The smell of fried chicken in the air and the sounds of clanking bowling pins has been the setting for some of the finest musicians the world has to offer; a night at Brooklyn Bowl in Williamsburg is always one full of joy and a lot of dancing, especially on November 30 with a three band bill of Peak, Jam the Radar and Zestrove.
The night started off with Zestrove and their Americana funk styled jams. Zestrove is a 5 piece band driven by heavy guitar riffs and funky breakdowns. A smile was brought to my face as the chords from the Doug theme song flowed seamlessly into their song, “Shuck and slide.”
Following Zestrove was Brooklyn’s Jam the Radar, offering a heavy improvisational segue from Zestrove. The name Jam thee Radar is very fitting for this band, because everywhere the radar searched, jams were found. They busted out “I Want You (She’s So Heavy),” by the Beatles, and closed the set out with their original tune “Cabin Fever.”
Peak closed the night out at Brooklyn Bowl with a pedal to the metal set full of jamtronica, funk and rock n roll. The backbone of this band is drummer Kito Bovenschlute, an absolute octopus on the drums with heavy Allen Aucion influence echoing with each drum pad strike. On bass is Josh Carter, formerly of Haley Jane and the Primates, keys is Johnny Young, and last but definitely not least on guitar is Jeremy Hilliard. Each one of these musicians is extremely talented, so keep an eye out for the growth of this band because they have definitely not hit their peak yet.
Setlists
Zestrove: Keep it Recording, Shuck and Slide*, Poi, Ideal Circumstances, Nothing Left to Say, In the Backyard, Lemonade (*Doug theme song Tease)
JamRadar: Fragile Minds, Quicksand, Drop the Dice, Help is Not, She’s So Heavy, Cabin Fever
Peak: Starlight Child, Vanishing, Easy, What It Is, Missionary, In My Mind, Run Me Down, Level, When Night Comes
Ice Nine Kills brought their highly anticipated second leg of the Silver Scream 2: Welcome To Horrorwood Tour to Rochester for a sold-out show. The tour included Fame on Fire, Currents, and Bad Omens which fans lined well over a block in downtown Rochester waiting to get into Anthology for the show.
Opening the night was Fame on Fire, who quickly brought a bunch of fans down into the standing area and in front of the stage. While only performing five songs, the band was an instant crowd pleaser with a cover of Linkin Parks “Numb” that had the audience singing along. Their set was high energy and engaging, while using their allotted timeframe to perform as much as possible. Closing out their set with a cover of XO TOUR Llif3 by Lil Uzi Vert, Fame on Fire opened the night in fine fashion.
Currents, based out of Connecticut was up next and anticipation in the crowd was certainly growing as they were waiting to take the stage. Currents has performed in CNY/WNY recently over the past several years, and each time drawing a bigger crowd. With the release of their latest album “This Is How It Ends”, much of their setlist was taken from here which was very welcoming to hear new material performed live. With a seven song setlist, the crowd was very receptive to favorites like “The Rope”, “A Flag To Wave”, and “Monsters”. Each time Currents performs they seem to just be getting better and more polished. Opening for Ice Nine Kills has been one of the bigger bands they have toured with recently, and they will hopefully continue to keep growing and be headlining their own US Tours in the near future.
Next up was Bad Omens, and people were really starting to fill the club in now. The energy in the atmosphere was building as the band walks onto the stage to their latest release “THE DEATH OF PIECE OF MIND”. Their eight-song set was nonstop energy and some of the best metalcore I have heard live recently. Flowing seamlessly through “Glass Houses” and “The Hell I Overcame”, Bad Omens had Anthology rocking. When “Mercy” began to play, fans started crowd surfing nonstop through the entirety of the song and into their final song “Dethrone”. This was the first time of the evening that a mosh pit had really opened up, and the band only fed off of that to close out their set with as much power and energy as possible. Bad Omens was a phenomenal choice as part of the tour package, and really set the bar for Ice Nine Kills to take the stage.
As the stage crew began working on the Ice Nine Kills set, the Michael Myers theme music plays over the PA system which creates an almost small level of anxiety mixed with anticipation. The stage featured a couple LED panels which began by playing the intro off their latest album “Opening Night”, which is a mini narration about the content of the album. Leading right into “Welcome To Horrorwood” Spencer Charnas, the vocalist takes to the stage with only a spotlight on him as he sings the soft intro to the song. Immediately going from zero to 100 as the song progresses, Spencer doesn’t stop moving for what it seems like the rest of the night.
Like their last album The Silver Scream, the Welcome To Horrorwood tracks are based off of various different horror movies throughout pop culture. With the massive success of the predecessor, it was exciting to see how their new material would be live. They definitely did not disappoint, and fans new every single word to every song they performed. The crowd participation at an Ice Nine Kills show is not like any others I have really seen. The amount of pure energy and excitement the audience has during every single song is not something you see at every show. There are certain parts throughout the night when Spencer would stop singing for a second and without missing a beat the audience is screaming the exact words or lyrics that are supposed to be said.
Ice Nine Kills is not just a concert you go and see, it’s a unique theatrical music experience that puts you right in the middle of some of the best horror movies that have been made. Each band member played the parts of many different characters throughout the night, with the default appearance being an American Psycho themed dapper look. This concert was one of the best metal shows I have seen since COVID began, and what a great feeling it was. Ice Nine Kills moved flawlessly through their 16 song set playing all the favorites off the new album, and some from the previous which just complement each other so well. The props used were fantastic as well, whether is a giant butcher knife and mask for “Stabbing In The Dark”, or a chainsaw, raincoats, and balloon for “It is the end”, Ice Nine Kills doesn’t miss a beat when it comes to the perfection of their craft. There’s a reason INK is selling out just about every show they play, and that’s just because it’s such a good and fun experience. If you haven’t seen them live yet, definitely take the time to do so and you’ll be wanting to come back for more.
Setlist: Opening Night > Welcome To Horrorwood > SAVAGES > A Rash Decision > Stabbing in the Dark > Hip To be Scared > Funeral Derangements > Communion of the Cursed > Ex-Mørtis > Assault & Batteries > Farewell II Flesh > The Shower Scene > Rainy Day > A Grave Mistake > Thank God It’s Friday > The American Nightmare > It Is the end
Today, New York-based singer-songwriter sautereau, previously known under the name Cee, releases the music video for her single, “Conversation Hearts.” With a glass-half-full perspective even after global struggles this past year, “Conversation Hearts” offers a lighthearted undertone of emotions reminiscent of 90s singers Lisa Loeb and Jewel.
Born and raised in Geneva, Switzerland, Chloé Sautereau picked up her first guitar at the age of 8 and quickly began writing songs. Starting her career under the name Cee, she released her debut EP As I Keep on Dreaming in 2019 at age 18. Swiss radio featured this early project focusing on human relationships and the small perplexities of life.
Now based in New York, the singer-songwriter now goes by her surname “sautereau,” creating a truer world for herself. With a bare-face pop sound that blurs the line between reality and what goes on in our heads, she writes intimate songs about her experiences with an authentic sound, showcasing her storytelling forte. With influences such as Finneas, Julia Michaels, and Jessie Reyez, sautereau’s unapologetically honest voice is accompanied by production that is modern and crisp.
“Conversation Hearts” brings up nostalgic feelings experienced while isolated during the pandemic. The elegant and emotional video shows vignettes of sautereau playing guitar and trying to focus on everyday tasks while falling into the repetition of her daily routine.
This song is about the bittersweet realization of how fast time slipped by, while also feeling like it suddenly stopped, It’s about the frustration of not being able to do what we should have been able to do, but hopefully still acknowledge the good memories made with the few special people we were lucky to have around.
sautereau
Listeners will connect with sautereau’s longing for interaction and wanting to spend time with the world, while dealing with the loneliness we have all experienced this past year. While time seems to blend together, sautereau reminds us that there’s beauty in the little everyday tasks, and spending time with yourself while listening to what your heart wants can be therapeutic. Written by sautereau, the song has elements of bass, synth, and drums, all performed by Toby May, while she plays the guitar.
I always had a passion for writing from poems to prose. Storytelling was always there, and I think that’s around the time I put those together and fell in love with it.
sautereau
The nostalgia and honest emotion conveyed through her songwriting allows sautereau to stand out as an artist. Follow sautereau on Instagram to keep up with her exciting journey ahead.
On the Saturday after Thanksgiving, Marco Benevento, Karina Rykman and David Butler took the Brooklyn Bowl stage for an upbeat celebration honoring induvidual self expression. The charistmatic smiles beaming from the stage reflected the jovial comradery happening down in the crowd. While the ever present bowling alley was running simultaneously to the performance, it became apparent that Marco’s gathering was happening in what some Lebowski fans might consider The Dude’s Temple.
Colorful crowd in the temple of The Dude. Photo by Em Walis
Many parallels between mindset masters Marco Benevento and The Dude existed that night. There was an overarching reminder to the revitalization that occurs whenever time has been carved to show up for something with the power to ignite minds and hearts alike. The social connection, dancing, individual expression and unexpected favorite cover all contributed towards an emotional elixer helpful in priming the system for the upcoming holiday season.
Karina Rykman, her bass, sparkle outfit, and hand made t shirt. Nothing else. Photo by Em Wals
The Dude Abides | Let It Slide
The opening tune of the night “Let It Slide” set tone for the night to be upbeat, full of personality and constantly shifting. The catchy tune and “rhythmic chordy bass” drew a lasting attention to the stage to the point where time seemed like it began to fly by. The metaphysical shift that happened with a song like this allowed for the outside world to fall away because senses were being flooded with every happy neurotransmitter imaginable. It was impactful enough to carry through the rest of the night. By letting it slide, fans were able to abide which resulted in the ability to be taken on a journey without having to think too deeply in the moment.
Photo by Em Walis
That Rug Really Tied The Room Together | The Royal Potato Family
That Rug Really Tied The Room Together | The Royal Potato Family From upstate to down south, the atmosphere was positively unified. Attendees, colorful and diverse, all shared a familial bond that clearly valued making a conscious effort in being attentive to one another. One woman from Knoxville made sure to ask everyone at the table if they would like a beverage or needed anything before she departed on her own beer run. A potato cannon firing distance away from the Fred Short Recording Studio, family and friends close to the artists stacked up to show support as if it were their kid at little leauge. Notably, Melt guitarist and vocalist Marlo and Veronica made time during the bands headlining national tour in order to show some love for their bud Karina. The collection of people both new and familiar with the music wove together in order to create a beautiful, robust rug that provided a sense of safety and joyful company. To add a little bit of adorable fringe to the experience, Marco’s wife screen printed custom t shirts in their basement specifically for the Brooklyn Bowl event. Each band member wore the shirt and Marco could be seen making funny faces at her throughout the night.
Photo By Em Walis
New Shit Has Come To Light | Heartbeats
Never once did the joy become irritating or overdone. The pure honestly in the fun being had by all in the room and gratitude felt had its roots deeply in the concept of “all things considered”. The music never commanded listeners to think or feel differently, rather, an offering of an alternative mindset to live in the moment was presented. The wildcard cover of “Heartbeats” by The Knife speaks of submission to moments of forbidden love and while beautiful, provided a nice balance of darkness to the mood. The reminder evoked inspiration to never ignore those precious moments when desire has sparked and opportunity has presenteditself.
Photo by Em Walis
The Dude Is Not In | Here To Percieve
Anyone that walked down the alley and into Brooklyn Bowl for Marco Benevento’s performance likely assumed that they would experience upbeat, genre-nomadic music. Not everyone knew the level of rejeuvination they were about to experience through music, community and an opportunity to look at the world differently. Attendees probably wore some of their most coveted and unique articles of clothing after very carefully taking into account how the material might look on the dancefloor. Little did some know, the fur vests, tie dye, geometric glasses and bold lipstick were symbollic to the loving embrace Marco’s music gives to individuality and self expression. During the recent tumultuoius times, it has become increasingly important to find out what The Dude was feeling when he laid on the rug with his headphones in.
Keeping the innter light bright. Photo By: Em Walis
You’re Out Of Your Element, Donny | At The End Or The Beginning?
For some, the start of holiday season in New York City could mean a dreamy illumination of the city, Rockefeller center and time with loved ones. For others, it could be the most difficult dark season they have experienced yet. Covid tests are flying off shelves so families can be reunited for traditions to resume. Conversely, many are faced with the tidal wave of grief pulsing with each gathering that might not include that favorite person no longer with us. Invitations have not been passed along to certain people because they have been rejected by their families opposing fiercly to welcoming LGBTQIA+ members into their household.
Social media feeds filled with family photos are a constant reminder of what we do not have or what we used to have but recently lost. The last two years on their own have contributed to an influx of loneliness and depression especially during the time of year when the sun shines least. Financial pressure to show love by spending non existant money contributes to levels of anxiety that only can be reached by a threatened sense of ability to meet societal expecations. The entire night felt like it provided family and support for anyone disheartened by the world. Hope sparked all thoughtout the night.
Photo by Em Walis
Let’s Go Bowling | Random Note
Marco Benevento’s Brooklyn Bowl performance provided a dream-like, restorative experience where the aforementioned conditions need not be the single identifier to one’s experience. It is not to encourage denial of such things but to instead focus on the things that emote joy. In Marco’s Interview over the summer, he mentioned often starting his creative process with drum machines or randomly generated notes. There was rarely an intention to use these starter tracks in the final project, but it got the ball rolling and his head in the creative space. The sounds were often silly and the instruments not particularly coveted. The lack in seriousness seemed to also help in the process and stay at minimum net netural, which for many of us could be a whole lot better compared to their current mindset. For music fans, it is important to buy the ticket and go to the show. Bringing along a friend that might have it rough this time of year would not be a bad idea. The point being, once in the environment alongside appealing sounds, sights and people, the emotional and mindful shift will automatically follow.
Photo By: Em Walis
This time of year, it is important that we take after Marco’s fans and check in with each other whether we are at a show or not. Think twice before making family brag posts and consider other ways to show your appreciation more privately in order to respect those experiencing a more fragile season. Most importantly, if you need help, not matter how embarrassing, please tell someone or call the New York Emotional Support Hotline CALL: 1-844-863-9314
Marco Benevento – Brooklyn Bowl, Williamsburg, NY – November 27, 2021
Setlist: Let It Slide, Dropkick, If I Get To See You At All, Coyote Hearing, Greenpoint, Heartbeats (The Knife), Bus Ride, The Story Of Fred Short, At The End Or The Beginning?
To learn more, check out our exclusive interview and a review of Let It Slide.
Originally from Hauppauge, Melanie Chirignan is a flautist known for her musicality and versatility of repertoire. Her eclectic tastes have led Melanie to collaborate with many different performers and ensembles.
Melanie earned her Bachelor’s in Music Performance and Music Education graduating magna cum laude from SUNY Fredonia and her Master’s degree in Flute Performance at the Hartt School. She has taught general music, chorus, and orchestra, and has taught every level from elementary school to conservatory level students. Melanie has taught workshops on the “Origins of South American Folk Music” through Hartford Performs, with Alturas Duo. An adjunct faculty at the College of Saint Rose, she is also a member of Quintocracy, who are artists in residence at Troy Savings Bank Music Hall.
RRX: Many people take classical instrument lessons when they grow up, few pursue it, and you have. And not only have you beat the odds, you’re pretty much one of the people boosting the odds for others. How do you think you were able to beat the odds and wind up with a classical career?
MC: Wow, thank you for the huge compliment. Well, everyone that sticks with music at all has some talent, so that’s not it. I treat it like a job because it is, and I persevered and practiced a lot for many, many years. Also, I really love chamber music. Concerts are the highlight of the month, so I make sure to keep scheduling things. When I find a piece I want to play, I find the players, and create an event. I keep finding pieces I must play, and so it goes on.
RRX: You are a flautist, which for the uninitiated, means you play the flute. You also play piccolo and alto flute. I think many people, including our readers, might be hard-pressed to tell the difference between these based on sound alone. How would you describe the differences in these three instruments?
MC: The piccolo is smaller and requires much more precision than the flute. It’s like it has a smaller bullseye, and the tiniest lip movement or change in air speed will be heard. It is an octave higher and can really sing out over an entire orchestra. It’s small but mighty. The alto flute is much bigger than the flute. It has a more hollow, mellow sound than the flute. Many people like the alto flute best because they find the more diffuse tone pleasant. I like the flute best because of the bigger dynamic range (it can play louder and softer than alto flute) and I like its richness, how it has more harmonics in the sound.
RRX: You’ve played in so many places, including, but certainly not limited to the Smithsonian Museum of Natural History, Albany Pro Musica, Glens Falls Symphony Orchestra, Troy Savings Bank Music Hall, and Proctors. If all the places you’ve played were in a lifeboat, it would sink. Describe one that has a special meaning to you.
MC: The Troy Savings Bank Music Hall is so acoustically perfect; it is literally awe-inspiring. The sensation is that the hall supports your sound and helps you play your best. This is why the hall has such an internationally known reputation. For me, I’m so thrilled to have a residency there with my wind quintet Quintocracy, and Jon Elbaum and the staff are so great to work with-those things help make it stand out as outstanding to me too.
RRX: We are used to covering the more rock ‘n’ roll side of things. And we do so because it’s not just a music, it’s a story. Insane tours, bar fights, Egos left and right. But classical is different. It seems closed off, hermetically sealed from drama. Is it? Are there adventures that go beyond the movements? Is the community just organized differently?
MC: I think for me, I try to take life’s drama and use it to play as musically as possible. I remember after my first heartbreak, my teacher told me to use those feelings to play, and we came back to Debussy’s Syrinx. Unlike pop music, classical musicians strive to never play the same phrase exactly the same. We come up with variations constantly, and so I think being attuned to the nuances that are your human emotions helps your musical expression. That being said, there is of course drama. Look at Mozart in the Jungle! Luckily, I got to be an extra in, and never experienced anything like that. Although we as classical musicians may look like we have it all together, my duo partner once forgot his pants-well his concert pants, he had jeans on.
RRX: The flute and the piccolo are woodwinds. Their drivers are breath. And unlike singing, which is basically simple to do but impossible to master, some feel that woodwinds are just impossible to do. And you’re performing for an hour or more sometimes, which makes it harder. Is there a breathing technique that makes it easier?
MC: You’re correct that the flute is a tough instrument for air usage. It wastes the most air out of all the winds because there isn’t a mouthpiece to blow into that is sealed. Air gets blown across and there is wasted air, unlike the clarinet, oboe, bassoon, or any brass instrument. However, you learn to be efficient with your embouchure (the shape of your mouth), and with your air. I think if you’re used to practicing for a couple of hours a day, then you just get used to the breathing, you’re trained for it and have that endurance built up. I think practicing yoga has helped me with body awareness and breathing. Since I’m small, I make sure my cardio game is strong, which also helps my flute playing. I remember my undergrad teacher telling me she started running a few months before having to play the Neilson concerto to build up her lung capacity.
RRX: You teach as an adjunct professor at Saint Rose, and privately. And you teach all levels, from elementary school to conservatory level students. When I hear “conservatory” I think, are there named levels of learning? What does a conservatory student learn that’s different from a student just below that level? Is it just gradual?
MC: A conservatory is different from a liberal arts education in that you’re only learning music. My extraordinary high school flute teacher, Michelle LaPorte, convinced me that I should go for a liberal arts education so that I would be a more well-rounded person. The idea is that being well-rounded would be reflected in your artistry as a more engaged, fulfilled listening experience. I think she was right, but I did go to a conservatory for my master’s degree to fine-tune my playing.
RRX: This is where you answer the question I didn’t ask. Longest breath? Pied piper’s type of flute? Educate, enlighten, emote – the floor is yours.
MC: We keep hearing that classical music is dying, but it’s not. It’s just being re-birthed in different, more creative ways. Groupmuse for instance, is an organization that facilitates people to have BYOB chamber music house concerts. It has launched and is thriving in many cities as well as internationally. Also, I think with more awareness, women composers and black composers that weren’t previously published or brought into the classical canon are beginning to. I think there’s some great changes ahead.
For more info on Melanie Chirignan and to subscribe to her mailing list, visit MelanieChirignan.org
Canadian multi-instrumentalist and producer Caribou (a.k.a. Dan Snaith) made his way to New York this past weekend for three shows over two days at Brooklyn Steel. Sandwiched in the middle of a 20-night run of another electro-rock band at the venue, these Caribou concerts were two years in the making. Originally scheduled for March of 2020, the Caribou shows were some of the first to be postponed in the city due to the incoming pandemic. Snaith attested to that after the opening song, admitting to the crowd how weird it felt finally being able to play a gig planned so long ago.
Caribou at Brooklyn Steel, 11/27/21. Photo by Buscar Photo
The concert calendar right now is a very strange mix. The entire live music industry came to a halt for a year and a half; postponing or cancelling shows throughout 2020 and 2021, many of which have been rescheduled and are now in progress. On top of that, there is a backlog of tours that were being planned at the time of the pandemic, and are just now trying to be scheduled for the first time. Tickets are being sold for shows more than a year in advance. Some of these artists have released albums two years ago and are now getting their first opportunity to perform the music live. This is the case with Caribou and his fifth LP under the moniker, Suddenly. The record was released back in February 2020 on Merge Records.
“Never Come Back” off Caribou’s LP Suddenly. Via YouTube.
Caribou’s music is a bright blend of electro-house elements and indie rock. The songs are stretched out on the live stage into deep jams with distinct movements and very high energy, techno-style percussions. A heavy strobe style lighting arrangement gives off a club type atmosphere ripe for the dance floor. The concerts took place this past Saturday and Sunday, with a matinee performance Sunday afternoon before a second show later that night.
Dan Snaith (a.k.a. Caribou) at Brooklyn Steel, 11/27/21. Photo by Buscar Photo
This leg of the tour is nearing its end; Caribou plays three more shows in the Northeast leading up to a set at Mexico’s Trópical Festival the first weekend of December. A lengthy second leg of the tour kicks off in February and takes Caribou across the UK and Europe with some west coast and Canadian dates mixed in. Find the full tour schedule HERE. Check out NYS Music’s photos from the first show on Saturday night below.
Thanksgiving is a time for tradition and perhaps a new one was born on Wednesday night in Albany. Coming together in grand fashion family, friends and fans of The Band convened at Lark Hall on Thanksgiving Eve for a memorable evening billed as The Last Waltz on Lark Street; a stellar tribute to one of the most celebrated concert performances in rock history.
For anyone not familiar, The Band are about as close to music royalty as it gets in New York State, particularly in the Capital and Mid-Hudson Regions where the group famously lived, partied and wrote music together under the roof of a ‘Big Pink‘ house near Saugerties. Often referred to as just “the band” by Bob Dylan (with whom they often backed), the name stuck and over the course of 16 years, The Band — Rick Danko on bass, violin and vocals; Levon Helm on drums, mandolin and vocals; Garth Hudson on keyboards and saxophone; songwriter Richard Manuel on keyboards, percussion and vocals; and guitarist, songwriter and occasional vocalist Robbie Robertson, would go on to write some of the most timeless songs and albums in American music history.
As the story allegedly goes, after burning out from the demands of the touring lifestyle, it became clear the dynamic that had made The Band so special and unique had changed, the brotherhood and comradery had faded a bit and it was starting to reflect in the music. Then in 1976 it was officially announced they’d be playing their final show; one last chance to dance and it was to be held on Thanksgiving Day at the legendary Winterland Ballroom in San Francisco. What took place that night, as famously documented in Martin Scorsese’s iconic film of the same name, The Last Waltz, would go down as one of the greatest star-studded, ground breaking concert celebration spectacles of all time. The film itself would later go on to be selected by the Library of Congress to be forever preserved due to it cultural and historical significance.
Now some 45 years later, the magic made and songs played that night are still being talked about, still influencing and still being played by a whole new generation of New York based musicians and for one close-knit group of Capital Region players and friends, an idea that sparked from a brainstorming jam session somehow serendipitously snowballed into reality and perhaps simultaneously became the next “can’t miss” pre-Turkey day musical meet-up for those who call the surrounding Albany area “home”.
To do this properly and with any sort of ‘relative’ justice, of course, was no easy task and with so many moving parts, variables and logistics to the show, it would also require a bit of help from friends, the good natured people behind the scenes and well, a little luck too. Those obstacles aside, here’s a ‘not-so exclusive’ scoop for the NYS Music reading faithful: never doubt the heart or talent that dwells within the 518 area code. If anyone was up to the challenge, it was the bunch who dared to dream to put this event together in the first place.
With 2021’s incarniton of The Band not finalized until the very last minute, the one-time-only line up ultimatley consisted of 18 players; a ‘who’s who’ of capital region musicians that featured members of The Wheel, The NolaNauts, Eastbound Jesus, Dead Man’s Waltz, Sarah Sippely and Brian Lapointe and the Joints.
Albany’s newest venue, Lark Hall hosted the event. With full support of Jennifer Miller, the visionary proprietor of Lark Hall, the recently renovated, historically preserved venue has quickly made a name for itself, largely by hosting nights like this; unique one-off collaborations and themed performances in a comfortably intimate, church-like setting that’s already earned the praises of nationally known artists like Keller Williams, The Futurebirds, Carl Bromel, Liz Cooper, and legendary Phish lyricist The Dude of Life. All hype and anticipation aside, the time for the inaugural Last Waltz on Lark Street had finally come.
Piped in over the PA system, the performance began with an orchestral rendition of “Theme From the Last Waltz” as the core members of “The Band” gradually filled up the stage. All tuned up and ready to go, the celebration kicked off with ‘Up on Cripple Creek’ into “The Shape I’m In.” The set would begin to stray from its familiar order when our first guests of the evening, NolaNauts horn section Bill Ringwood and Brian George, joined in for a crowd pleasing ‘Ophelia” and “This Wheel’s on Fire.” Mike Coleman would then switch out with Brian Bean on bass for “Further Up the Road” and “Who Do You Love” before the spotlight would shine on Rick Rothermel, The Wheel’s burley multi-talented keyboardist with a voice of gold who arguably had the most challenging role of the evening in filling the legendary shoes of Garth Hudson. After nailing “Chest Fever,” Rothermel handedly made a believer out of anyone in attendance not already having fun. The Nola horns would return once again for “Caledonia Mission” and an upbeat version of “King Harvest”. Following an inspired rendition of “It Makes no Difference” that featured the lovely talents of Sarah Sheppeck on lead vocals, “Life is a Carnival” would bring the opening set to a close and send fans to intermission with huge smiles and lots to talk about.
With the fuse already set for a party following the wickedly fun opening set, somehow this collective ensemble of talented musicians made of varying ages, sexes and backgrounds that came together with little time to rehearse, followed it up with an even more epic second set. It was the kind of thing capital region music fans have been dreaming of, really.
Kicking off with Brian Bean back on bass was “The Same Thing” followed by the iconic song “The Weight” which had everyone in The Hall singing along. Now that everyone was friends here, it really started feeling like a family affair when Bryan Gautie and Jill Gautie (along with Dr. Pete Andriakos of The Wheel) took over the stage to perform the only acoustic song of the night, “Coyote.” Sarah Sheppeck would then join them for another classic, “Long Black Veil” and remain on stage as Eastbound Jesus mandolin player Andrew Lynch and fiddler Jessica Bowen then got in on the fun with another highlight on the evening, “Atlantic City.” The strings would stick around for the next number Tom O’Connor introduced as a personal favorite, “Rag Mama Rag.”
Ratcheting up the ramble to a raunchy new high was “Mystery Train” which featured the talented Brian Lapointe on a screaming harmonica. “Across the Great Divide” and “The Night They Drove Old Dixie Down” came next, followed followed by “Caravan.” Now with all of the musicians who had participated on the night on the stage, the sentimental set closed with a family-jam style singalong version of “I Shall be Released.” Following pleas from the enthusiastic and appreciative crowd, “Don’t Do It” was selected as the lone encore, bringing the first ever Last Waltz on Lark Street to a celebratory close.
On November 18th, Jinjer from Donetsk took over Anthology in Rochester with All Hail the Yeti from Los Angles, California, and Suicide Silence from Riverside, Californa. Opening the show was All Hail The Yeti with their unique hardcore metal hybrid sound. Anthology has been host to many touring acts, along with unique local shows. Their first album debuted in 2012 with their self-titled album and have since come out with three more after.
The All Hail The Yeti stage setup was a little more unusual than what you would typically see, they had flickering candles, mic stands decorated in leafs, and in front of the singer Connor Garritty was a big display with flowers, banner, and a light up skull. They started off the show with good energy and got the crowd pumped up.
Next up was Suicide Silence and brought the energy to the next level. Since their debut in 2002, Suicide Silence has been a power house in their genre with 6 studio albums under their belt. The reaction from the crowd as Suicide Sillence took the stage was loud as the band themselves. During their set, the front man, Hernan “Eddie” Hermida made a shout out to the band’s previous singer Mitch Lucker, who was the original singer but sadly died in 2012. It wouldn’t be a Suicide Silence set without a wall of death and when Hernan asked for one, the crowd delivered.
Finally, we have what many of the people came out for and that’s Jinjer, who is a Ukrainian metalcore band. Along with Jinjers great performance, their set was accompanied with many lights and a video wall, it was a sight to see. For a weekday show, the turn out was incredible, always great to see a sea of people supporting these shows and venues, and there’s many more to come, just check out Anthology or Rochester Entertainment Events.
Keller Williams has been flowing through the Southern Tier for nearly twenty years. His first Ithaca appearance at The Haunt in April, 2002 included all the elements that has seen him earn the nickname “the one-man jam-band.” Some first heard of “K Dubb” on, K-Rock’s Sunday Night Jam Session, as an on air winner for entry to his various Central New York shows. When he played inside Ithaca College in November, 2004 while running late from Oswego, we had to rely on a Savoy Truffle ninja inside the lecture hall. She was stealth enough to provide some bracelets to gain entry to Williams performance.
I can silently sneak through your halls…I’m a ninja.
His November, 2021 performance at, Homer Center for the Arts, in Homer, New York saw everything come full-circle as Keller laid down two sets of blended covers. The semi seated audience cheered on as Keller brought a Rodney Dangerfield “Back to School” humor to the room. Keller also did a cover of “Back of the Bus” off of G Love’s 2004 alternative hip-hop record, The Hustle. Rhyming,
Get your ass out of bed, Cause you know the bus is coming, If you miss the damn bus well you better start running.
When The Grateful Dead bus came by to a teenage Keller Williams in 1987 he jumped on board for every tour with them until 1993. Bob Weirs words must have resonated in Keller…
It trembled and exploded, left a bus stop in its place. The bus came by and I got on, that’s when it all began.
From 1993 until 2002 Keller crafted an original song book that he weaves in to his sets today. His performances in now defunct rooms like, The Haunt and Terrapin Crossroads have now closed become legendary. His vitality and all-around quality shows inspired Central New York’s John McConnell to add a full looping rig to his acoustic one man show after seeing his 2004 Ithaca performance.
Peach Fest 2015
Not to worry Keller still shared the same “Cumberland Blues” the ‘Dead had in his 2002 set at the Haunt. The Homer Center for The Arts was no different as he treated the crowd to a magical rendition of “Terrapin Station” on the grand piano. Further south down route 81 in Scranton Keller’s, Grateful Grass, project shared the Peach Festival stage with Bob Weir in 2015. In similar fashion Keller invited Floodwood’s mandolinist Jason Barady to the stage for a Grateful Dead classic that really is truer than you think, The duo educated the crowd that “The Women Are Smarter” to close the show at the Center in 2021.
One of the most exciting things about witnessing Williams perform his magic live is the way the audience gets a “backstage” view of the musical production process. While seasoned fans may know right off the bat which song he has begun to piece together, the rest of the crowd can enjoy the pleasure of listening to the slow build-up of the song as he plays, records, and loops live on stage. Waiting for that moment of recognition as he drops a familiar beat or lyric.
If you are a fan of live music, dancing, feeling like you are a part of a live show, or rugs that really tie the stage together, man, do yourself a favor and buy a ticket next time Keller Williams graces Little Rock with his presence. Little Rock? Wait that’s farther south than the Southern tier. The past two paragraphs are credited to Central New York’s Erin Holland’s show review of Keller Williams at Revolution Music Room in Little Rock for The Arkansas Times in 2013. That’s right the women are smarter. The women are smarter, that’s right.
Scottish synth-pop trio Chvrches returned to New York this weekend with two sold out shows at Manhattan’s Terminal 5. The band is in the midst of a North American tour in support of Screen Violence, their fourth LP and first on Glassnote records. NYS Music was there to catch the first night on Friday, November 26th.
Lauren Mayberry of Chvrches at Terminal 5, 11/26/21 – Photo by Buscar Photo
One week before Chvrches’ opening night at Terminal 5, the band announced that multi-instrumentalist Iain Cook tested positive for COVID-19. Instead of postponing any shows, the band was poised to have touring and studio tech Dave Simpson as well as Lo Moon guitarist Sam Stewart step in and fill Iain’s shoes for the shows in Chicago, Detroit, Pittsburg and Columbus. Iain was able to make his comeback to Chvrches for the New York shows, receiving copious “We Miss You Iain!” chants from the crowd throughout the night.
Screen Violence single “How Not To Drown,” featured The Cure’s Robert Smith. Via YouTube
Screen Violence was released back in August but the band recently issued the expanded Screen Violence: Director’s Cut last month featuring three bonus tracks. The tour continues with a handful of east coast dates before heading west, including a show at Las Vegas’ Brooklyn Bowl on December 11th. The tour concludes a week later with a final show at the Hollywood Palladium.
