NYS Music 202​1

Category: Features

  • Bruce Hornsby Brings The Noisemakers to Lafayette, Bandmates talk performing in New York State

    Bruce Hornsby and the Noisemakers played as part of the Beak and Skiff Orchards 2021 concert series down Apple Valley Road in LaFayette, NY on June 16, 2021.

    “I’ve got a daughter in law in LaFayette, Louisiana,” he told the crowd. The band’s performance was part of a brief Northeast run to start the year. Bruce brings that old summer tour magic back to life for all those in attendance, 30 years to the day he was part of an iconic set opening Eyes of the World with the Grateful Dead at Giants Stadium.

    Bruce Hornsby and the Noisemakers at Beak and Skiff Orchards,NY

    Bruce’s archives shows what a true artist he is. Hornsby is consistently reimagining his sound with the a band. Syracuse region basketball fans might like to know that he played Allen Iverson of Georgetown in a game of one-on-one when the Virginia natives used to cross paths in the 90’s.

    Bruce’s on stage team this night consisted of J.V. Collier on bass, Chad Wright on drums, J.T. Thomas on keyboards, John Mailander on Violin/Mandolin, and Gibb Droll on guitar. The 17 song setlist was a full court press blend of rock, gospel, heartland rock, jazz, bluegrass and blues.

    Certain lyrics resonated across New York’s four season changing landscape. Show opener “Absolute Zero” could have been a nod to the unusually cold night in LaFayette. “Hey, come on, let’s go down to two seventy-three below” Up next was the most chilling composition of the night for “Shit’s Crazy Out Here” with Bruce singing the title track amidst heavy deep jazz transports.

    Bruce Hornsby Noisemakers
    Bruce Hornsby in LaFayette, NY

    Mid set, the iconic “That’s Just the Way It Is’ ‘ got people dancing under the setting sun, including an extended improvisational jam to keep the song fresh to the times. The iconic piano riff that was part of West Coast rapper Tupac Shakur’s remake (and on what would have been Shakur’s 50th birthday) was reciprocated with Bruce sampling Snoop Dogg’s “Drop it Like it’s Hot” over the house speakers.

    The song appropriately named “Prairie Dog Town” had Bruce exit the piano to center stage on his dulcimer, leading vocals over the mix. Snoop Dogg’s beat segued into J.V. and Chad holding the bottom end down for a funky outro. Bruce scatted “Popping up, popping down, burrowing making their funny little sounds, guarding the ground and spotting all around watch your dry bones in the prairie dog town”

    Bruce Hornsby Noisemakers
    J.V. Collier, Bruce Hornsby, Chad Wright, Gibb Droll, John Mailander, JT Thomas

    The highlight of the night was a true blend of California artists. The band’s opening chords to “Sunflower Cat” might have tricked you into thinking it was Grateful Dead’s “China Cat Sunflower” during Summer 1991. Bruce’s original lyrics over the Dead groove make it his own: “ In my dreams I can fly high, over fields and across the sky, then I’m awake and I’m back on the ground, if you could take me back up there, I’m down, I’m down with that’.”

    Mid-song, J.V. Collier and Chad Wright locked in on Tupac’s “California Love” groove with on the spot reimagined lyrics to the surrounding landscape. J.V. sang “ New York State… knows how to party… In the city of… Lafayette, in the city of good old Utica…In the city…of Syracuse.. We keep it rockin… you keep it rockin.” The band then crushed the “New York Love” remix before a shift back into “Sunflower Cat” to close the show.

    Bruce Hornsby Noisemakers
    Bruce Hornsby, J.V. Collier

    The evening was encored with the “pod people” getting down in front of the stage for “Rainbows Cadillac.” Bruce called out to the crowd “Every night about a quarter to ten, from the middle of June till summer’s end. People would gather from miles around to see the mighty Rainbow knock ’em down, sending the audience into the night wide-eyed as part of New York’s live music return.

    Bruce Hornsby Noisemakers

    Bruce Hornsby and the Noisemakers – Beak and Skiff Orchards – Lafayette, NY – June 16, 2021

    Setlist: Absolute Zero, Shit’s Crazy Out Here, The Rat King, My Resolve, Fields of Gray, The Way It Is, Walk in the Sun, Spider Fingers > Dreaded Spoon, Funhouse, Every Little Kiss*, Shadow Hand*, Prairie Dog Town*, Sunflower Cat > (California Love) > Sunflower Cat
    Encore: Rainbow’s Cadillac
    * Bruce on dulcimer

    The rhythm section of the Noisemakers J.V. Collier (bass) and Chad Wright (drums) took some time to talk past, present, and future music experiences in New York State at the Hotel Syracuse the night before the show:

    Matt Romano: It’s good to have you guys back in New York State to play live. What great memories come to mind playing here?

    J.V. Collier: Over 27 years, every time coming to New York is memorable. I love City Winery in TriBeCa, The Blue Note and Carnegie Hall in Manhattan, We’d go to Woodstock to Levon Helm’s Studio at his barn in Hudson Valley for their Friday night jams. When Bruce and I started, we played at Woodstock ’94 with The Band and got to rehearse there. I was only supposed to play three songs and then Rick Danko was like “stay up here.” All these great horn players from the city, like Howard Johnson. But playing with The Band was an amazing thing. Woodstock ’94 we hung out all three nights. During Green Day’s set they cleared everybody off stage except Bruce and I for some reason. So it was great. I remember the park in New York City where Jaco (Pastorius) used to stay. I don’t know if you heard he used to sleep with his bass and basketball there towards the end. But I’d go to that spot and try to gain something from his spirit to play off.

    MR: You guys were here virtually at the end of last year to help raise 500K plus for Upstate Hospital in Syracuse to benefit front line workers a block from here.

    Chad Wright: We did it at the Teragram Ballroom in downtown L.A.. We prerecorded it and it was the first time we did anything last year since August of 2019.

    MR: Does Bruce keep you guys on your toes with the variety of his catalog?

    J.V.: The great thing about playing with Bruce is the surprise guests along the way. You never know. Chick Corea, Dave Garibaldi, Bonnie Raitt. His studio gig is like his live gig because what he wants it to be different all the time. He always pushes you to be better.

    MR: How does composition compare to improvisation?

    CW: When I got this gig, Bruce was great at explaining that there is no structure. But there’s a method to the madness…but it’s all subject to change to be fluid.

    J.V.: Some nights are magic and you don’t want to let it go. You get to a space and it’s a thing. 2:45 to 3:00 hours used to be the normal set times. Bruce has the mentality of an athlete. He’s the point guard. He’s orchestrating what everyone’s gonna do up there. He’ll pass you the ball and wants you to do something with it before it comes back

    MR: Like Jaco in Central Park?

    J.V.: Exactly.

    https://www.youtube.com/watch?v=3PZL4Fd6ZMI

  • Arushi Jain Brings a Modern Spin to Indian Classical Music with “Richer Than Blood”


    NYC-based artist Arushi Jain recently shared a new single, “Richer Than Blood.” This release is the first song of her upcoming album, Under the Lilac Sky, out on July 9.

    Arushi Jain

    Arushi Jain is an India-born, Brooklyn-residing composer, modular synthesist, vocalist and engineer. Jain’s work focuses on reinterpreting traditional Indian classical music through the lens of electronic instrumentation.

    Jain spent her childhood studying Hindustani classical music at the Prayag Hindustani Music School and the Ravi Shankar Institute in New Delhi. Being trained in the genre, Jain now aims to make more people aware of the beauty behind Indian ragas by adding self-coded and ad-lib synthesizer sounds – a unique spin.

    “Richer Than Blood” sets the tone of her new album, incorporating Jain’s vocals with deep, textured synth reverberations. Jain uses her voice as a musical tool for a source of texture rather than lyrics. This detail is most recognizable when Jain sings alaps, an improvised section, or sargam, singing with notes instead of words, within the different synth melodies.

    At any given point, there is at least one layer in the record that carries my voice. The human voice is powerful and unique to every individual. My voice is unique to me, so I decided it should be present at all times even if it’s unrecognizable.

    Arushi Jain

    Jain notes that the concept of time and seasonality is essential to Indian classical music. Each raga, or melodic framework for improvisation, has a specific time of day to listen in order to experience the song’s full authenticity.

    Arushi Jain
    Courtesy: Ableton.com

    At six songs spanning 48 minutes of ambient synth ragas intended to be heard during the sunset hours, Under the Lilac Sky and “Richer Than Blood” invites listeners to transport themselves through intentional listening – “realizing your vision of the moment.”

    You know that moment when the sun is bidding farewell to the sky, and the colors turn into beautiful hues of purple and pink and everything in between? That is the moment that this album will shine the most. The deeper you listen, the more shades you’ll see.

    Arushi Jain
    Arushi Jain
    Courtesy: Jain’s Instagram

    Jain’s expertise with musical electronics creates an entirely unique art form embedded in historical themes. Her ambient sounds provide a visual landscape for listeners to enjoy, bringing a technological touch to a centuries old tradition.

    This album is the coming together of two distinct cultures of Hindustani classical and modular synthesizers representing the two parts of me that evolved into one whole in between my time in India and California.

    Arushi Jain

    Following in the footsteps of electronic luminaries such as Suzanne Ciani and Terry Riley, Arushi Jain uses her talent to give a fresh face to Hindustani musical tradition, inviting new generations to enjoy the genre.

    “Richer Than Blood” is available now on Youtube, Spotify, Apple Music, and Bandcamp. Under the Lilac Sky can be streamed on those same platforms on July 9.

  • Hearing Aide: John Hall ‘Reclaiming My Time’

    There’s no shortage of new releases coming out. After the musical drought of last year, it can be hard to separate the wheat from the chaff. One name that stands out from the crowd of artists launching new albums is John Hall. 

    john hall

    The Grammy-winning musician from Ulster County is best known for his role in the band Orleans. Hall recorded the songs for this, this sixth solo album, prior to the pandemic, and had them mixed and finished remotely in the interim. The album, aptly named Reclaiming My Time, is exactly what one would expect of someone of Hall’s caliber.

    Reclaiming My Time showcases Hall’s talent. There’s a surprising blend of toe-tappers, and no shortage of ballads. One moment you’ll be dusting off your dancing shoes for the island rhythms of “Islamorada” and the boogie-woogie beat of “All Up And Down From Here.” And the next you’ll be reeling from heart-wrenching ballads.

    john hall

    “Alone Too Long” came out as a single before the album. It was a personal message from John Hall to a friend who lost the love of his life. But the song has a more universal meaning after the social isolation we’ve all experienced during the past year. That message of finding courage to move forward after loss is contrasted by the nostalgic ballad “Another Sunset.” This one is a collaboration with country legend Steve Wariner, who also lends his vocals in this duet. Together these songs demonstrate the dual nature of grief – the longing to hold on and the need to adapt to change.

    The collection wraps up with the heartfelt “Welcome Home” written for those who have served in the military. It’s a fitting tribute, well suited to the Memorial Day weekend release of Reclaiming My Time.

  • Psychedelic Rock Band Acid Dad share “Searchin,” Announce Bowery show

    Brooklyn-native band Acid Dad has recently released “Searchin,’” which is the first track on their upcoming album Take It From The Dead, due out on July 16. The band has also announced an upcoming tour which includes a stop at the Bowery Ballroom in New York City.

    Acid Dad Searchin

    Acid Dad is an American alternative-rock band composed of singer-guitarists Vaughn Hunt, Sean Fahey and drummer Trevor Mustoe. The band released their first EP, Let’s Plan a Robbery, in 2016. Since then, they have independently produced and put out multiple singles and one live album.

    Acid Dad shared two other songs in preparation for Take It From The Dead‘s release. Tracks two and three on the album, “BBQ” and “RC Driver” respectively, dropped earlier this year.

    According to an interview with American Songwriter, “Searchin’” is inspired by bassist Phil Lesh’s book Searching for the Sound: My Life in the Grateful Dead and the Dead’s 1974 track “Unbroken Chain.” The two songs have similarities, looking for values and experiences of the past in a modern world.

    Acid Dad Searchin
    Searchin’ Single Artwork

    The music video for “Searchin”‘ pays homage to the Grateful Dead, with images of Jerry Garcia rippling in the background – calling reference to the era Acid Dad feels anemoia for, nostalgia for a time they didn’t experience.

    Take It From The Dead features an array of different influences in contrast to their earlier work, allowing for more intricate and hypnotic sounds. Their goal with the upcoming record is to provide a modern spin to the feel of neo-psych, post-punk and ’70s rock-n-roll.

    That’s one thing that I really like that the Grateful Dead always did with a song like ‘Friend of the Devil.’ When you listen to something like ‘[The Closing of] Winterland,’ they slow it down into this sultry jam and it has this intensity that just hits a lot harder. The song and the lyrics are the same, but it’s good for our own mental state to switch things up.

    Sean Fahey, guitarist of Acid Dad, in an interview with American Songwriter

    To accompany the new record’s dreamy distortion, the band has collaborated with artist Webb Hunt to produce kaleidoscopic art videos that add a visual counterpart to their sound. Green screened vaporwave backgrounds and VHS-like-quality graphics are commonly used to create this retro vibe.

    Acid Dad Searchin
    Take It From The Dead Album Artwork

    “Searchin’” can be streamed on Youtube, Spotify, and Soundcloud, (check out the full list here) Album pre-sales and pre-orders can be done on the Acid Dad record portal.

    The band has also announced 2021 tour dates with fellow psychedelic rockers Frankie and the Witch Fingers, spanning much of the month of October. Ticket purchasing information is available on the Acid Dad website.

    Check out the full list of currently-announced dates below:

    ACID DAD LIVE 2021

    (* – w/Frankie and the Witch Fingers)

    Oct 7 – Square Cat Vinyl – Indianapolis, IN *

    *Oct 8 – The Brass Rail – Fort Wayne, IN *

    *Oct 9 – Cactus Club – Milwaukee, WI *

    *Oct 10 – Empty Bottle – Chicago, IL *

    *Oct 12 – Third Man Cass Corridor – Detroit, MI *

    Oct 13 – Beachland Tavern – Cleveland, OH *

    Oct 14 – Spirit Lodge – Pittsburgh, PA *

    Oct 15 – Metro Gallery – Baltimore, MD *

    Oct 16 – Bowery Ballroom – New York, NY *

    Oct 18 – PhilaMOCA – Philadelphia, PA *

    Oct 19 – Fuzzy Cactus – Richmond, VA *

    Oct 20 – Snug Harbor – Charlotte, NC *

    Oct 23 – Intuition – Jacksonville, FL *

    Oct 24 – Will’s Pub – Orlando, FL *

    Searchin’ Music Video

  • Space Bacon Releases Debut Album ‘CONE’

    Brooklyn-based four-piece band Space Bacon released their debut album, CONE, on June 11. CONE features 16 original instrumental tracks and blends rock and jam-band influences with an electronic flare.

    Space Bacon

    Space Bacon is made up of Sam Crespo on drums, Chris Gironda on keyboards, Kevin LeGall on bass and Jack Willard on guitar. The band previously came out with their Nodes EP in 2016. CONE‘s recording process was split between Sabella Recording Studio in Roslyn Heights, NY and also with the help of Alfred Rylands in Wilmington, VT.

    CONE features fan favorites such as “Ice Planet”, “Cloud Coast”, and “Heatseeker” as well as deeper cuts from their catalogue, reworked songs from their early years, and never before heard interludes.

    Space Bacon Press Team

    On CONE, tracks like “Cone” and “Throwing Shade” open with undeniable rock-n-roll guitar riffs. The riff on “Throwing Shade” even emulates a pop punk sound similar to 2000s-era hits like “The Middle” by Jimmy Eats World.

    Space Bacon

    The band’s electronica-inspired grooves stand out on tracks like “Satellite,” “Lodge” and “Triangulation” with airy synths and reverb-heavy background sounds. Though the electronic influences stand strong, there is simultaneously a fun and energetic jam-band energy woven throughout the album. Since CONE is entirely instrumental, Space Bacon’s strength as a band is able to shine and they certainly dive into a funky rhythm.

    Space Bacon recently celebrated the release of CONE with two sold out performances at the Safe and Soundz Music Festival in the Catskills. Be sure to look out for more shows and connect with Space Bacon on Instagram, Twitter, YouTube and their website. CONE is available to stream on all platforms.

  • Hearing Aide: Amy Helm ‘What The Flood Leaves Behind’

    Amy Helm will release her third album, What the Flood Leaves Behind, on June 18 through Renew Records/BMG.  Helm, the daughter of The Band’s legendary vocalist and drummer Levon Helm and singer-songwriter Libby Titus, has successfully stepped out from behind of her parent’s considerable musical shadows and has successfully staked her own claim in the highly competitive music industry. 

    What the Flood Leaves Behind

    Helm’s success comes from honing her craft and paying her dues as a founding member of folk group Ollabelle and additionally as a longtime member of The Midnight Ramble Band. The culmination of Amy’s hard work and experience is apparent on this gem of a record which consists of ten tracks of new and reimagined material.  

    What the Flood Leaves Behind

    What the Flood Leaves Behind was recorded at the historic Levon Helm Studios located on Amy’s home turf of Woodstock, NY.  She also enlisted a group of incredibly talented players to contribute to WTFLB including Kaufman and Phil Cook (keys, harmonica), Michael Libramento (bass, organ, percussion), Tony Mason (drums), Daniel Littleton (guitar), Stuart Bogie (saxophone), Jordan McLean (trumpet), and her son Lee Collins (congas). Helm describes the experience of creating the album at the studio that her father built as a cathartic homecoming.

    Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “it was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.

    Amy Helm

    Produced by Josh Kaufman, whose credits include working with an eclectic roster of musicians that includes Bobb Weir, Taylor Swift and the Hold Steady, WTFLB reflects a creative working partnership that fits like a glove between Helm and Kaufman. The evidence of this successful collaboration is apparent in adept and deft way that Kaufman focused on Helm’s vocal ability, showcasing it as a major focal point on the record, he explains.

    I wanted her to feel like she had that freedom to be herself on the recordings and she just filled up the whole room. Her singing was coming from this deeply rooted place of family and music and wanting to convey a beauty.

    Josh Kaufman, producer of What The Flood Leaves Behind

    This philosophy is executed brilliantly on “Verse 23,” the first track on WTFLB, which is a soulful ballad from which the album derives its title.  The lyrics of the song evoke a rich religious sentiment that when beautifully delivered by Helm’s ethereal voice. The results are sublimely divine. 

    WTFLB is steeped in fusion of traditional roots, gospel and contemporary music.  This is probably most evident on the nineth track of the LP “Terminal B.” The tune starts with Amy playing mandolin, which sets the sonic stage for the piece, which then leads into an organ accompaniment provided expertly by Libramento. The marriage of these instruments transports the listener to a front pew at a rural church service in Anywhere, USA. Lyrically it describes a remembrance of a fleeting Californian love affair that, retrospectively, one could look back on fondly. 

    “Cotton and the Cane,” WTFLB‘s third number also has a southern sleepy gospel feel to it. Injected with a heavy dose of Hammond Organ, this updated version of a fan favorite is a departure from previous renditions and is a fitting tribute to Helm’s father Levon. It is a definite highlight of the record.

    Amy Helm will be touring this summer in support of What the Flood Leaves Behind, kicking off with a pre-release live stream webcast scheduled for June 17. This will then be followed up by a sold out record release event at the Levon Helm Studios on June 19.

    Key Tracks: Carry It Alone, Cotton And The Cane, Terminal B

  • Air Bertr& takes an Ambient Journey with latest single “City Walk”

    Air Bertr&, the new project from Let’s be Leonard‘s Karl Bertrand, has an ambient first single with “City Walk,” clocking in at a meditative 25 minutes and 48 seconds. Karl uses various instrumentation on the track, and was joined by fellow LBL bandmate Connor Dunn, playing saxophone on “City Walk.”

    Air Bertrand

    Hailing from Saratoga Springs, Bertrand began getting into ambient music in 2018, finding the music eased his mind as he wrestled with insomnia and anxiety. He cites favorite ambient artists as Chihei Hatakeyama, Midori Takada, Brian Eno, Harold Budd, and Laraaji. 

    In the past couple years, Karl has hosted a radio show ‘Fly Air Bertr&’ on 91.1FM Skidmore College, where he mixes ambient music from various artists with ASMR recordings and lecturers from a variety of different philosophical and spiritual backgrounds.

    Air Bertrand
    Fly Air Bertr& radio show on WSPN 91.1 Skidmore College Radio

    Released on May 28, “City Walk” is the result of years of writing and recording, plus time in 2020 to focus on this project while awaiting the return of live music.

    My connection with ambient music has often felt very spiritual to me. That might come out the most on the radio program.

    Karl Bertrand

    Bertr& has performed at local events, including at yoga studios where he live DJs the class. He has also composed a piece for a local ballet studio, an interesting way for the music to come alive in a live setting, especially in comparison to the live rock performances.

    Air Bertrand
    Karl Bertrand performing live at a yoga class.

    “City Walk” was first recorded on a handheld cassette recorder as Bertrand took a walk from Manhattan’s Upper East Side to Midtown. He later recorded an improvisation on electric piano to the field recording and finished the piece by inviting Connor Dunn to improvise over everything on his saxophone. 

    I definitely felt inspired by the big city energy and the thoughts of all of the old session players and jazz cats that had walked those same streets. I think Connor’s playing really captured that feeling. He did it all in one take after barely hearing the backing track. When he was finished he said “I’m done.” That was that. It’s just how I imagined the old-city jazz cats would have done it.

    I’ve always loved walking alone in the city with headphones in. It’s one of my favorite things about traveling. I think the energy of the whole track feels just perfect for how I feel when I’m doing that activity. There’s so much life there but it’s also just so serene at the same time. 

    Bertrand shares one experience from the field recordings in New York City:

    One of the coolest parts of making music is the unexpected moments. One of those moments is buried in the end of the field recording on this track. I’m almost finished walking through the park and getting closer to midtown. The environment grows more dense with commotion and voices of New Yorkers and tourists. One guy walks past and says “Which way’s up?” as I pass him (referring to which way is uptown I’d assume.) Maybe ten seconds later a little kid playfully exclaims “It’s this way!” It seems like a little miracle of sorts to record such an unexpected li’l moment like that. 

    Listen to “City Walk” on Spotify or Bandcamp and follow Karl Bertrand on Instagram and Facebook.

  • No Snark in These Puppies: Bob Lanzetti and Zach Brock in Rochester

    Zach Brock Bob Lanzetti

    Two members of Snarky Puppy, violinist Zach Brock and guitarist Bob Lanzetti, closed out a quick run of shows as a duo Sunday night, June 13, in Rochester at Lovin’ Cup.

    Lovin’ Cup always boasts immaculate sound, and when the seats and tables are out, it provides a nice intimate setting. Both were welcome for the rich and beautiful music Brock and Lanzetti were laying down this night. Being a free show, a disengaged crowd might be expected. However, everyone in the room was completely rapt, respectful and there for no other reason than to squeeze out just a bit more of that sweet live music that has been so absent from the world for way too long.

    Zach Brock Bob Lanzetti
    Photo by Izzy

    Unlike their regular gig with Snarky Puppy, this music was less booty shaking and more ear tickling, less dance party more dinner party. Each a master of his instrument, together they could interweave enough complex notes to create swells of sound and also bring it down to simple taps and plucks. Brock would put away the bow to create rhythmic “bass” lines for Lanzetti to play a whirlwind solo over, and Lanzetti would likewise settle into a groove for Brock to take the violin to eclectic heights.

    Zach Brock Bob Lanzetti
    Photo by Izzy

    Their dynamic range wasn’t left to just how they played, but also what. The evenings program covered chamber music, jazz, world, Americana, blues and even some choice tributes. Many artists cover the great Gillian Welch, but few do so as an instrumental. They took her “Elvis Presley Blues” for a ride early in the first set, which proved to be a highlight. Brock’s violin conjured up all the emotion of Welch’s voice in such a way that the lyrics still pushed through. Later, on a tune dedicated to Steve Lacy, Brock summoned different tones from his instrument, resurrecting Lacy’s early adoption of the soprano sax as an improvisation vehicle.

    Zach Brock Bob Lanzetti
    Photo by Izzy

    Both musicians were open and friendly from the stage, telling stories and imparting musical knowledge that furthered the attentive audience’s enjoyment and created a connection between the two.

    We’ve been missing Sunday shows for over 15 months. Those are the ones they say to never miss, right? There’s just no better way to finish or start a week. Zach Brock and Bob Lanzetti fit the bill, snark or not.

    Photos by Izzy

  • Goose New Haven 2 Knight Homecoming: The Next Guys to Say “Shenanigans”

    On June 12 and 13, at the new Westville Music Bowl in New Haven, CT, Goose presented two unique anthologies, juxtaposed just so. The raw, epic intensity of the first night enabled the spirit of shenanigans and invoked a welcomed fugue where we forget about the factory and fiction became reality. Fortunately, Capt. John O’Hagan was not the one asking, “What happens to the next guy who says “Shenanigans?””

    Goose Frankie Bosco Shenanigans
    Frankie Bosco inviting shenanigans

    The Venue

    The Westville Music Bowl felt like home. There was an air of recognition that was difficult to place. The access, the reasonably tight security providing a sense of shelter, and most importantly, there was not a bad seat in the house to be found. Upon reaching the ticketing area, it all made sense. The show was put on by the Twilight company, best known for making sanctuary happen at the beloved, now defunct, South Farms in Morris, CT.

    Bunny interpreting an echo of a rose

    It was comforting to discover people hanging out behind the bowl for a pre-show jam session and socializing. Alien it felt, but glorious it was – violin, familiar faces and the occasional shenanigans involving small sloths and remote control cars.

    Jon “Coach” Lombardi giving his blessing as the show begins

    Saturday: “Greg Knight’s Quest for the Holy Jam”

    On Saturday, the Goose army assembled and became fully aligned. Tony Vasile, longtime fan, commented, “In Goose country, the long haulers would be more likely to ditch their family Thanksgiving celebration before missing out on this.” The band communicated endless gratitude through their commitment to a flawless execution of the curated evening of music.

    Love in the air for royal Goose court minstrel DJ Doey Joey.

    As the night progressed and sequined clothing glistened under Andrew Goedde’s superb lights, the crowd appeared to become more cohesive.

    Franz Petit Lupen wearing all of this gold

    People were chatting on the bathroom line. Jenny Ruthie Pearlman theorized, “People were running into each other for the first time. There had been friendships cultivating over the internet and it was hard to figure out who someone was when our faces were covered. There were songs I loved that came on, but what was more beautiful was that I could think of all the people that were excited not because it was their favorite song too, but because they knew I loved it.”

    Man of the hour, Greg Knight catching up with pal Little Baby Crepes

    The Battle

    Just as we were together in the throes of battle with the elusive pauses during “Earthling of Alien?,” things were getting desperate. Spirits were dwindling in the “Madhuvan” forest.

    The army was beginning to doubt their planetary origins when suddenly a Knight by the name of Greg Knight appeared to contribute some reality through his flawless rapped verses. The battle was over and we were rewarded with a sought after and rare “Factory Fiction.” Greg’s last appearance with the band was a year ago during Bingo Tour, which happens to also be the last time we heard “Factory Fiction.” Were they related? I don’t know…

    Shenanigans colors tastefully woven in by Andrew Goedde

    The first night’s encore finished what they started the night before. After getting the PA cut during the encore of “So Ready” the night before, it was only fitting to start exactly where they left off in New Haven.

    “So Ready” music video

    But Make It Fashion

    The anthology of Goose tales continued with a segue that could not have been more clever. Closing with a tune from their animated music video for “So Ready” was the perfect setup for the capsule-style show similar to the themes they have done with movie soundtracks on Halloween.

    Shenanigans Trailer and fashion inspiration

    The band showed up on stage wearing their respective outfits and opened with the “Trailer Jam” from their wildly cinematic video announcement for the album Shenanigans Nite Club. Goose and its incredible crew worked so hard over the past few years. Nothing could signify a moment worthy of celebration then a home show “flodown” party than the outfits (and very importantly, the hair) worn by the characters each band member played.

    Frankie Bosco relishing

    Shenanigans Under The Stars

    Sunday kicked off with an upbeat, bubbly energy that was completely reversed, yet somehow, with essence of yin and yang, the band made thoughtful selections to perhaps assist our future long term memories of the weekend to seem as if they were one night. For example, we had a knight for both shows, but this time it was the cover “Knights in White Satin.“

    Kevin hamming

    Many bands created communities within their following, but Goose created a safe, supportive space for exploration of our own metaphysical dark forest in order to understand which turn might be next in the labyrinth. A fanbase full of artisans, creatives, and empaths. A healthy dose of unquestioned, unchallenged quirk made for a remarkable time for connection during the come up of Goose, especially during shutdown.

    Tony Vasile and Orion Jewelry Design’s Val Walis have attended all but two Goose shows this season.

    When artisans would post something they made to one of the many Goose Facebook groups, things would not only sell immediately, but the overwhelming support would have been hard to find in any other social group, pandemic or not. Some found even more down this electric avenue.

    The elusive Lloyd 2.0

    The mood progressed into actually feeling exactly like Thanksgiving dinner. Val Walis commented that “it was a feast of music and so many favorite people everywhere. There was hardly enough time to have a conversation with anyone, but the voltage level of emotion we were all feeling at the same moment did not need words.”

    (dawn) Of A New Era

    Both sets on Sunday felt like a victory lap of sorts. The aged and trusty jam vehicles like “All I Need” and mustache anthem “Mustang Sally” helped usher in the dawn of a new era for Goose to creep out somewhere along the line with the live debut of “SOS” and its accompanying jam-hymnal (dawn).

    Same old shenanigans for Phil Paquet, Mr. McGoose 2.0 and Little Baby Crepes

    From the ashes of solitude, we were able to give ourselves permission to go everywhere, see everyone and feel everything. Admirals like Greg Knight kept more in line than we could imagine.

    Commander in Scarf Marc Komito basking in the “(dawn)”

    The crowd could not have been more friendly. The amount of smiles might almost parallel the amount of scarves on peoples heads used as dance props. There were scarves everywhere!

    Marc Komito (aka Scarf Guy) is perpetually the fearless (and fashionable) leader we all needed. He has taught to so many the responsibility we have to relish in these rare, perfect moments. By expressing our gratitude with individuality and without apology, balance is found. For some, it might have looked like giving Mike, from Spafford and JamBandWorkout, a run for his money. For those that prefer to turn inward, simply sitting still and watching with full attention could have been an equally respectful avenue.

    Terry Alfredo in the new light

    We as a community, felt the light of dawn creeping out while enjoying great music, and hopefully the band and its rock solid crew felt the little bit of ourselves that we tried to send up. Goose got us through it and Coach only knows what might happen as the days get brighter.

    Setlist June 12: Me and My Uncle (John Phillips), Flodown, The Whales, Honeybee, Yeti, Seekers on the Ridge Pt., Seekers on the Ridge Pt. 2, Madhuvan>Fish in the Sea (Fat Freddy’s Drop), Jive I, Earthling or Alien?, Tumble > Factory Fiction

    Encore: Slow Ready

    Setlist June 13: Shenanigans Jam > All I Need > Indian River >Time To Flee > Your Ocean, So Ready >Arrow > Nights In White Satin (Moody Blues), Rosewood Heart > Bob Don > SOS > (dawn)

    Encore: Mustang Sally > Butter Rum

    It has been rumored that Frankie Bosco gained some kind of super shredding power when he is wearing bracelets from Orion Jewelry Design, made by my sister Val. If you would like to support her (and Little Baby Crepes,) check out https://orionjewelrydesign.com/

    Frankie Bosco’s wrist adorned with Orion Jewelry Design Bracelets

    Pink strat or bracelet? I don’t know, but it can’t hurt to support your local Goose Chick Val Walis and her jewelry business https://orionjewelrydesign.com/

    Want to get in shape for scarf season? Check out this workout featuring a killer version of what some have affectionately nicknamed “Lookout Clav-land”

    Curious what all the hype is about with Factory Fiction? Check out this similar, yet different version from the historical Bingo Tour

  • Funk Night in Buffalo Brings Back the Jams

    Buffalo continues to make its way back in the music scene while also bringing back the crowds. Local music venue The Cave, held a Funk Night on Thursday, June 10, presented by NYS Music. 

    Funk Night
    Photo: Maddie McCafferty

    The show established a nostalgic feeling as people gathered around for the jam band hits. The upbeat performance was held by Donny Frauenhofer on keys/vocals, Matt Fantini on guitar/vocals, Colin Brydalski on bass/vocals, Ellen Pieroni on sax/vocals, and Ryan Nogle on drums. 

    The group kicked off the night by opening with “Do It Like You Do” by Lettuce. The excitement from the crowd did not go unnoticed as everyone collectively felt a sense of normalcy again. This high energy extended even further when the musicians performed a mashup of The Whispers’ “And the Beat Goes On” and Will Smith’s “Miami.” 

    Funk Night
    Photo: Maddie McCafferty

    This month’s Funk Night was really special because although we’d been able to play the last few months, the guidelines didn’t allow for many of the things that make a funk show a funk show – dancing, musician sit-ins, interacting with the crowd, etc. This was the first show back where we could do all of that and we’re really excited to have more special guests and get more people dancing! 

    Donny Frauenhofer

    The group invited guests on stage for a few songs, which included contributions from a singer and another sax player. The band closed the set with “What Is Hip?” by Tower Of Power. However, with the audience’s plea and many still wanting to dance, they performed “Squadlive” by Lettuce for the encore. 

    Funk Night
    Photo: Maddie McCafferty

    The set left many feeling energetic and ready for more. Luckily, the jam sessions are far from over. Funk Night will continue every second Thursday of the month. So, make sure to check out the next show on July 8 at The Cave. 

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