lessons crucial relationships teach us about ourselves. Jon Markson and Adam Cichocki recorded each track ensuring a lush wall of guitars mixed with divine vocals.

The EP serves a lot of self reflection lyrically, as well as the emotional turbulence within personal relationships. ALl three songs reflect different feelings, but come together in the same world. Sonically we think these songs show some diversity in our sound and a clear example of our range of what can be expected from future releases, especially going into our first full length.
Soul Blind

Soul Blind is working toward becoming a household name and are on their merry way. In 2018, the group made their debut with the Willpower EP, followed by Untitled later that year with a handful of promo singles in 2019. Don’t just take our word for it. No Echo, Stereogum, and New Noise Magazine have released praising reviews gloating about the band. Opening for the likes of Vein, All Out War, Death Threat, Fiddlehead, Praise, Anxious, Modern Color and One Step Closer solidify their hardcore stardom.

Third Chain is streaming now and available for purchase here.

Be sure to check out Soul Blind’s East Coast tour with Koyo. Tour dates can be found below.

9/17/2021 – Poughkeepsie, NY @ APEX Studios w/ Restraining Order
9/18/2021 – North Haven, CT @ The Cockeyed Crow w/ Restraining Order + Rule Them All + End It
9/19/2021 – Oakdale, NY @ Shakers Pub
9/20/2021 – Philadelphia, PA @ The Fire w/ Webbed Wing
9/21/2021 – Greensboro, NC @ Gate City Garage
9/22/2021 – Columbia, SC @ New Brooklyn Tavern
9/23/2021 – Jacksonville, FL @ Archetype w/ Magnitude + Point Of Contact + Kharma
9/24/2021 – Brandon, FL @ Noisebox w/ Magnitude + Point Of Contact + Kharma
9/25/2021 – Tallahassee, FL @ The Bark w/ Magnitude + One Step Closer
9/26/2021 – Pensacola, FL @ American Legion w/ Magnitude + One Step Closer
9/27/2021 – Atlanta, GA @ The Dog House
9/28/2021 – Richmond, VA @ The Camel w/ One Step Closer
10/09/2021 – Brooklyn, NY @ Gold Sounds w/ No Pressure, Koyo, Victory Garden, Charity
10/30/2021 – New Haven, CT @ State House w/ Narrow Head + Waveform

September 23, 2021
The L In Horseheads hosts August Burns Red “Leveler” Anniversary Tour

It’s been almost two years without any live music and some venues were being forced to close their doors for good. Fortunately, there have been new ones opening up. In Horseheads, NY, located in Chemung County, a new venue has arisen called The L, and its owner, Adam Bunce who is the organizer of iMatter Festival on September 16th, kicked off a show that did just that. It was only fitting to bring August Burns Red Leveler 10 year anniversary tour to be the first act, they were accompanied by Fit For A King, Erra, and Like Moths To Flame.

This new space has the capacity to fit 300, 500, and 1000 attendees in different rooms, and while this show wasn’t a sell out, attendance was definitely high. The show kicked off with Like Moths To Flames, followed by Erra, Fit For A King, then with heavy hitting August Burns Red.

With an owner who is used to running a festival with more bands and way more attendees, everything felt smooth, from the time you parked, till the last band, and even the food from the cafe was reasonably priced.

The night seemed like a huge success and they already have a line of shows announced. Head over and see what they have in store.

LIKE MOTHS TO FLAMES

ERRA

FIT FOR A KING

AUGUST BURNS RED

September 22, 2021
Resonance Festival 2021: Finding the Center of The Labyrinth
As the haze descended over the stillness of West Virginia’s Marvin’s Mountaintop, one could easily miss the creatures cautiously peering out from carefully selected hideouts. Anticipation built for these mystical beings, for the game of games was about to commence. Players arrived unsure of where to go, but had confidence in their mission of finding what they had lost. On the eve of the full moon, the Resonance Music Festival provided a Labyrinth, some goblins, a few other fairy-tale characters and at the center, a Goblin King. This king kept close, but made sure to provide accommodations of the best lighting and soundtrack for the games.

Goblin friends

It’s further than you think. Time is short.

Keeper of the Beans

Paths twisted and tents upon tents repeated. Nondescript thumping of DJ music could be heard in the distance of an unknown direction. Seeking direction was futile when it came to camp dwellers claiming to be “only worms” relaxed at their sites. These worms, while unhelpful, were very friendly and offered players to meet the Mrs. and stop for some tea. Tempting as it may be, Eggy was about to go on and the center had to be found.

She Chose Down

Satan’s Empress

Eventually, that thing the wizard said about the jam holes filled with Magic Beans made a lot more sense. It was not a dead end, but rather, an energizing oasis. Hobbits with stimulated hemp hats were experts at foraging the Resonance grounds. They advised consumption of Magic Beans was best at The Bog of Eternal Funk You. Doing so summoned Doom Flamingo and our first peek at both Goblin King and Satan’s Empress.

Goblin King

The babe with the power.

Cory Wong reminds the Goblin King of the babe with the Voodoo Power

Attitude was everything that mattered for this maze game and Cory Wong delivered a set that helped reconciliation with players still being so early in the game. His laid back and fun energy was something to behold. To casually joke about a complex timing about to be played evoked the feeling of hope that mastery of something as complex as a guitar or a maze game could be achieved. The laughter on stage was infections and as coolness of the night set in, the next two days felt far more possible thanks to this true artist. Cory also showed that, with good listening skills, it could be possible to play with others outside of the tribe. When sitting in with TAUK Cory had slightly more reserved demeanor, which helped him listen and respond without skipping a beat.

That’s not fair!

Occasionally the board itself seemed to be alive. Initiated by the most subtle of Jack-O-Lantern lights, landscapes would shift dramatically.

Melodic

Flamingo

“The mellow jams would pull you in, then (Umphrey’s) got real nasty with guitars. Melodic to demonic in an instant, but all with that smooth bass keeping it all together while the guitars were going wild.”
-VIP Goblin

Demonic

Doom

You have no power over me…

Lespecial commanding attention.

On September 16-18, Eastern met Mountain and Jam converged with EDM with roads paved in metal. The most notable hour of convergence was when Connecticut Ancient Homies Lespecial (or as the goblins playfully mis-pronounced, “lay-spesh-ee-al”) played on Saturday afternoon. From the VIP crow’s nest, hoards of players could be seen running like the fast zombies from 28 Days Later to the center of the labyrinth, easily finding their way after all the searching they had endured. The crowd grew in size and density as a universal epiphany dawned on everyone involved in the games. A next-generation metal-jam-electronic fusion band deriving from influences like Primus was the lost item no one realized they were missing.

Your eyes can be so cruel…

I wish…

It has been said that legendary sets happen in the center of the Goblin King’s Labyrinth. Ask any Goose fan. The great equalizer of the center provided a grounding humility to many that thought they knew a lot about music.

Conversations held in the crowd were surprising in that nobody had heard of anyone else’s favorite band. The players arrived deeply rooted on many teams. Disciples of Tipper were ready for Detox Unit, but had never heard of The Motet or Dizgo. Doom Flamingo fans were psyched to see Papadosio, but had never witnessed a laser show like the one Sunsquabi put on. Umphrey’s fans had however, heard of Lotus and could not wait to see Tim Palmieri display his technical mastery as if it were the plumage of a rare bird.

“I move the stars for no one…”

Photo courtesy of Albie Binkley

Behind the games, behind the curtain, and beneath the veil was an Oz-like figure in control of the entire game. Only when he was satisfied, were we were released from the simulation.

“Should you need us…”

Dizgo members showing up for Eggy in more ways than one.

After it all, when intensity subsided and the sun was up again, Eggy played an intimate set from the VIP Crow’s nest and provided the perfect time to reflect on the lessons learned.

Despite the game only lasting a weekend, the friendships made were lifelong.

Check Out Cory’s podcast here!

Enjoy a collection of top shots from some of the fantastic photographers and friends of Resonance 2021
@kendallmccargophoto @albieoutside @mightyquinnmedia @scoutitout g
September 22, 2021
Flogging Molly, Violent Femmes, Me First and the Gimme Gimmes and Thick at SPAC
This here was an eclectic, punky mix of music on a beautifully moonlit Sunday night at SPAC, with Flogging Molly, Violent Femmes, Me First and The Gimme Gimmes, and Thick. The venue had hosted hordes in their thousands for Dave Matthews earlier in the weekend, but this gig wasn’t that kind of shoulder-to-shoulder crowded – the theater was a good two-thirds or so full, with a smattering of people out on the lawn. Not empty by any stretch, but not packed either. Which was just fine for this writer, who is just easing back into live music in the plague-times.

Brooklyn punkers Thick opened the gig before the place had filled up much, with a few hundred people inside the theater and an enthusiastic group down the front. I’m new to this band, but they blasted out an energetic half-hour of raw, catchy punk, and I was left wanting to check out more. Cool band.

The place started to fill up for Me First & The Gimme Gimmes, who took the stage to an Eddie Money intro tape, and swaggered through a 45-minute set which damn near stole the show, kicking off with “Don’t You Worry About a Thing” and straight into Dolly Parton’s “Jolene,” and roared through some Elton John (“Rocket Man”), Neil Diamond (“Sweet Caroline”), John Denver’s “Leaving on a Jet Plane,” and Paul Simon’s “Me and Julio Down by the Schoolyard,” preceded by an audience Q&A about weird public sex spots along with a whole bunch of other pop hits, retooled as blazing punk rock. You had to be there.

Swingin Utters’ Spike still leads the show and hits all the notes, but the band for this tour was bulletproof and ironclad: John “The Swami” Reis of Rocket from the Crypt and Jonny “2 Bags” Wickersham of Social Distortion on guitar, Andrew “Pinch” Pinching, sometime drummer for The Damned on the skins, and the guy with the bass, white hair and beard on the right was none other than CJ Ramone himself. CJ Ramone! They were great. All-star, hilarious, fast, heavy and and unstoppable.

Violent Femmes seemed the odd men out on a bill otherwise populated with fast punk rock, but a solid chunk of the crowd was here to see the alt-rock legends, who had a spare stage set, instrumental variety galore and got a great reaction. And if the Femmes touring with Flogging Molly seemed odd, it shouldn’t: the VF toured with The Pogues in the 80s, which should give them all the Celtic punk cred they need, as if they needed any. I’ve never owned a VF record, but openers “Add it Up” and “American Music” are familiar, ubiquitous alternative rock standards. They kept the crowd with them for the 15-song set, with one player from the Horns of Dilemma in the back mixing up the songs with some brass, a fiddle-player for a few songs, and drummer John Sparrow playing not only stand-up snare, but a wooden box and a charcoal grill. Bassist Brain Ritchie switched to xylophone for “Gone Daddy Gone” before “the hit” – “Blister in the Sun” and “Kiss Off” wrapped it up. A great set.

You’d think that the variety between the two headliners would see some of the VF crowd head for the doors on a work night, but not so – the audience hung in for Flogging Molly. The Femmes were by far the most veteran band here, but FM singer Dave King has probably been playing the Albany-Saratoga region longer, having first appeared in this region in the early 80s as a skinny Irish teenager with long red hair, fronting the British metal band Fastway when they opened for Iron Maiden in 1983, and Rush in 1984 at Glens Falls Civic Center just up the road from SPAC. Not that Flogging Molly are newcomers any more – their indie debut live record Alive Behind the Green Door was released way back in 1997, and the recently reissued, roaring debut studio record Swagger has passed the 20-year mark. Dave King’s red hair has given way to spiky white locks and spectacles. Flogging Molly are now veteran rockers. But the Celtic punk sound is still hefty, fast, rowdy Irish drinking music – even if SPAC’s inflated $17-per-can beer prices made it hard to afford to get in the spirit, and a lack of any Guinness on sale didn’t help either.

The Mollys hit the stage hard, with a hammering “Devil’s Dance Floor” from the Swagger debut getting the pit crowd up front bouncing, which continued for the whole hour-ish long gig. A pummeling of “The Hand of John L. Sullivan,” from their most recent record Life is Good was next, but most of the songs played weren’t the recent ones – nine of the 14 songs played were from the first two studio records, including a blazing “Drunken Lullabies,” “The Worst Day Since Yesterday,” which let off the gas a bit, King’s autobiographical “Black Friday Rule,” and an his ode to his dad – “The Likes of You Again.” The lineup has shifted – only four remain from the seven-member lineup that recorded those first two records: King, his wife/fiddler/whistle player Bridget Regan, bassist Nathan Maxwell, and Rochester, NY native Dennis Casey on guitar, who were joined by more recent members Spencer Swain on mandolin/banjo, and drummer Mike Alonso. Where accordion player Matt Hensley was is unknown, but he wasn’t in Saratoga. And there was some new music, the band playing one new jangly and Celtic song, “Croppy Boy,” which joined the hit single “Float” and the wistful “If I Ever Leave This World Alive” as the mellower points of the evening.

Other than that, it was all carousing, headbanging Irish music: instrumental neck-snapper “Swagger,” the pounding “Crushed (Hostile Nations)” and, of course, “Salty Dog,” that speed-demon Celt-punk classic which has not lost a thing in the 21 years since it opened the studio debut. The band finished up with two more full-on blasts of rollicking paddy-punk: “What’s Left of the Flag” and “The Seven Deadly Sins,” even if there were only six Flogging Mollys up there to commit them. A fine Celtic end to a four-pack of cool, varied, alt-punk musical acts.

Setlists:

ME FIRST AND THE GIMME GIMMES: Don’t You Worry ’bout a Thing (Stevie Wonder cover), Jolene (Dolly Parton cover), Danny’s Song (Loggins & Messina cover), Straight Up (Paula Abdul cover), Sloop John B (The Beach Boys cover), Me and Julio Down by the Schoolyard (Paul Simon cover), Sweet Caroline (Neil Diamond cover), Rocket Man (Elton John cover), Over the Rainbow (Harold Arlen cover), Leaving on a Jet Plane (John Denver cover), Who Put the Bomp (in the Bomp, Bomp, Bomp) (Barry Mann cover), Summertime (George Gershwin cover), End of the Road (Boyz II Men cover)

VIOLENT FEMMES: Add It Up, American Music, I’m Nothing, Breakin’ Up, Prove My Love, Promise, Country Death Song, Jesus Walking on the Water, Good Feeling, Gimme the Car, I Held Her in My Arms, Color Me Once, Gone Daddy Gone, Blister in the Sun, Kiss Off

FLOGGING MOLLY: Devil’s Dance Floor, The Hand of John L. Sullivan, Drunken Lullabies, The Worst Day Since Yesterday, Black Friday Rule, Croppy Boy, The Likes of You Again, Swagger, Float, Crushed (Hostile Nations), Salty Dog, If I Ever Leave This World Alive, What’s Left of the Flag, The Seven Deadly Sins.

Photos by Conor McMahon
September 21, 2021
Brooklyn’s PEAK Premieres “Starlight Child,” Second Single off upcoming Album “Choppy Water”

PEAK, the Brooklyn-based quartet release their second single, “Starlight Child,” off their forthcoming full length album Choppy Water, due for release on October 14. Recorded throughout 2020 and 2021 at their studio, the material is culled from several years of songwriting and road-testing, with mixing and mastering by Jason “Jocko” Randall (Turkuaz/ Jimkata/ Dopapod) at Moresound Studios in Syracuse.

PEAK consists of songwriter and guitarist Jeremy Hilliard of Turbine, Kito Bovenshulte (Particle) on drums, Josh T. Carter (Haley Jane and The Primates) on bass, and newcomer Johnny Young, a Brooklyn-based-keyboardist, blind since the age of 17. In 2018 they released their debut album Electric Bouquet, produced by Dave Brandwein of Turkuaz, and the buzz is escalating. Self-described as Psychedelic Indie Funk, the songs on the album are vibey and lyric-based, and the live show is groove-oriented and exploratory.

Choppy Water is chock full of groove-based psychedelic rock, with plenty of funk, electro-pop, prog, and Americana. The deep, polished grooves from the bass and drums complement guitar and keys solos that wail with searing intensity. Hilliard’s songwriting takes the stage with a unique voice that captures a bizarre chapter in the world with a fresh distinct PEAK voice and defined sound.

‘”Starlight Child” kicks off side 2 on the vinyl, and we picked it as the second single because it really captures the vibe and mood of the whole album as well as any song on it. I particularly like the way there are a lot of instruments on the track that all have their place in the mix. Even though there’s a lot going on, you can hear the subtleties of the piano, the percussion, and the acoustic guitar. Also, this was the very first guitar solo I tracked in our new studio, so I was pretty amped.”
Jeremy Hilliard

“Starlight Child” stands out as one of the catchiest PEAK tracks on Choppy Water. Out of the gate, Young’s keys set the tone, jumping out with a catchy riff that graduates to the organ heading into first stanza. A hint of Crosby, Stills & Nash can be heard in the lyrics “Starlight Child, you were born in summer, you’re the same as I am, we were made to wander, we can stay and dance a while, the night will soon be over,” followed by a blistering guitar solo from Hilliard. The pace from Bovenshulte on the drums gives the track full-bodied character, not a second wasted on the 5:11 track.

PEAK will hold an album release show on October 22 at Knitting Factory in Brooklyn, and currently have a Kickstarter Presale for Choppy Water that ends on Sept 23.

September 21, 2021
Trey Anastasio Band Welcomes New Members at Westville Music Bowl

What a Sunday for a summer review in September. Trey Anastasio Band debuted their new lineup at Yale’s Westville Music Bowl in New Haven, CT. During its brief history, TAB has continued to add members, starting as a trio and evolving into an octet. New bassist Dezron Douglas said, “I’ve been familiar with his work with Phish since high school; I’m from Hartford, CT, so you can’t grow up in New England and not know about Phish.”

photo by Andrew Blackstein

Brooklyn saxophonist Cochemea Gastelum, filling in for James Casey, has worked with Aaron Neville, David Byrne and St Vincent, and collaborated with Soulive drummer Alan Evans. Cochemea is part of Brooklyn’s emerging afrobeat and soul scene and is a great fit with TAB drummer Russ Lawton and keyboardist Ray Paczkowski’s sound. Like Trey this summer with Phish, Soule Monde has been on the road supporting their new album Mimi Digs It, leading up to this East Coast TAB run. Insert Cyro Baptista’s full percussion sections and add Jennifer Hartswick and Natalie Cressman on horns and backing vocals and it’s a whole new groove.

A 6:30pm start time at the Westville Music Bowl allowed the whole crowd to be visible from the stage. Trey commented, “This place is pretty cool, I can see all of you.” They kicked it off and suggested to the crowd “to roll with the funk now and turn it around” during “Set Your Soul Free.” “Olivia” stayed Latin-funky, from Trey’s Horseshoe Curve album. Rolling with the funk now, the band then took on Phish’s “Ghost.” That saw Ray P stretching out on the clavinet. More fitting for a new band lineup is new material to debut, including “And Flew Away” and “Never Left Home” from Anastasio’s Lonely Trip record. Jennifer Hartswick’s voice carries across the Long Island Sound like water on the breeze during “Night Speaks to a Woman.”

The second set opened with one of the funkiest recent TAB songs, “In Rounds,” another groove Ray Paczkoswki can dig in on his clavinet. The late Tony Markellis‘ infamous groove to “Sand” kept his spiritual funk present with the new ensemble, one that Russ Lawton told NYS Music was a staple “still in the setlist after 20 odd years.” The afrobeat to “Curlews Call” allowed new saxophonist Cochemea Gastelum to also stretch out on stage. The variety in TAB’s catalog opened up another portal during “Quantegy,” off One Man’s Trash.

Photo by Scott Harris

As a full moon graced the stage, the band gave a nod to the skies and grooving audience that “we got the moon and stars above” in “Drifting.” Fans could hear the freeway calling as Natalie Cressman and Jennifer Hartswick provided amazing backing vocals on “Traveler.” The band closed with their infamous composition of exploration, “Mr. Completely.” Depending on the room, TAB has had made balconies shake since 2002 with this jam. The lyrics “Sunday morning shadows in the shade…” fit perfectly in the encore slot at the old Yale Tennis stadium with “Ether Sunday,” followed by the always welcome “First Tube” finale.

“First Tube” was played acoustically this year as tribute to Tony Markellis in Saratoga Springs, with Oysterhead at the Peach Fest and on Summer 2021 tour with Phish. It was appropriate for him to end the evening with this staple written by the original trio, to the new cast who can take it any direction on any given night.

The freedom in this music is that although it’s composed, there is room for every member to express themselves during the blended improvisational moments. Ray Packzkowski told NYS Music, “Yea it’s actually a beautiful thing,” regarding music in the moment that can’t be recreated: The band closes out this tour at the venerable Radio City Music Hall in Manhattan October 2 and 3.

Trey Anastasio Band – Westville Music Bowl, New Haven, CT – September 19, 2021

Setlist via Phish.net

Soundcheck: Just A Touch, Evolve (this soundcheck may be incomplete)

Set 1: Set Your Soul Free, Olivia, …And Flew Away, Alive Again > Ghost, Liquid Time, I Never Left Home, Night Speaks to a Woman

Set 2: In Rounds, Camel Walk, Sand, Curlew’s Call > Quantegy > Drifting > Traveler > Mr. Completely

Encore: Ether Sunday, First Tube

https://www.youtube.com/watch?v=JJe0AN32uoc&t=64s

September 21, 2021
Alice Cooper starts fall tour in Atlantic City, plays Utica on Wednesday
Alice Cooper opened his fall tour Friday night in Atlantic City at the Oceanic Casino. The crowd began filing into the arena hours before the set started, with many in attendance wearing Alice Cooper t-shirts and eye make-up. The stage was hidden behind a giant curtain with Alice’s trade-mark eyes, and Alice songs played with the crowd already starting to sing-along. As the entrance music started to swell, the massive curtain fell, revealing the two-story castle set, and the words rang out: “Welcome to Alice Cooper’s Nightmare Castle!” As knights carried the curtain away, a drawbridge opened and Alice walked onstage in a plume of smoke.

From the opening notes of “Feed My Frankenstein,” it was clear Alice is still in great shape, and his band spent considerable time practicing together during the live music lockdown. Their excitement to be back onstage was evident by their smiles and energy displayed throughout the two-hour set. Alice Cooper doesn’t just play a concert, he puts on a SHOW, with the pomp and props of a theater production. A master entertainer, Alice made multiple costume changes throughout the set, referencing different eras of his 50-year career. How effortless his performance seems is a testament to his drive and conditioning, he controlled the band, stage and the crowd as well, eliciting sing-alongs and responses with hand gestures and using his sword and cane like a conductor. He had a microphone holster on his giant leather belt, and handles the mic like a gunslinger. When he was on top of the castle behind a spiked wheel, it evoked an image of a mad captain steering a pirate ship.

With over 50 years of albums to choose from, the setlist was a solid collection of his biggest hits, ranging from the Alice Cooper Band era and his solo career, leading into his last two records, Paranormal and Detroit Stories. There was a clever segue from the new song “Go Man Go,” about cruising around in a stolen Hellcat, with the last verse implying the car could be destroyed in a train wreck (with a similar vibe to KISS’s ‘Detroit Rock City’) leading into his classic “Under My Wheels.” Those songs and their placement were vintage Detroit songwriting and Alice wordplay, complete with an American muscle car and macabre ending. A few more notable songs played were “Fallen in Love” co-written with ZZ Top’s Billy Gibbons, new songs “Rock’N’Roll” and “Social Disease” which showed him still flexing his song-writing muscles during lockdown, and a combination of “My Stars/Devils Food/Black Widow” that led into the intense drum solo from “Black Juju.”

The props and theatrics were non-stop, ranging from a crutch he wielded during “Eighteen” to mock the fact that he’s been singing a song about being a teenager for 50 years, to the giant baby who uses a skull-studded-cannon to shoot money into the crowd during “Billion Dollar Babies.” The baby theme continues with the huge images of evil babies projected on the castle during “Dead Babies,” and the baby-faced doctors who place Alice in a straightjacket and oversee his execution in a guillotine. Alice has multiple encounters with his wife, Sheryl Goddard, including her waving his severed head victoriously to the crowd after he’s decapitated. The show opened with the giant Frankenstein monster that comes onstage during “Feed My Frankenstein” and he closes the show with his arms and chains draped around Alice for “Teenage Frankenstein.”

The band returned for an encore with a sprawling, sing-along version of “School’s Out,” including a breakdown of Pink Floyd’s “We Don’t Need No Education,” that featured confetti, streamers and giant balloons being shot into the crowd as Alice popped any balloons that came back to the stage with his sword. They came back to the stage for multiple bows as the crowd kept cheering.

Alice Cooper and Ace Frehley play in New York this Wednesday, September 22 at the Stanley Theater in Utica. This tour takes Alice (and opening act Frehley) across the Midwest and South, ending in Georgia at the end of October. Full dates for the tour can be found here.
September 21, 2021

Built in Breakdance