On August 16, 2021, Lindsey Stirling graced Saratoga Performing Arts Center with an incredible performance. From daredevil aerial spinning to intricate choreography, her show is one for the ages. Sterling said during her set that she always imagined herself becoming what she is today, a badass playing violin and dancing to dubstep, wearing the most fantastical costumes.
Photo by Zach Culver
Lindsey’s Artemis Tour, named after her latest album release, is just as outrageously out of this world as any of her work. Every few songs a video would come up on the massive LED screen behind her playing a fable of sorts, usually incredibly strong and uplifting, inner beauty and strength being a key point in all her messages. She dives deep into each genre of… well, everything she gets into. Her music ranges from heavy dubstep to classical and back to pop, and her stage performances always have incredible themes.
Artemis is very much an album based in ancient fantasy. The videos between songs showed Lindsey Stirling in full costume in the middle of the woods, bow in hand, among her clan of pre/post-apocalyptic hunters. As she dove into her other albums, her costumes and themes changed with them. A Choose Your Own Pirate Adventure got the crowd cheering as the fair maiden and her crew acted out insanely hilarious and amazing choreography.
The Artemis Tour takes Lindsey out west for a handful of shows before a five-month hiatus. In late February 2022, she begins her World Tour of the same name beginning in Sydney, Australia and ending in Kiev, Ukraine.
Setlist: Artemis, Til the Lights Goes Out, Darkside, Shatter Me, Masquerade, Master of Tides, Love Goes On and On, Crystallize, Married Life > Once Upon a Dream > A Dream Is a Wish Your Heart Makes / You’ve Got a Friend in Me, Between Twilight, Sleepwalking, The Arena / Underground, Roundtable Rival / Don’t Let This Feeling Fade, First Light, Mirage
Rescheduled from 2020, Daryl Hall and John Oates had been waiting to get their tour on the road for almost as long as we’ve been waiting to see them again. On Sunday, August 15th, they arrived with some 13,000 fans at Saratoga Performing Arts Center, one of the biggest crowds this venue has seen in some time. English band Squeeze opened the show.
Photo by Zach Culver
The duo came out, clad in their best rocker gear, followed by their band. Starting out with the classic “Maneater” the crowd was in from the start. They ripped through a few of their oldies before Daryl moved over to his grand piano for “Sara’s Smile.” After tearing up the crowd’s heartstrings he moved back over to center stage with his counter-part. The whole band came in strong for “Back Together Again,” surely being a very meaningful track for them after this past year.
30 minutes before their slotted end time they left the stage, leaving the crowd hungry for more. Little did they know what they were in for. Hall and Oates came back on stage for a four song encore, starting with “Rich Girl” and flowing into “Kiss on My List,” “Private Eyes,” and lastly, “You Make My Dreams.”
The duo headed west after Saratoga and the next time they will be near New York State will be September 18th at the Merriweather Pavilion in Columbia, MD and Foxwoods Casino in Mashantucket, CT to close their tour on December 3rd and 4th.
Setlist: Maneater, Out Of Touch, Method of Modern Love, Say It Isn’t So, You’ve Lost That Lovin’ Feelin’ (Barry Mann cover), She’s Gone, Sara Smile, Is It a Star, Back Together Again, I Can’t Go For That (No Can Do),
Encore: Rich Girl, Kiss On My List, Private Eyes, You Make My Dreams
Billy Joel performed at Highmark Stadium in Orchard Park on Saturday, August 14 for his rescheduled 2020 date, with thousands of fans packing the Buffalo Bills stadium in a highly anticipated event that marked the return of concerts at the venue since the pandemic began.
This was the first full capacity event to happen at Highmark Stadium, and the fans were really enjoying it. From tailgating out in the lots, to everyone together in the stadium the atmosphere was nothing short of electrifying.
The rules in place were well respected to give the best and safe experience as possible. Masks were required by all fans and staff when inside of the stadium concourses or in the bathroom.
Shortly after 8:30pm the stadium filled in as eager fans waited for the Piano Man to take the stage. The piano sat front and center in plain sight looking immaculate as anticipation grew for the performance to start. Fans were up front holding an assortment of different signs expressing their love and gratitude to Billy Joel, one woman even holding a sign saying how she named her child after him.
With an eruption of applause and cheers Billy Joel took the stage, giving a brief wave and smile to the crowd before taking his seat at the piano. Immediately he opened up with “Movin’ Out’ setting the crowd off into cheers. Billy Joel transitioned his songs flawlessly as one would expect from the lifetime of experience of performing music. Billy Joel performed “Miami 2017” and then “Pressure” before addressing the crowd with a “Hello Buffalo!”
While being considered one of the greatest musicians of all time, Billy Joel also brings with him a fun and witty sense of humor. This was showcased when he informed the crowd of the origins of Buffalo’s name, stating it was too difficult of a French word to pronounce, so it ended up being “Buffalo”
Billy Joel went on to perform an electrifying 24 song set that seemed to go way too quickly. Joel is known for bringing other musicians on stage with him, and it was no different for Buffalo. Introducing John Rzeznik of the Goo Goo Dolls, a Buffalo native, they performed the bands hit “Iris” This was very well received by fans as everyone in the stadium was singing along, as Rzeznik looked like he was having the time of his life.
The set consisted of many of Billy Joels top hits including “New York State of Mind”, “Allentown”, “She’s Always a Woman”, “Scenes From an Italian Restaurant” and of course to end the set was “Piano Man”. But Billy Joel wasn’t finished yet – coming back for a five song encore of “We Didn’t Start the Fire”, “Uptown Girl”, “It’s Still Rock and Roll to me”, “Big Shot”, and “You May Be Right” to finish the night off.
Billy Joel gave a masterclass in live performance in Buffalo, and he shows no sign of slowing down. He truly is one of the greatest performers of all time, and demonstrated that with the combination of a beautiful production and his ability to command the crowd with his presence.
Setlist: Movin’ Out(Anthony’s Song), Miami 2017(Seen the Lights Go out on Broadway), Pressure, Summer, Highland Falls, The Entertainer, Vienna, Zanzibar, New York State of Mind, Don’t Ask Me Why, Iris(Goo Goo Dolls cover with John Rzeznik), Allentown, My Life, She’s Always a Woman, Sometimes a Fantasy, The River of Dreams (With “Tush” by ZZ Top interlude), Only the Good Die Yound, Nessun dorma (Giacomo Puccini cover with Mike DelGuidice) Scenes From an Italian Restaurant, Piano Man
Encore:We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, You May Be Right
Modest Mouse wrapped up a four night stay at Bushwick’s Brooklyn Steel on Saturday, August 14th in celebration of their seventh LP The Golden Casket. Providing a different setlist each night, Modest Mouse played a significant portion of the new record along with songs from their entire catalog.
Modest Mouse at Brooklyn Steel, 8/13/2021. Photo by Buscar Photo
The Golden Casket was released this past June, six years since the band’s previous record Strangers to Ourselves came out back in 2015. For nearly a quarter century, Modest Mouse have been making pop-infused indie rock and amassing a devout following. That was on clear display at Brooklyn Steel last week; arguably a smaller venue for the group, but four nights quickly sold out and the audience would have stayed there all night had they kept playing. Even after a 2 hour show with a 6-song encore, barely anyone left the floor until security began ushering the crowd out.
Isaac Brock of Modest Mouse. Photo by Buscar Photo
The new record draws on Modest Mouse’s signature sound, with a more psychedelic edge. Songs like “Leave a Light On” and “We’re Lucky” showcase shimmering guitar and horn loops while “Wooden Soldiers” and “The Sun Hasn’t Left” are reminiscent of Magical Mystery Tour era Beatles. These songs combined with quintessential Modest Mouse indie rock tunes and an artistic theme filled with rainbows and bright colors give The Golden Casket it’s own distinct place in the band’s discography.
Modest Mouse at Brooklyn Steel, 8/13/2021. Photo by Buscar Photo
The lengthy ‘MMXXI’ tour continues with a dense schedule all the way through the end of October. You can find the full list of dates and ticket links on the band’s website HERE. Check out the music video for The Golden Casket lead single, “We Are Between” as well as the full photo gallery from night 3 at Brooklyn Steel below.
As of Monday, August 16th, New York City is requiring proof of vaccination for most indoor activities including concerts, indoor dining and gyms. Depending on the show in question, negative COVID tests may be required in addition to vaccination. Make sure to check the policy of the show and venue in question. You can find Bowery Presents policies HERE.
Imagine if you will, the Zac Brown Band’s “The Come Back Tour” as a Phoenix rising from the depths of musical silence. The 2021 tour, running from August to October, incorporates a host of rotating special guests to help reinvigorate those who had fallen into the abyss of the last year. The stop at Bethel Woods Center for the Arts in Upstate New York featured Ashland Craft opening and Teddy Swims in the middle spot with Zac Brown Band headlining
Ashland, inducted into CMT’s Next Women of Country Class of 2021, took to the stage with an “it’s time to party and let’s get it going” demeanor. In shorts and knee-high boots, Craft and band reinforced the vibe with “I Smoke Weed” and the classic rocker “American Woman.”
Teddy Swims opened his set strutting from one end of the stage to the other, deviating from a pure country sound to one with rap induce lyrics. He is a performer who can traverse many musical paths. At mid set, Karl Michael joined Swims on stage. The two performed their just released single “Liar.” From this point on, Swims’ vocal power became apparent. Closing with the powerful and emotional anthem “Bed on Fire,” Teddy solidified why he is part of the tour.
The Zac Brown Band
The Zac Brown Band offered the packed house a two-hour night of music that reached well beyond country. Throughout the night, Brown introduced tunes from his upcoming album release The Owl, most notably “Same Boat.” Classics such as “As She’s Walking Away” and “Whatever It Is” were standouts to his extensive catalog and not left by the wayside.
Zac appears like a warrior onstage: big, bold, and defiant with his guitar strapped to his barrel chest, ready to take on anyone who would challenge him. Mid-way through the night, he stripped down to a microphone for “Colder Weather.” That song found Brown opening himself up to the audience as if to expose his vulnerabilities. The sold-out crowd reciprocated back with big love for this genuine gesture that found Brown tapping his hand over his heart in humble appreciation.
To be clear, this is The Zac Brown Band and not Zac Brown supported by a group of musicians. Members of the band, affectionally called (musical) ninjas by Zac, stepped up front and center throughout the night sharing their musical abilities.
This was not a night devoted solely to country. Not at all. The set included the Beatles “Blackbird,” Adele’s “Rolling in the Deep” (performed with Teddy Swims), Metallica’s “Enter Sandman” to name a few, offering something for everyone and acknowledging the bands apperception for good music, no matter the groove. The encore proved entertaining starting with an eight-song medley (Black Betty / I Want You to Want Me / Two Tickets to Paradise / La Bamba / Come Together/ Jump Around / Love in an Elevator / What’s Up), followed by Elton John’s “Rocket Man.” Of course, no Zac Brown Band show could end without “Chicken Fried” filling the hall to take everyone home. At the end of a hot night on the hollowed grounds of Bethel Woods, the musical horizon was once again ablaze with music, sweet music.
The Districts wrapped up a four night run at Brooklyn Steel Saturday August 14th in support of Modest Mouse’s MMXXI Tour. We were there for night three; you can see the full photo gallery below.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
For so many bands today, these tours mark the return to the stage after nearly a year and a half pause due to the pandemic. Vaccine and testing requirements are constantly changing, but while this remains in flux, these early concerts have shown that both the fans and artists are eager to get back on tour. Brooklyn Steel was nearly at capacity for The Districts’ opening sets, drawing their own fans out early who were more than ready to get back to live music.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The Districts released their fourth LP ‘You Know I’m Not Going Anywhere’ back in March 2020, right before COVID-19 would cause mass lockdowns around the world and in the US. These shows, more than 500 days later, are the first time the band has been able to perform the new songs live since their 2020 tour was cut short. Even with the hiatus, the band performed a tight set and did not show any sign of rust.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The band’s last pre-COVID show ironically was a hometown gig at Union Transfer in Philadelphia. The tour has the band making their return to Philadelphia in December for a show at The Fillmore with Dr. Dog. Check out all of their upcoming tour dates HERE.
As of this week in NYC, proof of vaccination will be required for most shows, including all of Bowery Presents’ venues. Visit their site for more information on acceptable proof of vaccination and individual venue policies.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Kimberly Hawkey, Canella and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Kimberly Hawkey
Kimberly Hawkey’s album We the Nighthawks is begging to be adapted as a musical. Combining jazz, folk and Broadway influences, each of its 13 tracks tells a stage-ready story ripped from the Great American Songbook. The album’s title track, a melancholy piano ballad, is a love letter to the insomniacs and night owls staying up while the rest of the world sleeps. Hawkey is also the lead singer of NYC swing sextet, The Swingaroos. This Tuesday, August 17, you can catch her performing at The Linda, WAMC’s performing arts studio.
Canella is a new project from former members of Albany band Waitress. On “Quiet Love,” lead singer Juliana Castrillon shares her experience with homelessness and finding her way back: “I won’t miss the times before, I was locked right out the door.” The video, directed by El Modernist lead singer Will Fredette, showcases Castrillon’s journey, from waiting at a bus stop with a suitcase to experiencing happiness and safety again.
Bathrobe Robots
Bathrobe Robots is a sibling duo made up of Devon and Linnea Seegers. Their Facebook bio reads “Sibling robots crash landed in the desolate countryside of upstate New York, and decided to make some music.” Their glitchy, politically-charged, Grimes-channeling single “Speak Now” encourages listeners to make a difference by using their voices.
In the music industry, it isn’t uncommon for an artist and their label to differ on the former’s contractual obligations. We’ve seen many successful artist-label partnerships go awry as a result of contractual misinterpretations and overall lack of wherewithal. To put it frankly, many artists know about music, but far less know about the business of music.
Some may want to blame them for their lack of awareness, and yes, every artist should be knowledgeable about their paperwork but first, let’s ponder this; In most professions, one must go to school or get firsthand experience learning the ins-and-outs of a career before they practice it. Artists aren’t afforded that luxury. Once lightning catches the bottle they mustn’t hesitate, or they risk losing a once-in-a-lifetime opportunity. As such, these unions usually see those making front-end decisions have years of industry experience, and in turn, the same is expected of (mostly) novice young adults.
The disparity in experience between the parties creates an unbalanced work relationship. The label has all the expertise, while the incoming creative is left to figure out the true nature of the partnership. The point of contention is also not strictly an educational one. Label executives and creatives operate on completely different wavelengths. For the former, decisions are usually made based on the bottom line, while the latter’s instincts — and for many, the key to their artistry — is synced with their emotions, which does not always make for good business.
Ironically, business was Frank Demilt’s planned major in college, before epiphanizing a different life for himself. Upon hearing a professor echo a message regarding students being passionate about their academic careers, he realized it was time for a change.
I don’t know if I can sit in these business classes for another four years and go to work every day with a suit-and-tie.
a young Demilt thought to himself
So, a life-altering decision was made. He left his school in Kentucky and transferred to Ithaca college in Upstate New York, where he could major in their audio engineering program as well as continue his football career.
In 2015, Frank Demilt graduated with a bachelor’s degree in audio production. The six years since have seen the youthful label exec make his mark within the industry.
After graduating, Demilt began his career at Soul Asylum Studios (whose clients included Justin Bieber, T.I., and Waka Flocka) in Atlanta, GA, immersing himself into the music business. He honed his engineering skills under the guidance of Grammy-winning mastering engineer Mark Christensenand becameknown for production work with Grammy-awardwinners Trackmasters, Sean Paul, and Elle Varner, which enabled him to expand his portfolio, before working other roles that increased his overall knowledge.
Now serving as head of artist development at Sloppy Vinyl, Demilt, 27, currently occupies several positions. Aside from studio engineering, he is also a personal manager for specific artists and producers, while also holding the tittle of A&R at Water Music Publishing, the publishing company under the Sloppy Vinyl umbrella.
https://youtu.be/CTHt1ujIwoo
His ascendence in the industry was relatively fast, yet the well-traveled A&R doesn’t want his youth to deter from the vast amount of knowledge he’s garnered. He’s dedicated himself to helping the artist in more ways than one. His latest contribution, an instructional guide for intending recording artists, has the potential to be monumental in the way artists approach the business side of their music.
I want this book to serve as the guide for artists. I wanted this to show the artist the insight of an insider from the industry. I want the artist, no matter where they are in their career, to learn and get the knowledge from this book to better themselves as artists and business-people. I want this book to serve them as their blueprint on how to navigate the music industry.
The Blueprint: The Bible For Becoming a Successful Performing Artist in the Digital Age, walks the artist through their potential journey in the music industry. Beginning with the proper equipment they should use to record their music (comparing his own techniques with the standardized industry versions) and venturing on to scouring for a label, contractual obligations once signed, what is expected of an artist and other forms of income one can make as a signed artist.
Explaining the thoroughness of his work, Demilt emphasizes,
Everybody only hears either the crazy success stories of Drake, Wayne, Kanye and Jay – Z, or the crazy horror stories of that artist that got that first deal and is just mad at the world because nothing worked and they got taken advantage of. I wanted to help the artist realize that there is such a discrepancy between the two that you need to know all this information that you’re not going to know until it happens.
Apart from helping the artist begin their foray in the music business, The Blueprint might also prevent friction between artists and labels. Miscommunication is a major cause of conflict between any relationship, never mind ones that at-times have millions of dollars at stake. For instance, when an artist receives his advance check from a label and begins to spend frivolously, not realizing that it is a loan that must be paid back. A simple gander into The Blueprint can prevent an artist from getting off on the wrong foot.
I’ve noticed that the younger kids really just want to do the music and [focus] on the creative aspect. The kids that are maybe in their early twenties have some background knowledge of it and then the kids that are maybe in their mid-twenties or older are the ones that really know what to get out of it.
Overall, any artist who wishes to take that leap of faith and devote themselves to becoming a successful recording artist should know what they’re getting themselves into. Labels won’t openly share their business tactics, while scouring an artist’s social media page or interviews for tidbits is most likely another dead-end, as their public personas are usually meant to portray a more glamorous image than to shed truth. The Blueprint is the first of its kind, and going into a business-relationship that is designed to be disadvantageous on an even playing field is something any artist should exploit.
If I’m an artist and I come to the table and can speak with the label and representatives in a more intelligent manner when it comes to the business, I think the labels will respect that more, because now they can have a more open conversation. And some of the things that might be an obstacle in the future get taken care of upfront and everybody’s on the same page with the same understanding.
Phish began its three-night siege of Atlantic City last night with a concert on the beach that was a year in the making. Like most of this summer tour, this was the rescheduled date after being postponed last year due to the pandemic. With plenty of fans still masked up and partying safely, Phish more than made up for lost time with a show that surely stood out among the other customary bright lights along the iconic Jersey boardwalk.
photo: Dave DeCrescente
In a fitting nod to the locale, “Cars, Trucks, Buses,” the notable New Jersey Turnpike driving lane designation, was tapped to open the show. This gave way to an “AC/DC Bag” that followed, with Trey Anastasio ad-libbing a “put ’em on the beach” lyric much to the crowd’s delight. The ensuing jam bled nicely into “Blaze On” and Phish was off and running. The first set later featured an appearance from drummer Jon Fishman and his trusty vacuum for “I Didn’t Know” and an explosive “Funky Bitch” contained the first of two distinct “Fire” (Ohio Players) teases from Anastasio this evening. In an all too fitting selection, an exploratory “Sand” later closed out the opening set in grandiose fashion as fans danced and kicked it around on the beach.
In a move that surprised no one, the second set continues to be a warehouse of monstrous, type-II jamming from Phish and the first night of Atlantic City would prove no different. The intensity on the beach reached a new level once the opening notes of “Tweezer” rang loud and true. True to form, “Tweezer” could have been jammed out for the entire second set and there would have been few complaints. Instead, after an extended visit, the music slowly veered into the opening notes of another classic jam vehicle “Bathtub Gin.”
At one point, it seemed like the set could very well be just a few songs, all jammed extensively. Instead, Phish threw in a couple more songs, starting with the upbeat and uplifting “Everything’s Right.” A rambunctious “Possum” popped up later in the set, only to be steered directly into an intense “2001” that set off the entire beach into a synchronized frenzy. The late second set “Harry Hood” was perfectly placed and performed to perfection. However, fans will have to wait (at least) one more night for the anticipated “Tweezer Reprise” as the lone encore this evening was a cover of The Rolling Stones’ “Loving Cup,” leaving plenty on the table for nights two and three to follow.
photo: Dave DeCrescente
Setlists via Phish.net
Friday, August 13, 2021
Soundcheck: Theme From the Bottom, My Soul, We Are Come To Outlive Our Brains, Lonely Trip
Set 1: Cars Trucks Buses, AC/DC Bag > Blaze On, Wolfman’s Brother, I Didn’t Know, Funky Bitch, Rift, Sand
Set 2: Tweezer > Bathtub Gin > Everything’s Right > Possum > Also Sprach Zarathustra > Rise/Come Together > Harry Hood > More
Encore: Loving Cup
On Saturday, slow Llamas got Drowned as Phish took stage for night two of their three night run in Atlantic City. The Vermont quartet immediately set the tone with a slow “Llama” to get the funk going. Page McConnell immediately got scratching on his clavinet and stayed atop of the clav for more funk on “Tube” with Trey’s Wah pedal still in effect.
Any first set “Reba” that unfolds naturally like it did on Saturday immediately set the crowd off into a frenzy. A nod to beach side reggae ensues with Bob Marley’s “Soul Shakedown Party” The first set ended with Page’s solo over the quiet ocean for “Squirming Coil.”
photo: Dave DeCrescente
“I Never Needed You Like This Before” a new tune that breathes rock and roll while including Phishy tension. Roger Daltery’s words “Let me get back to the ocean, let me get back to the sea” carried across the Atlantic on a raucous cover of The Who’s “Drowned.” Trey and Page reunited on the wah funk pedals and clavinet during a second set “Ghost” that came full circle with Chris Kuroda’s lights and”No Quarter” by Led Zeppelin brought in another chilling cover for the night.
During the encore Phish sublimated the crowd with the “Life Beyond a Dream” before revisiting the “Tweezer” that started Set 2 Friday night, with “Tweezer Reprise” certainly sending everyone back to the dunes with a smile.
Saturday, August 14, 2021
Set 1: Llama[1], Tube, Destiny Unbound > Ya Mar, 46 Days, Reba[2], Soul Shakedown Party, Split Open and Melt, The Squirming Coil
Set 2: I Never Needed You Like This Before, Drowned > Ghost -> Scents and Subtle Sounds[3] > Chalk Dust Torture[4] > No Quarter > Slave to the Traffic Light > Suzy Greenberg
Encore: A Life Beyond The Dream, Tweezer Reprise
[1] Performed in slow, funk style
[2] No whistling
[3] Did not contain the intro
[4] Unfinished
Never miss a Sunday show. It’s been a mantra for Phish fans since the 1990s, and once again the band delivered an excellent closing to what could easily become a regular stop for the band.
Opening up with the rare “The Landlady” caught everyone’s attention shortly before 8pm. The band dipped into the intro section of “Scents and Subtle Sounds,” which clocks in at under two minutes, but the final line “the moment never ends” segued perfectly, and lyrically, into “The Moma Dance.” Fans who caught this subtle connection were elated, but who couldn’t be when a 16 minute “Moma” was in store for the beach. A well placed “Mike’s Groove” filled the middle of the set, while an energetic 20-minute “You Enjoy Myself” closed the set.
A fiery “Carini” lit up the beach to start the final hurrah of the weekend, leading into “Set Your Soul Free,” giving a release of energy for the thousands elated to be dancing to live music once again. The most perfect placement for the weekend goes to “Beneath a Sea of Stars Part 1” which followed. The timing of this serene and at times ambient number from Ghosts of the Forest has found a home in the exhaust of jams, breathing new life for the crowd here together.
A top notch “Piper” followed, a highlight of the weekend for some, with the requisite “Waves” following and sending fans into the ocean, if they hadn’t been already. The set closed with “First Tube,” as energetic as ever, and setting the stage for a double encore of “Fluffhead” and “Backwards Down the Number Line.”
For a weekend on the shore, amid concerns of large gatherings, Phish pulled off a memorable as ever run of shows in Atlantic City, ones that stand free of time as their best in America’s Playground.
Set 1: The Landlady, Scents and Subtle Sounds[1] > The Moma Dance[2] > The Final Hurrah > Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Sloth, Roggae > Back on the Train, You Enjoy Myself
Set 2: Carini > Set Your Soul Free > Beneath a Sea of Stars Part 1 > Piper -> Carini > Waves > Simple > About to Run, First Tube
Encore: Fluffhead > Backwards Down the Number Line
[1] Intro only[2] Unfinished Scents and Subtle Sounds was only the intro. The Moma Dance had a Scents and Subtle Sounds tease and was unfinished. Mike’s Song had a Strawberry Letter 23 tease from Trey. Set Your Soul Free had teases of I’m a Man, Carini, and Linus and Lucy. The soundcheck’s jam contained Soul Planet quotes from Trey.
On Tuesday, August 10, NYC based band We Are Scientists were scheduled to play a one-off warm up show at Brooklyn’sElsewhere Rooftop. Right as doors were set to open, severe thunderstorms rolled in and forced the band to postpone the show (now scheduled for September 20th at the Rooftop). The crowd waiting in the loft was told that We Are Scientists would come out and perform an impromptu acoustic set in the empty Hall downstairs. Not quite knowing what to expect, fans filed down the stairs and into the main venue at Elsewhere.
We Are Scientists, Elsewhere 8/10/21. Photo by Buscar Photo
At about 9:15pm the band came out on the empty stage armed with an acoustic guitar, a snare drum, and three voices. Keith and Chris engaged in some comedic back and forth with the crowd, joked about the lack of amplification and the barrier still in place in front of the stage, then treated the fans to a 20 minute acoustic performance (plus one air-bass solo) of old and new songs. Any disappointment over the postponed show quickly evaporated as the crowd engaged in an enthusiastic sing along. In spite of the circumstances, the guys were able to give their fans a special treat that will surely be cherished by those who stuck out the rain.
Keith Murray of We Are Scientists – Photo by Buscar Photo
The postponed warm-up show will be made up at Elsewhere on September 20th with a full European tour kicking off on November 24th in the UK. In between, the band’s new record, Huffy, will be released on October 8th on 100% records. Full tour dates can be found HERE – check back in September for a review of the show and the new record. You can watch the music video for latest single “Contact High” below.
