NYS Music 202​1

Category: Features

  • Wild Adriatic Go Underground for Dynamic Capital Concert Finale

    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.

    Wild Adriatic capital concert

    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.”

    Wild Adriatic capital concert

    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.

    Wild Adriatic capital concert

    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

  • Preservation Hall Jazz Band Set to Bring Traditional New orleans Jazz To Ridgefield Playhouse This Friday

    Legendary ambassadors of traditional New Orleans jazz and music, Preservation Hall Jazz Band is celebrating their 60th anniversary in 2021 and are making their way to The Ridgefield Playhouse on Friday, September 3. The band is led by Ben Jaffe (bass/sousaphone) whose father founded the band in 1961, and is the touring group of the larger Preservation Hall collective of New Orleans musicians and Preservation Hall Foundation. Over the years the band has infused its repertoire with collaborations extending beyond jazz. A recent project of theirs, original documentary ‘A Tuba to Cuba,’ brings to life compositions created out of the band’s trips to Cuba.

    Ticket holders for Friday’s show can participate in a silent auction to raise money for the Kitty Rosa Preservation Fund, which goes toward preserving The Ridgefield Playhouse in honor of Rosa’s efforts in launching the theater. There will also be a complimentary wine tasting in the lobby at 6:30pm for ticketholders. A special VIP Party Pass is available, which includes priority parking and free house wine and beer from 6:00 to 6:30pm.

    A limited number of tickets remain and can be purchased from the Ridgefield Playhouse event page or by calling the box office at (203)-438-5795. Don’t miss out on an exciting opportunity to explore the genuine sounds of the French Quarter right here in the Northeast!

    Preservation Hall Jazz Band Tour Dates:

    Sep 2, 2021: The McKittrick Hotel, New York, NY
    Sep 3, 2021: Ridgefield Playhouse, Ridgefield, CT
    Sep 5, 2021: Greenwich Town Party, Greenwich, CT
    Sep 11, 2021 – Sep 12, 2021: Park City Song Summit, Park City, UT
    Oct 1, 2021 – Oct 3, 2021: Gasparilla Music Festival, Tampa, FL
    Nov 18, 2021 – Nov 21, 2021: SFJAZZ Center, San Francisco, CA
    Mar 2, 2022 – Mar 5, 2022: One Big Holiday, Cancún, Mexico (with My Morning Jacket)
    May 6, 2022: Orpheum Theater New Orleans, LA (featuring special guests TBA + Preservation Hall Legacy Band)
    Jun 10, 2022: Red Rocks Amphitheatre, Morrison, CO (with The Revivalists)

  • Experimental Duo Vapor Vespers Drop Double-Sided Single, You Changed and Sex

    Experimental music & spoken word collaboration Vapor Vespers have returned with a new double-sided single. The two tracks, “Sex” and “You Changed,” each come with an accompanying video. 

    Vapor Vespers is the transcontinental brainchild of New York multi-instrumentalist Sal Cataldi (also known as Spaghetti Eastern Music) and Alaskan playwright, actor and slam poet Marc Muro. The pair, whose musical and personal relationship dates back to their teen years in Queens, New York, first bonded over boundary-pushing musicians like Sun Ra and Frank Zappa. The pair have also cited artists like Miles Davis as inspiration, alongside spoken-word icons like John Cooper Clarke and poet Charles Bukowski. 

    Vapor Vespers

    Their mesmerizing blend of hazy electro-funk and searing, lyrical poetry garnered critical acclaim on their 2020 debut album, One Act Sonix. On the new singles they maintain the momentum of that unique fusion, offering a sneak preview to their sophomore album, set for release in winter 2021. 

    Vapor Vespers

    On “Sex,” set over a menacing slow-jam of drums and electro funk, Muro’s echoing voice builds a string of metaphors for sex; a “time bomb under your seat and a dog sleeping at your feet,” “the tip love leaves after good service,” a “really good episode of Gilligan’s island.” The mixture of humor and great existential depth in the lyrics is hypnotic, especially over Cataldi’s instrumental, which sounds as if Predator had a penchant for Frank Zappa. The video for the song compiles black-and-white clips of sensual moments– kisses, embraces, flirtatious laughs and states of undress–which slowly come into neon color.

    “You Changed,” ups the tempo from the start. The galloping beat is supplemented by competing yet harmonious lead electric guitars and a perfectly placed clavinet. The angsty, manic lyrics are a rant against a friend who has not only changed, but seems to have become too good for Muro. “You used to be nice, you used to be normal, you used to be my friend, then you suddenly changed…” Muro anxiously laments. However, the song is far from sorry for itself. Muro’s lyrics comically recognize the way that an urge for notoriety and identity can breed ridiculousness. In frustration, Muro calls out: “You wanted to be interesting, so you rented a wolf, had your elbows pierced, bought a stuffed owl, and went to the opera dressed as a music!” The accompanying music video, which uses black-and-white footage transitioning into neon as well, puts that personal hedonism on sly display.

    Both tracks were mixed and mastered by Cataldi out of studios in Long Island and West Saugerties, New York. To listen to more, visit vaporvespers.bandcamp.com or Vapor Vesper’s Spotify page.

  • Beau Fleuve Music and Arts Celebration Makes History in Buffalo

    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. 

    Beau Fleuve Buffalo
    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. 

    Beau Fleuve Buffalo
    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.  

    Beau Fleuve Buffalo
    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.  

    Beau Fleuve Buffalo
    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. 

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    • Mom Said No
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    • Deadwolf
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    • FREAK THE MIIGHTY
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    • Billie Essco
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  • How Sweet It Is: Dead and Company at Hershey Park Stadium

    Jam band supergroup Dead & Company make their summer tour stop at the land of chocolate, Hershey Park, on August 28. With them as always, following is their eclectic, eccentric, and electric fanbase: the Deadheads, as colorful as their kaleidoscopic visions can take them. The fanbase is incredibly kind, tight knit, dedicated, and functions as a self sustaining community that follows the band.

    dead and company hershey

    The band started the night with “The Music Never Stopped,” a good way to get things going. “Touch of Grey” proved to be a most apropriate song, one whose message we can all relate to in the midst of a worldwide health pandemic. Mayer shines on “Tennessee Jed” with some fancy chicken picking and long time superstar vocals on “Mr.Charlie.” The band wrapped up the first set with an incredible “Cassidy,” featuring iconic Weir vocal parts and a fast, fun, everyone sing a long “Don’t Ease Me In” to end the set.

    Visit NYS Music’s interactive Grateful Dead in New York series, So MaNY Roads

    The second set blasted off with a psychedelic “Here Comes Sunshine”, featuring Mayer leading everyone into the sun, vocally and theoretically speaking ofcourse. Now Bobby gets to shine on vocals as the band goes into an epic “Estimated Prophet”. Dancing shoes are coming on and the band pulls of several extended, even for Grateful Dead standards, improvised sections on a massive “Eyes of The World”. Mayer gets to shine on vocals again with “Althea”. And now comes time for the rhythm devils as the rest of the band leaves.

    dead and company hershey

    After “Space” Dead & Co went into an unexpected Miles Davis cover of “Milestones,” a most psychedelic and sonically unexpected spectacle. They switch gears into “Going Down The Road Feeling Bad” and quickly again into “Death Don’t Have No Mercy.” This featured a somber Weir on vocals, really belting out about death and loss. And to close out the set, a most apropriate “One More Saturday Night” played with all the vigor and groove a Saturday night show should have.

    Bobby declares that there is a strict curfew in play so they’ll skip the formalities of getting off stage and get right to the encore which was a thumping sing along, “Quinn the Eskimo.”

    Dead and Company – Hershey Park Stadium, Hershey, PA – August 28, 2021

    Set 1: The Music Never Stopped -> Easy Answers -> The Music Never Stopped, Touch of Grey, Tennessee Jed, Mr. Charlie, Black Throated Wind, Cassidy, Don’t Ease Me In

    Set 2: Here Comes Sunshine > Estimated Prophet > Eyes of the World > Althea > Drums > Space > Milesstones > Going Down the Road Feeling Bad > Death Don’t Have No Mercy > One More Saturday Night

    Encore: Quinn the Eskimo

    • dead and company hershey
    • dead and company hershey
    • dead and company hershey

  • Denise Parent Finds Joy In Jamming on First Solo Release “The Songs In My Heart”

    Denise Parent, the beloved Hudson Valley guitarist known for her work with Grateful Dead cover band The Deadbeats and Brown Eyed Women, has released her first album of original music, The Songs In My Heart. 

    Though Parent has been a songwriter and guitar player for the majority of her life, picking up a guitar for the first time at six years old, this is her first solo release. Parent wrote all songs herself.

    denise parent

    All of the tracks capture the warm, full quality of a live album. Parent’s historic career of jamming with The Deadbeats and Brown Eyed Woman is apparent in her light style. Every instrument is apparent in its own uniqueness; the boxiness of the drums, the strummed acoustic guitar in comparison to soaring electric riffs. All of these songs beg to be heard in a smokey venue, where one can experience what decades of practice and natural talent look like. 

    Deadbeats band members Mike Johnson and Dan Gerken contributed to the album as well; Gerken engineered the project. Gerken also contributed guitars, bass guitar and keyboards, while Johnson played guitar on “Morning Sun” and “Get Over It”, songs the band have been playing together live for years. 

    Much of Parent’s music reflects on her own emotions, and the ways in which music has helped her speak to them. These really do feel like songs that live in her heart, little reminders of how to stay hopeful and loving through life’s many seasons. On the poignant and bluesy “Morning Sun,” Parent sings: “It’s so hard to feel it all the time/To wait it out just for a little shine.” The jaunty tempo sets the perfect tone for the mournful lyrics. Ultimately, as hard as it gets, the tune encourages one to just keep trucking along. 

    The album sends the message that for Parent, that shine has been music, and shine is something she’s keen on sharing. On “Hey Darlin,” a chugging minor-key groove, Parent seeks to bring love and happiness to the titular character. As a song that seeks to make someone move, the insane electric guitar breakdowns throughout surely help. 

    On album opener “Shangri-La,” Denise Parent tells the story of a family growing together over time, finding their own version of happiness and paradise together. The song echoes a statement by Parent from her press release: “I thank my musical mothers and fathers and brothers and sisters for inspiring me to create and to sing and to play my heart out. I thank every artist and thinker who ever made me think twice about something, and who opened my mind and my heart.” These musical family members allowed her to make that journey, complicated and never quite complete, to her own musical Shangri-La.

    A musician who has made her career performing covers, Parent’s solo music reflects the way the simple art of music has allowed her expression for a wide range of deep emotions. From the joyful freedom and peace of “Shangri-La” to the jauntily mournful “Morning Sun,” to the it-gets-better anthem “Get Over It,” all the songs have a message of making it through. Things will get better, happiness will come again, and if you listen in, Parent’s music just may help guide you there. 

    Key Tracks: Shangri La, Morning Sun, Hey Darlin

  • Inaugural LonCon Music Festival Captures Lightning in a Bottle

    The inaugural LonCon Music Festival took place over August 27-29, 2021 at the legendary Arrowhead Ranch and Retreat in Parksville, NY. Organized by Long Island up-and-comers Baked Shrimp, the two day event served as a tribute to the late Lon Gellman, a well-known and beloved supporter of live music. 

    loncon music festival

    Fans attending LonCon 2021 saw performances by Twiddle frontman Mihali, Dogs in a Pile, RCA, Creamery Station, and artist-at-large, Hayley Jane. Unfortunately just two acts into day one, torrential rains and an intense lighting storm forced all music to be suspended due to safety concerns.  Originally scheduled headliners Aqueous were unable to play their set. While gloomy and on the cusp of rain throughout all of Saturday, LonCon managed to rock on without a hitch. 

    loncon music festival

    RCA, comprised of Dopapod’s Rob Compa and Kung Fu members Chris DeAngelis and Adrian Tramontano, played mostly songs off Compa’s 2019 debut solo album, Same Damn Thing. In a set filled with more teases than you could count, including moe.’s “Rebubula” and the Beatles’ “Norwegian Wood,” the undisputed highlight came when artist at large Hayley Jane sat in for a ferocious take on Alanis Morissette’s ‘You Oughta Know.”

    Due to their opening day set being cut short by lightning, event organizers Baked Shrimp played an extra long mid-day set to make up for lost time.  Picking up right where they left off by completing a “Rosa” jam, the ambitious young band also debuted “Hurricane Jane,” which saw both Hayley Jane and Rob Compa sit in. 

    loncon music festival

    Jersey Shore jam band Dogs In A Pile immediately raised the energy on the farm to a whole new level.  Distinguished by their colorful outfits, two guitar-attack and otherworldly sounds courtesy of multi-instrumentalist Jeremy Kaplan, the band managed to turn the soggy farmland into a veritable dance floor.  Making her third appearance of the afternoon, Hayley Jane returned to the stage once again, this time with a washboard draped around her neck, joining Dogs in a Pile on a rollicking version of the beloved The Band classic “Ophelia.” Not done with sit in’s just yet,  Rob Compa would later join the band for an extra funky rendition of ‘Boogie on Reggae Woman.”

    loncon music festival

    With nightfall now upon LonCon 2021, Day 2 headliner Mihali Savoulidis took the stage shortly after 8pm.  Before starting his set, Mihali spoke candidly about his special connection to the late Lon Gellman and explained just how much of an honor it was for him to be there at this inaugural event.  He would go on to play a sentimental set, highlighted by Twiddle staples “Apples,” “Mamunes the Faun,””Every Soul,”and “Hattie’s Jam” > “When It Rains It Pours,” and “River Drift.” Other highlights included an impressive mashup medley of “Glycerine” > “No Woman No Cry” > “Farmhouse” > “Wagon Wheel” and Hayley Jane joining on a cover of No Doubt’s “Don’t Speak.” The set also featured sit-in’s from Kung Fu/RCA drummer Adrian Tramontano and Baked Shrimp members Jared Cowen and Jager Soss.

    loncon music festival

    Mihali Setlist: Be There (1), Collective pulse (1), Glycerine -> No Woman No Cry ->Wagon Wheel -> Farmhouse-> One Day, Ballad of the Broken (2), Living is the Lesson, Don’t Speak (3), Cali Roads (3), Open House (4), Heart Song, Apples, River Drift, Empty Overflow, Mamunes the Faun (5), Every Soul (6)
    Encore: Hatties Jam (1) -> When it Rains it Pours

    (1) Dedicated to Lon Conscious
    (2) Formally known as CaliRado
    (3) W/ Hayley Jane
    (4) Formally known as Castle in the Sky
    (5) w/ Jager Soss (Drums; Baked Shrimp) Jared Cowen (Guitar; Baked Shrimp)
    (6) w/ Adrian Tramontano (Drums; RCA / Kung Fu)

    Baked Shrimp Setlists

    Friday, August 27
    Setlist: NO2-4U, Molly Ann, Tulu, Melting Over Nothing, Pork Etiquette, Rosa (1)
    (1) Cut short due to lightning storm.

    Saturday, August 28
    Setlist: One Set: Rosa (1), Weird Times, Who are You and What am I?, Ollie Blu, Hurricane Jane (2), Stomatopoda, Level of Gold, Pig Hearts and Mechanical Parts, Super Human Mutant, Benny, Down the Drain -> Equinox
    (1) Ending jam only; completes 8/27/21 version

  • Halsey Drops Powerful New Album ‘If I Can’t Have Love, I Want Power’ Produced by Trent Reznor

    Halsey dropped her powerful new album If I Can’t Have Love, I Want Power which was produced by Nine Inch Nails member Trent Reznor on August 27, 2021. With Reznor and Atticus Ross producing the album it transcends through multiple genres bringing industrial, rock, grunge, and pop all together and takes risks all along the way. The album’s release coincides with an hour-long IMAX film under the same name that features Halsey in the lead role and features music from the album.

    Halsey trent reznor
    If I Can’t Have Love, I Want Power album cover.

    Ashley Nicolette Frangipane, or more commonly known for their stage name Halsey, was born and raised in Edison, New Jersey. They spent much of their young adulthood visiting NYC and ended up living in Manhattan briefly before getting their big break with their song “Ghost” which was released on her soundcloud and ended up gaining lots of popularity. They ended up signing with Astralwerks because of their offer of retaining creative control. She debuted her first EP titled Room 93 on October 28, 2014. Since then they have released four albums titled Badlands on August 28, 2014, Hopeless Fountain in Kingdom on June 2, 2017, Manic on January 17, 2020 and finally her newest album If I Can’t Have Love, I Want Power on August 27, 2021.

    Halsey’s original album, Badlands, fell into the indie-pop realms but her next two albums seemed to be more or less strictly pop. Halsey has never been one to cater to the audience and refuses to be anything but themselves. This album though takes more risks than the previous albums both is subject matter and musically. If I Can’t Have Love, I Want Power steps away from the pop sound Halsey has become known for to make way for something different and I would argue better. The album is stronger and has more depth to it than her previous albums and really feels like Halsey has come into their true sound. 

    Although the album as a whole was very good there were a couple songs that stole the show and were definitely the stars of the album. “Easier than Lying” was one of those songs that really pushed the album to being a bop. You can definitely hear the influence of Reznor in this song. It is probably the hardest song Halsey has released. The continuous leading drum line combined with the distorted heavy bass line in combination with Halsey’s harder and grungier voice is a new sound for the artist and it suits them perfectly. Listening to it you never would have thought this was a new sound for them if you didn’t already know this was a step away from their pervious sound. It feels natural and like the sound she was meant to make.

    Another song that really made the album was “Girl is a Gun.” It uses a continuous leading drum line and a bouncy bass line combined with synth to make a song where, without even trying to, the listener finds them self bobbing along to it. It has a 90s drum and bass feel that’s addicting. It’s not as hard as “Easier than Lying” but definitely pushes Halsey out of the strictly dickly pop realms they have been more known for before this album. It’s catchy chorus and driving beat make it the kind of song where if it came up on your recommended playlist you would be checking to see who it was by and saving the song before it’s even over. 

    The last song that has to be mentioned is “Darling.” This song isn’t like any other on the album. It features a simple fingerpicking guitar and Halsey doing harmonies with it for the majority of the song. It’s not hard but it’s a risk. It’s not flashy but it’s honest. It makes you feel the bittersweetness of life and the hope and love for new life. The song is definitely a nod to Halsey’s child who was born shortly before the album’s release and to which they were pregnant with during the making of the album. The simplicity of it musically gives the chance for the lyrics to really be the star of the song and make the listener really focus on what Halsey is feeling.

    Although you should really listen to the entire album in order, if you are looking to checkout a song or two to see if it’s your cup of tea, any of these would be a great place to start. Anytime an artist changes up their sound it is a risk for them especially when they are moving away from a classically popular sound to something else. Not every attempt is successful. Halsey has taken this leap of faith and has landed with flying colors. 

    The full album is available on all streaming platforms. The accompanying film is available via Global IMAX. Showings, available dates, and locations can be found here.

  • Dead and Company wrap up New York State run in Saratoga

    For their fourth and final show in the Empire State, Dead and Company made their annual stop at Saratoga Performing Arts Center, hallowed ground for seeing the Grateful Dead in the 1980s. And much like the Dead shows at SPAC in the 80s, the venue was as packed as ever, hosting a sold out crowd of 25,103 – a few short of the record set by the Dead in 1985.

    On Friday, August 27, Deadheads of all ages – grandparents bringing their grandkids, parents going with friends, college kids meeting up with uncles and aunts, or just locals looking for a night of classic American music – filled in every corner of SPAC, and in this era of social distancing, the crowd at times felt like there were more than 25 thousand in attendance. Early entry was a smart move this night, as COVID-19 vaccine checks as well as ticket/security checks slowed entry down for many. If you’re attending a sold out show at SPAC this summer, the best move you can make is go in early and avoid the rush.

    photo by Conor McMahon

    Once inside, the Saratoga Springs crowd was as boisterous and congenial as you’d expect at a Dead and Company show, let alone a Phil and Friends, Ratdog, Billy and the Kids, Joe Russo’s Almost Dead, Dark Star Orchestra, or any other Grateful Dead side-project/tribute band. That’s what makes these shows so appealing to so many – you get that same wonderful vibe from those around you, all of whom are there for the music and allow themselves respite from the daily grind.

    Visit NYS Music’s interactive Grateful Dead in New York series, So MaNY Roads

    That collective release was felt when Dead and Company dropped into “Shakedown Street” to open a show, a resounding statement that tonight was going to be a barnburner. With Bob Weir wearing ‘Bobby Shorts,’ and Oteil Burbridge donning Section 119 shorts, even the band knew it would be a hot one. The “Bertha” that followed maintained the momentum out of “Shakedown,” which wound down so Weir could play a couple of acoustic numbers, the beautiful “Peggy-O” and “Me and My Uncle,” both of which were tour debuts.

    photo by Conor McMahon, Oteil’s shorts by Section 119

    Would be captain John Mayer took over vocals for “They Love Each Other,” and on “West L.A. Fadeaway” successfully pushed for a second jam with the help of Jeff Chimenti on keys. The set closing “Bird Song” was played at such a slow tempo it took Weir six minutes to get to the lyrics, while he and Mayer struggled for direction throughout the rest, clocking in at 22 minutes for the longest song of the night.

    Set 2 opened up with “Let the Good Times Roll,” evoking memories of the show opener on “Downhill From Here,” and driving the bus towards “Scarlet Begonias,” which was paced at times as it meandered over 13-minutes. Surprisingly, “Help on the Way” arrived when “Fire on the Mountain” was expected, cranking up the energy once again, and diving into a “Slipknot” that was exploratory courtesy of John and Oteil, and is well worth a listen below. When “Fire” finally arrived, it lit the crowd up in a haze for 10 minutes, before an exodus of fans made their move towards the back of the lawn or parking lots with the onset of “Drums.” Oteil joined Rhythm Devils Bill and Mickey for the a tribal interlude, followed by Mickey getting to work on The Beam for “Space.”

    Upon the band’s full return to the stage, “Cumberland Blues” brought the crowd back to their feet, then giving them a chance to rest during “Days Between,” the final tour debut of the night. “Not Fade Away” would close the set, bringing Buddy Holly’s lyrics to echo across SPA State Park and beyond. To balance out “NFA,” an encore of “Black Muddy River,” while soulful, zapped the energy that had been flowing all night.

    While an up and down show tempo-wise, Dead and Company were energetic and polished throughout. It would be difficult to find a fan of the Grateful Dead who didn’t enjoy this performance at SPAC, or elsewhere on this tour, one that comes at a needed time for the fans after many months without live music.

    Dead and Company – Saratoga Performing Arts Center, Saratoga Springs, NY – August 27, 2021

    Set 1: Shakedown Street > Bertha, Peggy-O, Me and My Uncle, They Love Each Other > West L.A. Fadeaway, Bird Song

    Set 2: Let the Good Times Roll, Scarlet Begonias > Help on the Way > Slipknot! > Fire on the Mountain > Drums/Space > Cumberland Blues > Days Between > Not Fade Away

    Encore: Black Muddy River

    photos by Conor McMahon

  • Jenny Kern Releases “Where Did the Time Go,” sets date for EP release

    Canadian-born and NYC-based singer-songwriter Jenny Kern has released the heartfelt and lyrically rich song, “Where Did the Time Go.” The new single follows a string of acclaimed singles that will precede the release of her long-awaited self-titled EP I Never Thought You Were Listening, due out on October 1.

    jenny kern

    Jenny’s career began when she was still in University, performing around Montreal. Eventually, she gained more confidence in her sound, leading her to move to NYC in 2013. NBC welcomed Jenny as a Page seeing her true potential, where she would late work for acclaimed filmmakers Noah Baumbach and Greta Gerwig, allowing her to make the leap into film and television. Her love for music became so apparent that in 2018 she decided to take a leap of faith and pursue music full time. 

    In her rise to fame Jenny found herself performing at notable venues around New York City like Rockwood Music Hall, Pianos, and Mercury Lounge. Her debut EP was not only down to earth but intimate; a self-reflection on her personal experience with self-doubt, regret and the search for comfort in painful seasons. Jenny lures her audience through a confession-like delivery portraying her vulnerability through each lyric.

    The COVID-19 pandemic served as a catalyst for Jenny’s writing style. Her anticipated self-titled EP I Never Thought You Were Listening will be released this October 1st, with her new single “Where Did the Time Go” giving her audience a tease of what we can expect from her.

    “Where Did The Time Go” is an intensely personal and self-reflective song about dealing with anxiety. I started writing this song in quarantine while having an existential crisis, and not knowing what my purpose was, or why I was existing. While it’s dark in nature it was very cathartic to write. There’s something powerful in laying out your fears and anxieties and admitting that you don’t have all the answers.

    Jenny Kern on Rock and Roll Globe

    Jenny’s first single of 2021, “Coming Back For Me” released this January has spun on XPN and NPR’s World Café and earned a spot on Spotify editorial playlists like New Music Friday, Fresh Finds, and Indie All Stars.

    Watch Jenny’s new music video below, produced by Tashaki Mikyaki, with a focus on the reality of isolation that pushes us to question ourselves.

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