Category: Features

In Focus: The Slip Wrap Up First Tour in Nearly a Decade
The Slip, avant-rock trio from Boston, soundly finished their first mini-tour in a decade, playing seven shows over two weeks this November across the northeastern US. This was their first mini-tour since 2011. Brad and Andrew moved to Montreal in 2005, birthing The Barr Brothers. As The Barr Brothers ramped up, The Slip’s performances ebbed, playing only 7 times in 2011, then only twice at High Sierra Music Festival. Everyone wanted to know when they’d tour again.

The long-awaited Slip mini-tour launched at Higher Ground in Burlington, VT, where they’ve played over two dozen times since 1998 (lastly in spring of 2008). BAM started off with the ethereal Landing, prelude to the fiery fan favorite, Get Me With Fuji (a song named by long-time friend and one of the first Slip tapers, Jason Booth). After Fuji fired up the crowd, Brad donned his Danelectro for Nobody Waits That Long Anymore, a brand new song (debuted at Lockn’ Farm). Even Rats, their most-watched video, brought indie rock vibes to keep the first set lively.

The reflective rock classic, Sometimes True to Nothing, warmed the crowd in the first set. “The heart is a wilderness / with beauty and emptiness / that you endure”. The new rock song Motherwolf went into Chasing Rabbits, which debuted in 2003, but hadn’t been played since April 2007. Long-time Slip fans anticipated more good times from the wide mix of new and old songs in their tour opener.

The Slip flexed their jazz chops with their Coltrane tribute, Trane-ing, first played back in 1998 at The Living Room. They continued with an even older classic, Through the Iron Gate, which debuted in 1997 and hadn’t been played in 16 years! Heading back to recent times, they unearthed another gem from Eisenhower, Life in Disguise, then on to The Weight of Solomon, ending the single set with the oft-paired The Orginal Blue Air > Paper Birds.

The boisterous crowd cheered them on for a tasteful encore of The Band classic, The Weight, which The Slip has greatly rearranged, ending it typically with a Dogs on Bikes outro, and Autobody teases. Slip tour commenced robustly.

Thursday, November 11, 2021 – Higher Ground – South Burlington, VT

Setlist Landing, Get Me with Fuji, Long Ways Back, Even Rats, Sometimes True to Nothing, Motherwolf, Chasing Rabbits, Trane-ing, Through the Iron Gate, Life in Disguise, The Weight of Solomon, The Original Blue Air, Paper Birds
Encore: The Weight*
Notes: * new version, with Dogs on Bikes theme
Their tour evolved at Fete Music Hall in Providence, a cool industrial warehouse converted to a two-stage music venue. Ryan Montbleau, a friend of BAM’s who has Marc Friedman in his current band, surprised us with a lovely opening set of originals on acoustic guitar. This hometown crowd was larger than the tour opener in Burlington. BAM started the set with Landing, but ended there, instead of the typical segue into Fuji. They continued into Trane-ing, Blue Air > Paper Birds, and saved Get Me with Fuji until after the commonly-paired song duo.

Brad announced to the audience they were about to play their new single, Superterranean Onlyness, The Slip’s first studio release since Eisenhower – flowing with harmonized vocals, and brilliantly engineered by Steve Albini. Here’s a fan-shot 4K video of the live debut. BAM then played Driving Backwards with You, a song which debuted in 2000 at Higher Ground, then Lockn’ this August after an 11-year hiatus (last played at Narrows 2010). Even Rats preceded another new song, Hit Song.

More songs came back into regular rotation, such as Chasing Rabbits, Motherwolf, and Sometimes True to Nothing, followed by the sublime Aptos* > Something Learned, which debuted at Bethel Fest in 2003, and was last played at Cafe du Nord in 2010. They delved back into Eisenhower territory with Life in Disguise, then treated their hometown fans with another old-time classic, Autobody Experience (debuted in 1996!). This led into their new version of The Weight, with Dogs on Bikes outro to close, ending with a tasty encore of Children of December (performed over 250 times!)

All the parents of the children of december have a clutch
because their birthdays are the hardest to remember
when you’re born on christmas or the day before new year’s
you can sing happy birthday but nobody hears it

Friday, November 12, 2021 – – Fete Music Hall – Providence, RI

Setlist: Landing, Trane-ing, The Original Blue Air, Paper Birds, Get Me with Fuji, Superterranean Onlyness, Driving Backwards with You, Even Rats, intro, Hit Song, Chasing Rabbits, Motherwolf, Sometimes True to Nothing, Aptos, Something Learned, Life in Disguise, Autobody Experience, The Weight, Dogs on Bikes
Encore: Children of December
The Sinclair in Harvard Square was packed before showtime, being where they went to music school and have played more than anywhere. Ryan Montbleau opened again.

BAM started with Landing, then Brad launched into wild guitar playing & effects, then segued into a sizzling Get Me with Fuji, then the brand new ballad Nobody Waits That Long Anymore. They continued into Even Rats, Sometimes True to Nothing, and capped the first set with a fierce Motherwolf.

Set two started with the jazzy Trane-ing, The Weight of Solomon, followed by Hit Song into Aptos. They returned to Through the Iron Gate, into Life in Disguise, with Lennon’s Jealous Guy teases (foreshadowing?). They teased Autobody Experience inside The Weight, following up with a Wolof jam and Dogs on Bikes outro to finish the smoking second set.

The most popular encore, Children of December, was well-executed. The weekend ended on a high note, and those attending all 7 shows were eager to see what they’d play next week in Philly and New York.

Saturday, November 13, 2021 – The Sinclair – Cambridge, MA
Setlist: Landing, Psych Guitar, Get me with Fuji, Nobody Waits That Long Anymore, Even Rats, Sometimes True to Nothing, Motherwolf, Trane-ing, The Weight of Solomon, Hit Song, Aptos, Through the Iron Gate, Life in Disguise, Autobody Experience, The Weight, Wolof jam, Dogs on Bikes outro
Encore: Children of December
Originally scheduled for Tuesday, Nov 16th, their first show at the new Brooklyn Bowl in Philly was canceled. It was great to return there, having attended the venue’s opening night with Soulive. This brand new 900-capacity venue shoulders The Fillmore in Northern Liberties, with two floors, twenty lanes of bowling, dining room, stage, and long bars on both floors. Delicate Steve opened, with a straight-ahead drums/guitar rock duo.

The Slip began with Trane-ing, followed by You Might Say (not played since High Sierra 2008). Ernie Mickey continued, a fan favorite (House of Blues Chicago 2001). BAM continued with The Soft Machine, Hit Song into Motherwolf, into From the Gecko, and Something Learned. They busted into a hot take of Get Me with Fuji, where Steve Marion (from Delicate Steve) joined in on guitar, staying on through Creedence Clearwater Revival’s Proud Mary and ending the set with Sometimes True to Nothing. The Reddish Moon encore was calming, perhaps to prepare us for NYC?

Wednesday, November 17, 2021 – Brooklyn Bowl – Philadelphia, PA
Setlist: Trane-ing, You Might Say > Ernie Mickey, The Soft Machine, Hit Song > Motherwolf > From the Gecko, Something Learned, Get Me with Fuji% > Proud Mary%^ > Sometimes True to Nothing%
Encore: Reddish Moon
Notes: % w/ Steve Marion (Delicate Steve) on guitar and Charlie Hall (War on Drugs) on drums. ^ Creedence Clearwater Revival (cover).

As is usual in pandemic times, inter-city travel is capricious, so the Philly to NYC route was beset with numerous accidents and traffic jams, even after morning rush hour. The usual 2.5 hour ride to Brooklyn took over 5 hours, but I was lucky to have a booked hotel a couple blocks away to unwind before the show. The Brooklyn Bowl in Williamsburg is the first one that Peter Shapiro opened in July 2009. The Slip last played there in 2011, after another slow year in 2010 when they only played 4 shows.

To keep us on our toes, at the first Brooklyn Bowl show on Thursday, The Slip opened with Landing again, but instead went into Even Rats instead of Fuji. They played Superterranean Onlyness third, which was growing on us after a couple of live appearances. There was a quiet pause after, then we were treated to Invocation, first in 1999, last played in 2004 (17 years ago!). Stuart Bogie (tenor sax from Antibalas & Fela! Broadway musical) joined for a sizzling Yellow Medicine.

Brad went into The Weight of Solomon and then Motherwolf, Chasing Rabbits, Through the Iron Gate, into the Nathan Moore song I Hate Love, with Bogie returning on tenor through the set closer, Jumby. A Sometimes True to Nothing encore left fans energized. Few were ready to turn in, so we met for aftershow drinks at The Gibson, a favorite late-night watering hole a couple blocks away, where we discussed what the future may hold for upcoming Slip tours.

Thursday, November 18, 2021 – Brooklyn Bowl – Brooklyn, NY
Setlist: Landing > Even Rats, Superterranean Onlyness*, Invocation > Yellow Medicine%, The Weight of Solomon, Motherwolf, Chasing Rabbits, Through the Iron Gate> I Hate Love%, Jumby%
Encore: Sometimes True to Nothing
Notes: * new song, released Nov. 2021. % with Stuart Bogie on tenor (from Antibalas and Fela! Broadway Musical

Relix hosted The Slip for a livestream on their Twitch channel, at a top-secret location near my old apartment. Brad asked his good friend Jason Booth for his song requests. Brad smiled, then turned to the stream chat for viewer requests, joking that they “probably wouldn’t play any of those”. The livestream included their new hit single Superterranean Onlyness, followed by the scorcher, Sometimes True to Nothing, then Motherwolf, The Original Blue Air > Paper Birds to close the set. Watch the stream here.

Friday, November 19, 2021 – Relix Studio – Manhattan, NY
Setlist: Superterranean Onlyness*, Sometimes True to Nothing, Motherwolf, The Original Blue Air > Paper Birds
Notes: afternoon set, livestreamed on Twitch – www.twitch.tv/therelixchannel. * new song

Brooklyn Bowl Friday saw the biggest turnout of this tour. Our night started off boisterously, with BAM being introduced by Brett Siddell, a comedian from their high school wrestling team. BAM opened with the classic, Aptos > Airplane/Primitive (only time played in 2021), the poetic Friedman song:

The airplane, the primitive, saw it and thought it was some kind of bird
it landed, he made up his mind – I can’t live knowing that there’s some other world
where men fly, up in the sky, trapped himself on the wing for a one way ride
and in the air above a cloud, there his soul stayed when his body fell down.

Before Wolof, Brad thanked the Brooklyn Bowl staff, and everyone who traveled to the show, saying “that’s not easy to do these days”. He continued, “So, if anyone bowls a strike during this song … you get a t-shirt, and a handshake from Marc.” This definitive Slip classic starts with Marc’s infectious bass groove, debuting at Valentine’s in Albany in 1998.

Bloodstone came next, another new song debut (only played at Brooklyn Bowl and Levon’s), followed by the raucous Hit Song. BAM cooled things down with the mellifluous Driving Backwards with You, last played at Narrows 2010. Panda began with Brad spacing out with his pedals, applying feedback for Soft Machine. Next was The Shouters (cut short), which was only played once in 2021. The room exploded for the highly popular Get Me with Fuji (played 243 times), with a tease of Guns N’ Roses’ Sweet Child of Mine that drifed into a few measures of Moby Dick before returning to Fuji.

The band took a breather as Brad asked if anyone bowled a strike and got their t-shirt, then leveled with the audience:

I want to say it feels really good to be The Slip again. We’ve had such a journey, from our beginnings in high school when we were the jazz band … our friend Brett was not kidding. So when we moved to Boston and really became a band together … in the 90s and 2000s, you know, and coming up with all of you and starting to do the festival thing and really getting to know this really cool community of bands getting to know other bands like Lettuce and Schleigho, and Soulive, Marco, The Duo, … they all fit conveniently under the jamband umbrella. And then, at some point for us, for The Slip it became sort of a hard pill to swallow, because we related to maybe parts of being a jam band, but we really didn’t relate to whole other parts of being a jam band. And then there was … an identity crisis there in the mid 2000s and we made our record, Eisenhower, and that was so much fun to make and really felt like a success. But we still sort of had – you know – more than a decade playing together, and it was very hard to see…you know…sometimes it’s hard to see what’s great about you, as a group … and you start thinking of ways to change it, and then we did. And so we went into one identity crisis … beautiful and contorted … what I mean, it’s really good to be back here as The Slip … enjoying what was always good about being The Slip … and having so much fun together up here, with you … and that means a lot to me

Brad’s pensive baring of his soul set the tone for Through the Iron Gate:

I get tossed like a bone into the dogs into the sky
the closing is a gathering a gathering of eyes
an i will look to you and you to me
in between the space we chase the tune we dream so lazily

Ruminating on what he had just shared, Brad continued into the soul-searching Life In Disguise:

The world is only a stage and I’m just a man
with a sound caught in his throat and a pick in his hand
but when the song comes tumbling out, you understand there’s no great demand
well it’s there under your breath behind your eyes
and you don’t have to say nothing cause I realize
that everything somehow in some way eventually dies

…and then Jealous Guy:

I didn’t want to hurt you
I’m just a jealous guy

The introspective, sombre tone evaporated with the first beats from Andrew’s kit to kick off the funky Autobody Experience, while we processed what Brad had just laid on us. After a few measures, feet and hands started flailing as Autobody melted into the newly rearranged The Weight, with guitar pyrotechnics and rhythmic undulation. They merged into Dogs on Bikes organically and fiercely, going back into The Weight, mashed up and dangerous, as they are known for. Dogs kept going, with a blazing solo by Andrew, back into The Weight, Dogs, Weight, Dogs…and our minds will never be the same.

The fans were not ready to leave, and the packed house didn’t budge, cheering for an encore. The Slip came back, and Brad warned us, “We all knew how this was going to end”, as they encored with a 9-minute Children of December.

Friday’s Brooklyn Bowl was the best of the tour so far; The Slip had rekindled the sacred fire.

Friday, November 19, 2021 – Brooklyn Bowl – Brooklyn, NY
Setlist: Aptos > Airplane/Primitive, Wolof, Bloodstone*, Hit Song, Driving Backwards with You, First Panda In Space > The Soft Machine, The Shouters > Get Me with Fuji@ > Moby Dick^ > Get Me with Fuji, Through the Iron Gate@#, Life in Disguise$, Jealous Guy!, Autobody Experience > The Weight+ > Dogs on Bikes (outro)
Notes: * new Brad song (working title). @ w/ Sweet Child o’ Mine tease from Brad and Marc. # w/ So What (Miles Davis) teases from Marc & Andrew. $ unfinished. + new version, rearranged w/ Dogs outro.
The Barn at Levon Helm Studios – final night of the tour

We arrived early to Levon’s to hang by the fire. It was wonderful to see so many dear friends, some from as far as California! The Slip played High Sierra Festival most often, garnering a huge west coast fan base to rival back east. We wondered what they’d play tonight, and who might show up. Our anticipation was rewarded when Kt confirmed that Marco was arriving, which means he’d sit in. Other fans found out when they saw Marco’s Hammond inside the barn. A handful of fans had never seen The Slip before, but the audience was comprised of dear friends and music aficionados Levon’s sold out in a few minutes, so we all counted our blessings to gather at this special venue for our favorite band.

On the way in, we went to check out the merch. The new Slip tour hoodies have “216” on the front, a special code. 216 is Plato’s Number, which has references in ancient texts, the sum of 3 consecutive cubes (a “magic number”).

BAM opened with Suffocation Keep. This was another tour bust-out, last played at Sullivan Hall in 2010 (one of only 4 shows they played that year). This sombre song is about a relationship and introspection (lyrics, video). Trane-ing came next, which was played in every city this tour, but had not been played since a Slip stealth gig at Matt Murphy’s Pub on Valentine’s Day 2006 (The Slip were billed as “The Lips”). Bloodstone returned, which debuted at Brooklyn Bowl Friday. The powerful Sometimes True to Nothing and Motherwolf ended the first set with ferocity.

Marco sat in on Hammond for most of the second set, adding depth and chops to the musical stew. They opened with the sing-a-long If One of Us Should Fall, one of their most popular tunes, last played at Lockn’ Farm this summer. A funky Chasing Rabbits came next, followed by Jumby and a sweet Yellow Medicine with a Zion intro. Marco took a break for Through the Iron Gate and Life in Disguise, returning for Lennon’s Jealous Guy, which BAM only ever played on this tour.

Teasing this song throughout the tour on preprinted setlists, The Slip finally satisfied fans with their most-requested song, Honey Melon. This song is an earworm – once the “Words go in, they don’t come out.” This ended the set with great energy, and everyone was on their feet by then.

BAM returned to play an blazing encore of The Weight (fan-shot video), which was even fiercer with Marco on keys. This version had both the Autobody intro and the Dogs on Bikes outro. Fans danced wildly to celebrate this last show of the tour, and we all hope that The Slip will return to the road again soon.

Hugs and tears flowed as we processed the musical majesty of these last two weeks.

Saturday, November 20, 2021 – Levon Helm Studios – Woodstock, NY
Set 1: Suffocation Keep, Trane-ing, Bloodstone*, Aptos, Sometimes True to Nothing > Motherwolf
Set 2: If One of Us Should Fall, ? > Chasing Rabbits, Jumby, Yellow Medicine%, Through the Iron Gate^, Life in Disguise^, Jealous Guy$, Honey Melon
Encore: The Weight#> Dogs on Bikes
Notes: * new Brad song, previously untitled. % w/ Zion intro. ^ the only two songs in second set w/o Marco Benevento on Hammond. $ John Lennon cover. # new version, with Dogs on Bikes outro and Autobody intro.
December 10, 2021
Alex G Closes Out Tour with Two Nights At Webster Hall
Alex Giannascoli, a.k.a. Alex G, closed out his 2021 tour this week with two shows at Webster Hall. The tour served as a second leg of shows in support of the excellent 2019 LP House of Sugar (from Domino Records). With the release of this LP, Alex G also dropped part of his stage name; being formerly known as (Sandy) Alex G. NYS Music caught the last show of the tour on December 7th – scroll down for the full photo gallery below.

Photo By Buscar Photo

Alex G played career spanning sets at Webster Hall over the two shows, hitting tracks off all his past LPs plus a heavy dose of House of Sugar. Both nights opened with the psychedelic and groovy single “Gretel,” a quintessential show opener. Swirling acoustic guitar arpeggios transition into a psychedelic jam with heavy hitting drums perfect for setting the tone for the night.

Both nights also featured surprising covers. On night one fans got a very different version of Trans Siberian Orchestra’s “Christmas Eve Sarajevo” while night two saw a very true to form version of Coldplay’s “Clocks.”

Photo By Buscar Photo

Tuesday night was the finale of the tour, and there is currently only one more show scheduled next year on February 24th at August Hall in San Francisco. Keep an eye out for more shows and possibly new music in the near future from Alex G.
December 10, 2021
Thom Powers Steps out with His ‘Roller Coaster Show’

Singer and songwriter Thom Powers, from Greenwich, NY where he’s been living and playing locally for about nine years now, has released his first single called “Roller Coaster Show.” It’s a rock and roll tune with clear Beatles influences. Powers recruited top musicians in the area to join him on this track including: Darryl Kniffen (drums, producer, mixer), Andy Mollica (lead guitar and bass) from jazz trio Tanager, and Tony Califano (keys) from Rusticator.

Powers grew up in rural Sherrill, NY, listening to his father strum and sing throughout his childhood. He continued to have a love for music and guitar throughout his early 20’s but didn’t explore the playing out scene until 2012. He started playing at Argyle Brewing Company at Greenwich and quickly branched out to other local venues, collaborating with exceptional musicians in the area – all of whom studied music and are multi-instrumentalists.

“Roller Coaster Show” will be the first song on Powers’ forthcoming album. It’s a catchy tune with a solid drum track that keeps you grooving in combination with the wonderful addition of Tony Califano’s Wurlitzer and Organ and Andy Mollica’s well-timed guitar licks throughout.

There are no set gigs as a 5-piece at the moment, but Argyle Brewing Company and Unihog will be on the schedule in 2022. The trio will have a few more gigs and Thom Powers will continue to play solo at The Inn at Saratoga, Bound by Fate Brewing on New Year’s Eve and Cloud 9 Coffee Lounge on New Year’s Day, amongst others. You can even catch him at the Saratoga Farmer’s Market on January 15.

You can check out the brand new single below and on Bandcamp.
<a href="https://thompowersfriends.bandcamp.com/track/roller-coaster-show">Roller Coaster Show by Thom Powers & Friends</a>

December 9, 2021
Vanessa Collier Storytellers Gig at the 443 Social Club

Vanessa Collier was an absolute stand out at the 2021 New York State Blues Festival grand return to the State fairgrounds this past June. She treated Syracuse’s most intimate venue, the 443 Social Club & Lounge to a blue note-esque performance on Thursday December 2nd. Club owner Julie B Leone told NYS music that it was their fastest show to sell out in under 24 hours.

Photo by Steve Moore

Vanessa Collier gave a two set and encore performance to match everyone’s delight at the 443. Vanessa serves up three courses of art as she is a saxophonist, vocalist, and songwriter. She whipped up table side sax solos at the 443 while taking a stroll through the crowd. The 443 social club creates an ambience much like the “storytellers” series that many artists have been a part of. Vanessa told the crowd about her various family influences on certain numbers. She had Syracuse’s Byron Cage on drums and William Gorman on keys. Andrew Cane from San Diego on bass and Shemekia Copeland’s guitarist Arthur Neilson from Brooklyn.

Photo by Steve Moore

Her four album names should help give some insight on the kind of grooves they laid down at 443, Heart Soul & Saxophone, Meeting my Shadow, Honey Up, and Heart on the Line. She kept the spontaneity in the show vibrant by switching to steel guitar for a cover of Bonnie Raitt’s “Blender Blues”.

Vanessa credited stories like To Kill a Mockingbird and The Greek Myth of Icarus to the crowd as an inspiration before performing her original “Icarus” off her Honey Up Album…

It’s a song about little Icarus when he is just dreaming of taking that flight and its sort of a song to everybody to chase your dreams and never let anybody tell you that you can’t do something
Vanessa Collier

Vanessa took some time after the gig to post up at one of the 443 social club tables for a talk with NYS Music about music & her history,

Matthew Romano: Is there a memory of a show you’ve played or attended in New York state that sticks out as a meaningful experience? J.V Collier told me he used to go to where Jaco Pastorius slept in Central Park for inspiration.

Vanessa Collier: For sure, that’s a great question. I remember it being special because it was my very first gig opening for Bruce Katz at The Falcon in Marlboro, New York. Things come full circle. It was my first time seeing his guitar player Chris Vitarello and now I’ve played with him a bunch in my band. So we keep it going, it’s connected.

MR: It is connected. Bruce Katz used to play with Gregg Allman at our Blues Festivals like you did this year. I couldn’t help but notice a song you played tonight titled “If Only” The sentiment seemed very familiar with the “when I get this..then that will bring happiness” concept that a lot of people fall to. The sax solo at the end had a Leroi Moore like tone too. Would you mind talking about that tune?

VC: Sure, my whole thought process behind the new record was to try and write story songs. Some of them are based on true things, some are not. This one is close to me. I’ve had a person in my life who’s constantly unhappy and nothing is ever enough ya know what i mean? It was inspired by this person and just a reminder to always live life to the fullest and to live with what you got to find a way to be happy.

MR: I know exactly what you mean. With this on the go lifestyle all you have is the moment. Hard to sacrifice that time to be unhappy.

VC: Amen.

MR: My third and final question here at 443 is about two books that we have in common, Questlove’s Creative Quest and The Devil’s Horn: The Story of the Saxophone from noisy novelty to king of cool. What’s cool that sticks out to you from those two great reads?

VC: That’s killer. I respect Quest’s love and knowledge for the music. It’s not a surface level thing with him. It’s all life. He knows every groove from every single song he’s heard. From a DJ perspective and then a drummer angle is great. I know I was gonna re read it again when i get into a new record.
The thing I love about the devil’s horn is that I didn’t know Adolphe Sax’s story as much. Ya know that he almost died so many times and they murdered his assistant thinking it was him. To me what I loved is that the saxophone has this history of challenge and yet it still brings out something beautiful. I love that the inventor of the sax was that way too . He went through a lot of struggle to create this beautiful instrument.

MR: I love how the saxophone survived the Vatican when they tried to outlaw it because of its effects. What’s the oldest room you’ve ever played in?

VC: We’ve played a lot of converted churches that are now venues. So those are always awesome with just the acoustics in the room alone.

MR: There is two floor opera house near here that is an old theater church now used for music & art in Syracuse’s Little Italy you should play next.

VC: Yes, please.(laughter)

Gallery by 443 Patron Steve Moore:

December 9, 2021
Catching Up With Irv Da God: Talks Come Up, Upcoming Project, Verzuz Battles & More

In our current social-economic climate, many gage an artist based on their mainstream success. Did they have a big hit record? Top-selling album? Never mind the fact that outside of the music industry’s true 1%, streaming is a non-factor.

Hence, despite our emotional attachment to art, the music industry is a business and should be handled as such. Take Queens native, Irv Da God (Born Derrick Duke Irvin), for instance. His foray into the music industry was not based on a pipe dream of having a chart-topping hit or selling a million units. Rather, steadily establishing himself through various ventures and building a following.

Fortunately, Irvin’s upbringing during the rugged 90’s era Queens prepared him for an equally — for different reasons — cutthroat world.

As we got older, we all dealt with the obstacles as everyone’s trying to survive, get money. You just had to be always on point [and] never be caught slipping.

As he sheds light on his days as an aspiring hooper running the streets of Queens, it becomes ever apparent that Irvin is a by-product of his environment.

His production company, Block Boy Media, LLC, has directed, filmed, and edited productions for the likes of Dave East, Cam’ron, Chubbie Baby, Coi Leray, Lil Durk, Avianne & Co. Jewelers, among others. Yet, it is a passion that can be traced back to his childhood.

I was really into films since a kid. We had the VHS tapes and I used to drag my mom to the Africans and make her buy all the bootlegs. Back then we didn’t have cellphones, so I would just watch a lot of VHS tapes, I had at least 100 movies.

After being inspired by the countless hours of film study and the budding acting career of his self-admitted “rap superhero” and fellow Queens MC, Sticky Fingaz, Irvin took his hustle to the next level. He saved and enrolled himself into a six-month course at New York Film Academy where soon after he was making money recording and editing music videos for artists, as well as his own productions.

While admittedly a basketball head for large portions of his upbrining, the influence of hip hop is never too far away from inner-city youth.

His label, Block Boy Mafia, Inc, was home to his first studio album, Thirty 3, in 2019 and in 2020, B.B.M. released their first studio collaborative album, Son Day.

Irvin speaks of his Block Boy Mafia family with great hubris, acknowledging their status as family rather than business associates, yet lamented the fact that he seemed to care more about the preparation and overall success of the collective than others. As he matures in the industry, he’s made the conscious decision to prioritize Irv Da God and lay the foundation which he hopes his crew will build upon.

I can keep the family together, but I can’t make the decisions for the family all the time. When everybody has opinions, I have to let everybody be who they want to be.

In Irvin’s eyes, it’s all for the greater good, as he embodies the Block Boy moniker. On the block one would typically hang out with family, close friends and acquaintances and that is how he envisions his long-term success.

I just want to do it with my friends, the people I looked up to, [spent time] around and people we came across in our lifetime.

As he continues to spotlight, Irv Da God, it’s clear that “the block” is never too far away. It was only earlier this year that Irvin teamed up with Onyx’s own, Sticky Fingaz, and Bizkit of B.N.B. to release “Fearless,” a collaborative track made for the Vitor Belfort vs Evander Holyfield boxing match on Triller Fight Club.

Tasked with leadership for long periods of time, Irvin’s relationship with Freddo Starr and Sticky Fingaz feels like a breath of fresh air for the Hollis, Queens native, as Sticky and Freddo are two of hip hop’s most successful rappers-turned-actors.

They’re such good people man and show a lot of brotherly love,” Irvin says of the duo. “I’m a rap artist now and they’re my first rap brothers in the game.

His latest endeavor, a red-carpet appearance at the TrillerVerz battle in Hollywood, CA between Bone-Thugs-N-Harmony and Three 6 Mafia to promote the “Fearless” record, reiterated why he has stood on his family-oriented principles. After a chippy contest, that even included a near-altercation between the two legendary hip hop groups, it was Three 6 Mafia’s camaraderie that won Irvin over, despite being a bigger fan of Bone-Thugs.

People are big into energy nowadays. You can tell which groups are organized and you can tell which ones don’t really deal with each other anymore. You grow together, you have to keep the synergy in alignment, I feel like Juicy J and Three 6 Mafia definitely had the energy, they had the crowd jumping. It was like they were back in time to when the records first hit the club.

As he enters the next phase of his development, Irv Da God is preparing to independently release his sophomore project, Irvin Jackson. A soundtrack album set serve as the score for an upcoming tv series aptly named, Block Boy: Behind The Lights, Irvin is looking to showcase some of the very best from Block Boy Mafia.

I’m just giving people different styles of me. I’m really just showing people the growth of my career and my music. When I first came out, I might have been a little hard and aggressive on my Thirty 3 album. The traction was great, but it doesn’t show my diverse side. I’m not giving people pain, but I’m giving people experience.

As he comes up in the game, Irvin doesn’t seem mystified by the thought of bright lights. Despite being a Las Vegas resident, he keeps his city close to heart and speaks of the relationships he’s made along the way with gratitude. Whether it be Boston Rob for connecting him to Sticky Fingaz, Bronx MC Haddy Racks, A$AP Ferg and Dave East as old friends whose success have inspired him.

One thing people got to understand is that we made it already, everything else is just understanding the business and getting with the right people. These videos and these movies are edited, real life ain’t.

December 9, 2021
Starset’s Newest Demonstration Hits The Rapids Theatre In Niagara Falls
On December 3rd, Starset, The Word Alive and Another Day Dawns came together and performed at The Rapids Theatre in Niagara Falls. To say that this performance rocked would be an understatement, as each band provided a set that was not only full of pure talent but captivating as well.

A Packed Crowd at The Rapids Theatre in Niagara Falls for Starset, The World Alive and Another Day Dawns. Photo by Samantha Rychlicki.

Another Day Dawns started off the night. Each song, Dakota’s vocals hit just right and really got things going with a performance filled with so much energy, their bass guitarist, Jerome Betz, jumped right into the pit.

After that, metalcore band The Word Alive was up and they brought the energy and performance from a 10 to an 11. The power behind their set caused, Tyler Smith, the lead singer, to join the crowd during the last song. Their fans were just as powerful and just had a great time.

Dakota Sean of Another Day Dawns. Photo by Samantha Rychlicki.

Finally, Starset. What they created in their set was something I have never experienced before and probably never will again. They started their performance with a curtain in front of the stage so the audience was left to guess what was going on behind it. A projection graced the curtain, depicting the band creating an army.

Once the curtain dropped, we were launched into outer space. Everything from then on was a beautiful story. This story was backed by musicality that was out of this world. It was an incredible night of music and proved to the audience that it was not just a concert, this was a demonstration.

Starset Setlist: The Breach, Where The Skies End, Infected, Carnivore, Let It Die, Trials, Manifest, Echo, Monster, Point of No Return, It Has Begun, Earthrise, Satellite, Devolution, For Whom The Bell Tolls (Originally By Metallica), Ricochet, Die For You, My Demons
- Dakota Sean and Tyler Ritter of Another Day Dawns. Photo by Samantha Rychlicki
- Jerome Betz of Another Day Dawns. Photo by Samantha Rychlicki
- Nick McGeehan of Another Day Dawns. Photo by Samantha Rychlicki
- Tyler Ross and Tyler Smith of The World Alive. Photo by Samantha Rychlicki
- Mat Madiro of The World Alive. Photo by Samantha Rychlicki
- Tyler Smith of The World Alive. Photo by Samantha Rychlicki
- Tyler Ross of The World Alive. Photo By Samantha
- Dustin Bates of Starset. Photo by Samantha Rychlicki
- Ron DeChant of Starset. Photo By Samantha Rychlicki
- Dustin Bates of Starset. Photo by Samantha Rychlicki
- SiobhÃ¡n Richards of Starset. Photo by Samantha Rychlicki
- Zuzana Engererova of Starset. Photo by Samantha Rychlicki
- Dustin Bates of Starset. Photo by Samantha Rychlicki
- Starset at The Rapids Theatre. Photo by Samantha Rychlicki
December 8, 2021
Gregg Allman eats an Orange

Happy Birthday Gregg Allman! The road for the Allman Brothers Band certainly does go on forever. Some of its trails were carved by two of their managers who graduated from Syracuse University. They made residency history at the Fillmore East and The Beacon Theater in Manhattan during their time.

The band evolved with a changing cast at Syracuse University’s Manley Field House over the years as well. The Allman Brothers Band even took on a summer-like residency at the New York State Fairgrounds & ballparks every August.

The musical concept Gregg Allman and his brother Duane ‘Skydog’ Allman founded in Florida has had Syracuse ties since 1970. During an Allman Brothers Band gig that year on Collins Avenue in Miami, while noticing Eric Clapton in the crowd, Duane told his brother Gregg, “Bay brah, dig who the fuck is sitting over there” to which Gregg replied “Man, I saw him two songs ago.”

Duane Allman & Eric Clapton Syracuse 1970

Clapton recruited Duane Allman to play in the studio on Layla and Other Assorted Love Songs. Duane only performed the legendary work live in Tampa, Florida on December 1, 1970 and the last time at The Onondaga County War Memorial in Syracuse on December 2, 1970. Elton John got to see it as he opened the show that night last minute when the dates changed. Less than a year later, Duane gave up his ghost in the band and Gregg took his brother’s angel spirit on the road with him forever.

In March of 1987, many moons before their infamous residencies at the Beacon Theatre, Gregg Allman brought his solo band to Syracuse. The I’m No Angel tour had a stop at North Syracuse’s USA Sams Rock club. My father, Mark Romano was running the infamous Ground Round chain restaurants that year. As he was ready to close shop one night, much to his surprise, Gregg Allman was posted up at his bar. Gregg’s crew was in transit at the hotel next door on 7th North Street with only their tour bus as means of transportation.

After some spirits and laughter, Allman asked Romano if he would be able to drive them in his Buick to other establishments that were open. They went to the legendary Crossroads bar on 7th north street to shoot pool & enjoy some conversation. They certainly talked good music as Romano’s father Frank Romano’s cousin played piano with Frank Sinatra in the seventies. As the closing hour approached, Gregg insisted they go to the club where he was performing the next evening.

Romano backtracked from the North Syracuse club to their hotel on 7th North in the early morning hours to drop them for the night. After all, he had to open the restaurant the next day. While feeling a little bedraggled, he saw Gregg return in true southern gentleman fashion. He brought Romano various records and tapes of music they discussed the night before on the town and passes to his show that evening.

I started 2009 in NYC at Gramercy Theater seeing Gregg’s solo band perform there New Years Day and during Daytona Beach Bike Week that Spring. I was able to share the tale with Allman at the Turning Stone Casino after a solo band performance in 2009 as well. The same southern hospitality he showed my father was reciprocated as Gregg and I played some blackjack and talked blues music.

Allman joined Dave Matthews Band on stage at Madison Square Garden in April of 2009 for the Big Whiskey and the Groogrux King tour opening show. When Gregg headlined the 2011 New York State Blues fest in Syracuse, he spoke with Syracuse New Times writer and musician Jess Novak.

Jess’s question “What is it about blues music and these older songs that draws you to them? Gregg replied, “It’s kind of an outlet, ya know? If you got a little taste of the blues or something hanging on from way back, it’s like a release. It damn sure works too.” Novak found herself performing at Jones Beach with Devon Allman where Jason Isbell played prior and Gregg closed the show, an experience Novak described as “completely insane”

Devon Allman & Oteil Burbridge , Peach Festival 2021

Gregg’s sax player Jay Collins performs regularly at Syracuse’s Salt City Waltz every year. In 2012 Gregg released his New York Times best selling book My Cross to Bear from a loungey first person account. Don’t forget a 16-year old Cameron Crowe joined Gregg and the band on the road in the summer of 1973 to write a Rolling Stone cover story on the group.

Devon Allman is currently on tour with the young blood of his dad, ABB original bassist Berry Oakley and Dickey Betts kin. The Allman-Betts band is currently on their Allman Family Revival tour with a special birthday show for his father at New York City’s legendary Beacon Theatre on December 8 with guests like Eric Gales, Robert Randolph. and G Love.

The Allman Brothers Band started The Peach Music Festival at Montage Mountain Ski resort in Scranton, PA in 2012. Allman-Betts band returned to the Peach stage this year collaborating with longtime ABB bassist Oteil Burbridge. Derek Trucks and Warren Haynes performed “Why Does Love Got to be so Sad?” at the 2020 Love Rocks NYC benefit at The Beacon Theatre on the infamous March 12th start date of the pandemic.

Soul Survivor of the original ABB, Jamoie Jameson, grooved on his drum kit at the Peach Festival’s Mushroom Stage this year as well. When I spoke with Devon Allman briefly at the Peach and told him the tale of our pops he replied with a smile “Ah man, that sounds just like him.”

The life and legacy of Gregg Allman can best be summed up in his autobiography, My Cross to Bear: Music is my life’s blood. I love music, I love to play good music, and I love to play music for people who appreciate it. And when its all said and done, I’ll go to my grave and my brother will greet me saying, “Nice work, little brother—you did right”

December 8, 2021
Jimkata and Tweed take on Ardmore Music Hall
Great food, delicious beer and friendly staff are just a few of the cherries on top of the Live Music at Ardmore Music Hall in Ardmore, Pa. With smiles on their face and bellies full of chesesteaks, Tweed and Jimkata get set to take stage.

Tweed opened the night with their Disco/Funk improvisational jams and welcomed female vocalist Rachael Green to sing a couple songs including a cover of Toxic by Britney Spears. Her vocal range and stage presence added a new layer to Tweed that fit perfectly.

After nearly a four year hiatus I am extremely overjoyed to say Jimkata is back. Friends since middle school, Evan Friedel, Aaron Gorsch and Packy Lunn have formed a bond that reverberates love and joy, which overflows at each venue they play. At their December 4th show, Jimkata treated their fans to an extra heavy tempo set full of tasty guitar riffs and funky moog break downs that had the whole venue dancing.

It seems as if the almost 4 years off was a good time for the band to recollect their thoughts, get back to their roots, and respark that passion they have of playing with eachother. You can tell from the moment they take the stage that they are so excited to be back with their fans and are extremely appreciative of the opportunity to keep playing music together. The sky is the limit for Jimkata and I personally am happy to be along for the ride.

Jimkata and Tweed Setlists

Tweed: Moves ,Perfectly Aware ,Grace,Save,Pixelrise,You #,Feargasm#Breath #,Toxic*#,Dlmf #,El sucio Grande
*Britney spears Cover
#Rachael Green on vocals

Jimkata: Wild Ride, Beat the curse, Nightshade, Wait for you, wanna go, Writing on the wall, Feel in light, Bonfire, Release, Intro(Sweet Glory), Weight of Paradise, Chain store
Encore: Blessings, American Cars
December 8, 2021
Graham Nash Talks New Book “A Life in Focus,” Joni Mitchell, CSNY and The Beatles at 92Y
On Sunday, December 5th, music legend, photographer and artist Graham Nash sat down with Alan Light, one of America’s leading music journalists, to reflect on more than fifty years of an extraordinary life as captured in his new book of personal photography: A Life in Focus: The Photography of Graham Nash.

Graham Nash and Alan Light at 92Y in New York City

A Life in Focus: The Photography of Graham Nash includes an extensive collection of color and black and white photographs from the personal collection of Nash. Many of his photographs depict intimate moments with family and friends including Joni Mitchell, Stephen Stills, David Crosby and Neil Young. Other pictures in the book include fellow artists like Bob Dylan, Mama Cass, Twiggy and Johnny Cash.

During the interview, which took place at the 92Y cultural center in New York City, Graham discussed how he became interested in photography at a young age as well as how some CSNY songs like “Ohio” were created. Another very interesting story he told was how he met The Beatles in 1959 before they were even called The Beatles. You can hear that story below from his appearance on The Late Show With Stephen Colbert. He also took questions from some audience members who were lucky enough to have their question chosen.

Graham will be doing a similar appearance through Bookends in New Jersey on Wednesday, December 8th. You can purchase tickets to that event here. Every ticket comes with an autographed copy of his book which makes it well worth the price of admission. He also announced an upcoming tour starting in the Spring of 2022. You can see all of the dates as well as purchase tickets here.
December 7, 2021
Jug Life! Bearsville Theater Salutes the Sebastians – Lovin’ Spoonful John and Photog Wife Catherine
The Bearsville Theater put the spotlight on one of Woodstock’s most famous couples, legendary musician John Sebastian and his photographer wife Catherine, at a joint all-star concert/art opening on Friday, December 3.

The concert and the photo exhibit provided a look back at the many famous musicians, like Fred Neil, Tim Hardin and Sebastian himself, who cut their teeth in the folk and jug band scene of Greenwich Village in the ‘60s before migrating to Woodstock.

Fritz Richmond, Paul Rishell, James Wormworth, Annie Raines, John Sebastian & Jimmy Vivino. Group shot during rehearsal for an appearance at the “Late Nite with Conan O’Brian” show

The evening kicked-off with an introduction to the two dozen photos in the exhibit “Catherine Sebastian at Bearsville: The Jug Band Years.” A star in her own right, Catherine’s work has graced album, book and magazine covers featuring Pete Seeger, Bonnie Raitt, Linda Ronstadt, Mick Jagger, Kathy Valentine (of The Go-Go’s), Lady Gaga, Debbie Harry, Dr. John, Paul Butterfield, Edina Menzel, Levon Helm and the RCO All-Stars and many more.

The photos date from the ‘60s through today, with many featuring John and his musical cohorts from the J-Band, a jug band formed in the ‘90s which has included Fritz Richmond, Yank Rachell, Jimmy Vivino, Paul Rishell, Annie Raines and other notables. The collection boast many classic shots of Sebastian with Tim Hardin, Happy Traum, Fred Neil, Paul Butterfield and even his father John, who was an internationally renowned harmonica virtuoso in the classical idiom. Also featured are shots of Sebastian’s J-Band in performance, at the Bearsville Theater in 1994, on Late Night with Conan O’Brien and more. Not to be missed is a shot of John inside his famous tie-dyed tent in Laurel Canyon. This is where he learned to craft the colorful fashions for the jeans and jeans jacket he wore at Woodstock ‘69. Framed and unframed prints are available for purchase at the Bearsville Theater and their website,
- Annie Raines
- 98-8 frame 25 John Sebastian and Annie raines
Immediately before the concert commenced, John, Catherine and the musicians headed outside where Bearsville impresario Lizzie Van dedicated the recently rebuilt back porch, “The John Sebastian & Fred Neil Deck.”

“When Lizzie said she wanted to name a part of the space after Fred and me, I was kind of puzzled as to where it would be,” laughed Sebastian. “When she said it was going to be the porch, I said ‘ that’s perfect.’ Because if me and Fred were going be anywhere it would be out on the porch… smoking something we probably shouldn’t be smoking!”

The concert that followed had the intimate and casual feeling of a living room session, with Sebastian greeting the hometown audience with a boisterous “Good evening, my town.” He began solo with a few selections from Fred Neil, with whom he recorded and toured for two years before forming the Lovin’ Spoonful. The highlight here was his ambling version of “Other Side of This Life” from Neil’s classic 1965 debut album, “Bleecker and McDougal.”

Sebastian then turned his tales and musical talents to another friend, Tim Hardin. Sebastian lovingly joked: “Timmy was really not the cuddly guy who wrote Misty Roses. But the coolest guy of all of us, someone best known by listening to his early nasty tunes!” Sebastian followed with a solo performance of one of these, the knotty blues You Got A Reputation. He then brought on longtime J-Band member, Paul Rishell, for a solo on one of Hardin’s most covered compositions, “Reason to Believe.”

Sebastian’s cohorts in the J-Band and another aggregation, The Black Italians, then came to the stage. Guitarist Jimmy Vivino and the always smiling drummer/washboard whiz James Wormworth, joined by Lovin’ Spoonful bass man Steve Boone, partook a spirited run through the Lovin’ Spoonful’s Lovin You. Next up came another Woodstock legend, Cindy Cashdollar, who added her slithering, bluesy dobro runs to another nugget from early in John’s career, The Even Dozen Jug Band’s All Worn Out.

The energy was upped when another harmonica virtuoso, Annie Raines, joined for Sebastian’s Jug Band Music and You’ve Been A Good Old Wagon But You’ve Done Broke Down. The latter is a blues composed in 1895 and popularized in the 1920s by Bessie Smith, to which Raines added wailing harp and throaty vocals.

After a trip through the traditional Fair Thee Well and Jimmie Rodgers’ Miss the Mississippi and You, blues great Joe Louis Walker came onstage for a high-energy romp through Viola Lee Blues, with Sebastian on harp. John’s playing proved his mastery of the blues’ most portable instrument, and why he has been called upon to play it on classic tunes by the likes of Crosby Stills and Nash, The Doors and many others. His still stellar chops were further evidenced on the following, a two-harp duet with the equally fierce Raines.

Sebastian saluted important friends and mentors, the blues greats Sleepy John Estes and Yank Rachell, with soulful covers of their Milk Cow Blues (Leaving Trunk) and Tap That Thing respectively, with the latter featuring contributions on the jug and stage banter from John’s son Ben. Sebastian also performed the wonderful jazzy ballad to a love lost, My Passing Fantasy, from his 2014 duet disc with David Grisman. He then donned a harmonica holder and banjo to round out the set taking the all-star band through a rollicking rendition of K.C. Moan, a 1929 classic from the Memphis Jug Band.

After a well-deserved standing ovation, Sebastian and crew returned to perform two of his best loved Lovin’ Spoonful hits, Did You Ever Have to Make Up Your Mind and You Didn’t Have to Be So Nice. With Cashdollar’s swirling dobro, Vivino’s smooth guitar licks and Wormworth’s percolating washboard and ever-present smile, these tunes sent John’s audience off into the wintery Woodstock night winter with very warm feelings indeed.

Photos by Neil Segal, Hurley, NY
December 6, 2021