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.
On Friday, November 26th, 2021, Vermont jam act Twiddle celebrated “Frendsgiving” (the day after Thanksgiving) with a rich and impressive display of their patented hi-def shredding for a nearly sold-out Capitol Theatre venue in Port Chester, New York.
photo by Filip Zalewski
Formed in 2005, the quartet of Brook Jordan (drums), Zdenek Gubb (bass), Ryan Dempsey (Norb) (keys) and Mihali Savoulidis (guitar/vocals) have quickly ascending the ranks as one of the most buzzed about bands in the jam scene with the most popularity this side of Phish and Pigeons Playing Ping Pong. With an infusion of jazz, classical, bluegrass, funk and a heavy dose of reggae-tinged jams, Twiddle is a unique experience. It may seem an impossibility that one state would be the home of two of the greatest jam bands in the country, but Vermont can currently boast just that. Twiddle fans are very active on the “iTwiddle” Facebook Group page, which serves as a gateway for information, tickets, discussion and show details. Twiddle is seemingly always touring and pleasing their fans with a massive summer festival circuit.
photo by Filip Zalewski
Since 2004, Mihali Savoulidis has consistently elevated Twiddle to unparalleled heights on the winds of his articulately nimble six-string sorcery, genre-bending essence, and soulful vocal eloquence. The Vermont band has headlined hallowed stages in front of sold-out audiences at Red Rocks Amphitheatre and Capitol Theatre in addition to making show-stopping performances at Bonnaroo and Electric Forest and hosting their own annual Tumble Down Festival. Twiddle treats their fans with gratis live show recordings on archive.org. The band has released eight records thus far and specific critical acclaim was directed towards 2017’s Plump. The boys are also well-respected for their involvement in raising funds for their philanthropic White Lights Foundation. One can find info and merch at www.twiddlemusic.com including the most recent musical releases 10/28/21 Eugene and 10/24/21 Santa Clara!
The band has embarked on an ambitious tour this fall season with two stops at The Cap. A virtuoso, constantly showing off his songwriting prowess, Mihali has a refreshing and inspirational outlook on life and coined the phrase “relax and dream.” Having often been labeled by many as “the next Phish” for years, the band delivers a vastly different experience. The Vermont-based quartet held the last three Frendsgiving runs at the Port Chester, New York venue from 2017-2019, and each year has been chock full of surprises and epic sit-ins.
photo by Filip Zalewski
The show Friday night contained many highlights including at 8:08pm when noted troubadour and looping master, Keller Williams, took the stage for a subtle yet electrifying set which culminated with a spicy “Scarlet Begonias.’ Twiddle faced an eager and enthusiastic crowd at 9:34 and delved right into a racous “Zazu’s Flight.” The New Jersey-raised Mihali, dressed in a red tie-dyed outfit complete with tie-dyed sneakers, led the way with long and complex improvisational jams. He was like a knight in shining armor wearing a white hat. The fifteen minute high energy opener showcased each of the band member’s talents with numerous solos.
The music was buoyed by Dempsey’s intense fills and Jordan’s heavy hitting behind the kit. The crowd responded with adulation at the line “Damn I smoke a lot of weed!” The song segued into a tight “Doinkinbonk” and it was danceable until the music turned heavier with the offering of the fun, “Too Many Puppies” where Gubb took over the lead in a rare show of vocal force. There was an intense light show with lasers shooting out into the crowd at various angles and speeds. The crowd plowed through the old ditty “Amydst the Mydst” with authority playing like grizzled veterans as a cohesive unit. At times, Mihali proves to be the master of the axe and he explores new worlds using crescendo to create an effective musical peak. Keller walked out with his acoutisic, creating a fine mix with the band, for an intricate set closer of “Best Feeling.”
photo by Filip Zalewski
The classic song “Apples” opened the second set and delivered just the right tone as an impetus to get the crowd involved for another set of music. It was a lengthy inspired take on the band staple complete with a riff that was reminiscent of Phish’s “Contact.” One of the best songs on Plump is “Every Soul” and this crowd-pleasing version shared here didn’t disappoint. With Norb, adorning a hockey jersey, pounding hard on his five keyboards to lead the intense underlying groove of the tune. The crowd was in a frenzy at this point with the danceable interludes in full effect. Fan favorite and regarded by casual fans as their best song, “Lost in the Cold” ended the second set in a special way. One time child-prodigy, Brandon “Taz” Neiderauer, joined the fray on stage, trading guitar licks with Mihali as only he can adding an adrenaline rush to the proceedings. The reggae-soaked song hit a bouncing level of ecstasy for those in attendance and the band meshed well with Taz. He rejoined the boys for an electric “All Along the Watchtower” encore that would have made Hendrix proud. It was an apropos choice considering Dylan had just played the Cap 2 days before.
When asked about playing someday at the Cap in in 2014, Mihali told me, “The ultimate goal is to get the band to the next level and headline the Capitol Theatre. To get a chance to play at the Cap at some point is insane. It’s a legendary club.” Mihali had dreams and now he can relax knowing he has reached such a lofty goal. They have come a long way since 2004 when Mihali and Ryan were collaborating in their freshmen dorms at Castleton State College and then playing bars and people coming out to hear “Jamflowman” over a decade ago. Now they are bonafide superstars. Don’t forget to catch their New Years show in Worcester!
Twiddle ‘Frendsgiving’ – The Capitol Theatre, Port Chester, NY – November 26, 2021
Set 1: Zazu’s Flight, Doinkinbonk!>Too Many Puppies>Keep Going, Amydst the Myst, Best Feeling1
Set 2: Apples > Every Soul > Apples, River Drift, The Box, Slippin’ In The Kitchen, Lost In The Cold2
Encore: All Along The Watchtower2
1 w/ Keller Williams 2 w/ Brandon “Taz” Niederauer
Twiddle ‘Frendsgiving’ – The Capitol Theatre, Port Chester, NY – November 27, 2021 Set 1: Blueberry Tumble, GooBerry Jelly, Blueberry Tumble, Hattie’s Jam, When It Rains It Pours, Daydream Farmer1, Earned To Keep, Mildew Man, Stroganoff
Set 2: Complacent Race, Collective Pulse, The FRENDS Theme, Latin Tang, Tiny Dancer2, Brown Chicken Brown Cow3
Encore: Beethoven and Greene
1 Find Your Cloud tease 2 w/ Scott Hannay & Jake Brownstein (Eggy) 3 w/ Zazu’s Flight Reprise
Christone “Kingfish” Ingram brought his 662: Juke Joint Live (XXIX) tour to the Homer Center for the Arts on Tuesday, November 2. The 62nd annual Grammy awards just nominated the 662 from Alligator Records for Best Traditional Blues Album. Kingfish was in the Southern Tier over the summer with Robert Randolph who spoke with NYS Music at Jus Sum Jazz Lounge in Syracuse. Robert Randolph, who played the New York State Blues fest and Chenango Blues Fest with Kingfish, called the lounge a “Modern Day Juke Joint.”
Kingfish, Niagara Falls
The 22 year old natural blues man from Mississippi reminded everyone in the Empire State what his name is with “She Calls me Kingfish.” He then played his cut that has been dominating the B.B King’s blues satellite radio channel with “Fresh Out.” The studio track features Buddy Guy who has played The Experience Hendrix Tour at the Landmark Theater and the New York State Blues Fest. Kingfish has been interviewed by Sir Elton John during his Rocket Hour podcast. His music even got caught creeping with legendary funkadelic artist Bootsy Collins.
The highlight of the evening’s live performance occurred when Kingfish took his solo during “Too Young to Remember” from the stage into the center’s aisles up through the 2nd floor balcony and back to the bandstand for a 20-minute spectacle. He also quieted the room down with his acoustic play. “I don’t know where I came from or how i got this way, Well I can still hear Grandma saying child you’ve been here…here before.“
The songs off 662 are an homage to where Kingfish grew up. The area code in Northern Mississippi is 662 and Kingfish tells you that there is a church on every corner. Let’s prey that 662 makes its way into the 62nd Grammy awards. The 150 year old Baptist church turned music venue really was a perfect fit for his ensemble to play in rural Homer, New York.
The Hendrix tune appeared out of thin air during the encore of “Long Distance Woman” from the Grammy-nominated 662 album. Fish sang about life’s distance on the road from the lady that’s always too far apart. “My job keeps me rolling. I never stay in one city too long, being apart and missing your touch, it’s hard to keep a good thing strong.” Kingfish crosses the pond to Europe in 2022.
Like rock music itself, the rock concert has very humble, homegrown origins. It started way back in the later 40s/early 50s when radio DJs and record store owners saw them as a way to generate more bucks from the racy new musical style that was igniting the passions of a new, monied class of teenagers. Over time, rock concerts would explode in size, scope and cultural and revenue impact. They evolved from quaint “hops” at high school gyms to a circuit of psychedelicized theatres, then onto sports arenas, stadiums and, ultimately, multiday outdoor festivals. In 2019, before COVID-19 blew it to smithereens, the live music business was a $136 billion-a-year global juggernaut.
With his new book Rock Concert(Grove/Atlantic Press), veteran journalist Marc Myers has marshalled an army to tell the free-wheeling story of the growth of this entertainment staple. Like Legs McNeil’s punk history classic, Please Kill Me and Frank Mastropolo’s recent, Fillmore East: The Venue That Changed Rock History, Myers’ book is a well ordered oral history weaving through decades of fascinating facts and anecdotes. It is told by some of rock’s most iconic stars including Alice Cooper, Ian Anderson, Steve Miller, Roger Walters, Angus Young, Hall & Oates and Bob Weir, as well as an A-list of promoters, managers, songwriters, producers, photographers, sound and lighting techs, filmmakers, fashion designers, roadies and fans. These are the people who witnessed many watershed concerts firsthand, from the days of L.A.’s proto-rock R&B scene through to 1985’s Live Aid, the final event before the era of corporate sponsorship and out of sight ticket prices took hold.
Myers goes back 3,400 years to set the stage for his story. In the book’s preamble, he introduces The Hurrian Songs. This is the world’s oldest known sheet music, tablets from ancient Syria containing tunings and tablature for lyre music meant to be performed before a live audience – the first historical evidence of what would become today’s concert spectaculars. Also noted in the deep history are two Big Band-era pop concert events – Paul Whiteman’s 1924 performance of Gershwin’s Rhapsody in Blue at NYC’s Aeolian Hall and 1938’s Carnival of Swing on Randall’s Island, the first outdoor jazz fest headlined by Benny “King of Swing” Goodman which drew over 20,000 white and black fans.
As stated earlier, the real genesis of the first era of rock concerts is credited to radio DJs. In late 1940s Los Angeles, musician/radio host Johnny Otis commenced his Barrelhouse Club shows in Watts featuring R&B stars of the day. This was followed by shows at additional sites on Central Avenue, many headlined by the original “honking” sax man, Big Jay McNeely, including Hunter Hancock’s popular Midnight Concerts.
The true “rock concert” commenced in Cleveland when Rendezvous Record Store owner Leo Mintz partnered with radio DJ Alan Freed, the man who coined the term rock ‘n’ roll, for events like his Moondog Coronation Ball. With Freed’s move to NYC and radio giant WINS in 1954, he introduced the big concert concept to the Big Apple, with huge shows that ultimately settled at Brooklyn’s Paramount Theater. Myers also quotes the recollections of rockabilly great Wanda Jackson to bring to life the frenzy around Elvis Presley’s early barnstorming tours of the South.
The modern-day rock festival is traced back to George Wein, who inaugurated his annual Newport Jazz Festival in 1954, which included a performance by bluesman-turned-rocker Chuck Berry in its 1958 edition. Wein followed this with the inaugural Newport Folk Festival in 1959, whose headliners like John Baez and Peter Paul and Mary recall performing at what truly might have been the forerunner of Woodstock, the March of Washington. This event which attracted over 250,000 to D.C. in 1964 to hear the political folkies and, more importantly, civil rights leader Martin Luther King.
The Beatles and their manager Brian Epstein are given their due for pioneering the modern stadium tour, beginning with their August 1964 cross country swing to the Hollywood Bowl and their famed Shea Stadium concert in 1965. Of the latter, photographer Henry Diltz relates anecdote about him and Lovin’ Spoonful having to be whisked into the dressing room with the Beatles at the frenzied show. This was when the Spoonful’s lead singer, John Sebastian, was mistaken for Beatle John as they sat in the audience of 50,000 plus. With the help of folks like stage manager-turned-record producer Joe Boyd and folk star Peter Yarrow, Myers clarifies some of the erroneous beliefs around Dylan’s famed, audience inflaming “going electric” set at the Newport Folk Fest in 1965.
Myers then takes readers through the era of the rock theater. This section chronicles the rise of Fillmore’s West and East, the Boston Tea Party, The Avalon, Detroit’s Grande Ballroom, Philly’s Electric Factory and more, and the many innovations they brought in lighting and stage craft and the role emerging FM radio played in their success. There are more great details about how the Bay Area’s Beat poets and their “Happenings” helped usher in the hippies, leading to events like the Human Be-In and the first modern rock festival in 1967, Monterey Pop, another offshoot of a jazz fest inaugurated in 1958. This comes with some great insights from both Monterey Pop filmmaker D.A. Pennebaker and Steve Miller, who was inspired by Hendrix’s musicality but turned off by his and The Who’s guitar bashing antics.
Monterey Pop then led to 1968’s Miami Pop Festival, where we meet Michael Lang, a failed headshop entrepreneur who later play a key role in Woodstock. Myers also relates info about some fests you may have never heard of including Washington’s Skyriver Festival, one promoted by dropping a piano out of a helicopter, along with Atlantic City Pop, which featured 29 acts over three days and drew an audience of 120,000, with no advertising, two weeks before Woodstock ‘69. The author spends a good deal of time clarifying the history of the Woodstock Fest and some legends about how the crowd narrowly escaped mass electrocution during the torrential rain and the importance of the 1970 film to cementing it in history about all other rock fests. There are some great firsthand memories from Blondie-to-be Chris Stein about his experiences at Woodstock. There is also eye-opening details from Abbey Road cover photographer Ethan Russell about his time with the Rolling Stones’ at their disastrous attempt at a Woodstock knockoff, Altamont in December 1969.
After Woodstock, everything changed and escalated and somehow gets more formulaic – less fun but way more profitable. Myers then traces the move to sporting arenas and stadiums. There is a great discussion here on band branding with Nick Fasciano, the man who created the Coca-Cola inspired logo and album cover art for rock/jazzers Chicago and with the Rolling Stones’ famed “lips logo” creator John Pasche. Now technology and spectacle come to the fore, with stars like Jethro Tull’s Ian Anderson, Alice Cooper, Roger Waters and Bob Weir going into their need for dazzling props, lasers, confetti canons, wireless guitar packs and having to create and truck their own custom staging, lighting and sound systems – all to have an impact on audiences that could now be a football field away.
Fashionistas will enjoy the recollections of famed designer Norma Kamali. She is the woman who outfitted everyone from Robert Plant, Keith Richards, Sly Stone and The New York Dolls in their glam looks. Also notable is the discussion of the charity rock concert, with intriguing backstory on George Harrison’s 1971 Concert for Bangladesh, No Nukes in 1979, the various Farm Aid events and 1985’s Live Aid.
Deadheads will enjoy the chapter titled “Concert Maximus.” In this, Myers chronicles the true rock concert superfans, those of the Grateful Dead. These all-in devotees would follow the band to all sites on their tours, including July 1973’s Watkins Glen, which attracted over 600,000 to hear the Dead, The Allman Brothers and The Band. Also included is a discussion of Wattstax, the August 1972 concert/movie/album created by the Memphis-based soul label which drew an audience of 90,000 to the Los Angeles Colosseum. Former label chief Al Bell describes the many obstacles overcome and how this massive event came off peacefully, without a police presence, with a security crew headed by none other than actor Melvin Van Peebles. The author also touches on the mega-sized ABC-TV broadcast event California Jam, with Deep Purple, ELP and Black Sabbath.
The death knell to this era of rock came with a few final factors. First is the rise of solitary listening with the introduction of the Sony Walkman in 1979. This was followed by the rise of MTV and the accent on visuals. Lastly is computerized ticketing which only served to rapidly increase the price of entry for music fans. As mentioned earlier, Myers wraps it all up with Live Aid, the August 1985 event spanning stages in London and Philadelphia, with a TV audience of 1.5 billion. It was the final event where ticket prices were within the reach of everyone ($35.00), before everything was scaled up with the help (or harm?) of massive corporate sponsorship. It’s an event famed artist manager and Live Aid eyewitness Shep Gordon called “the end of innocence.”
As you can see from this review, Myers is a music journalist who digs deep and tells a tale clearly. If you enjoy this book, check out his regular contributions on music and culture at The Wall Street Journal and his award-winning site, JazzWax.com.
Steely Dan Closed their 2021 Absolutely Normal American Tour at the Syracuse Landmark Theater on Tuesday November 23. The fully renovated Landmark has reached its peak performance potential after this year’s final renovations of the seats and the legendary marquee that has been on Salina St since 1928.
Walter Becker and Donald Fagen’s musical concepts they first drafted up together in Brooklyn in 1968 still hits in today’s music world. Donald and Walter received honorary Berklee Degrees, four Grammy Awards and inducted in the Rock and Roll Hall of Fame in 2001
Steely Dan always brought the highest quality caliber of musicians to work on their catalog in the studio throughout the years. The musicians on the Landmark Theater stage were part of the unbroken chain of greats to contribute their voice on this music. Ana Popovic covered Steely Dan’s Night by Night at Homer Center for the Arts last month.
The band now boasts another all-star lineup: it includes Keith Carlock on drums; “Ready” Freddie Washington on bass; Jim Beard, keyboards; Jon Herington, guitar; Walt Weiskopf and Roger Rosenberg, saxes; Michael Leonhart, trumpet; Jim Pugh, trombone; and vocalists Carolyn Leonhart, Catherine Russell, LaTanya Hall and Cindy Mizelle.
The group just released Northeast Corridor celebrating their first live album since 1995. From the comfortable corridor of Rochester, NY drummer Steve Gadd was able to contribute on the iconic studio recording for the title track off “Aja” in 1977.
Fagen revealed that the song was inspired by a relative of someone he knew, who married a Korean woman by the name of Aja. He explained that the song was about the “tranquillity that can come of a quiet relationship with a beautiful woman.” When asked to play drums on this song Gadd was instructed “to play like hell”. He certainly did set the tone for any Drummer to take it on a live stage over the years. The song is a jazz fusion masterpiece and completely killed on the Landmark stage.
The Syracuse crowd got a funk composition tale about an old San Francisco audio artist and LSD chemist named Owsley Stanley. Becker and Fagen named him and the track “Kid Charlemagne” off their heavily illustrated Royal Scam Album. The life of Owsley was worth noting musically as he created the Grateful Dead’s infamous “Wall of Sound” for a tour of the world and supplied the Beatles with LSD during their Magical Mystery Tour recording. Nicknamed “Bear” you can still see his art spirit as the legendary “Dancing Bear” of The Grateful Dead brand. Peg…it will come back to you. you see it all in 3-D, its your favorite foreign movie
Reeling in all the years of this musics catalog was celebrated during the encore. Before playing the classic Fagen dedicated the song to the Landmarks newest legend. Not the Ghost of Clarissa who is said to be seen in the balcony but of a naked man who was found living inside the theater’s walls last month. “Did you hear about that? this song goes out to that guy” He thanked all of their legendary crew and stagehand that were part of the tour closing show in Syracuse. How appropriate for Donald to sing ahead of the holiday week… When Black Friday comes I’m gonna dig myself a hole, gonna lay down in it , Til I satisfy my soul.
Walter Becker, Donald Fagen
Donald Fagen has taken on a Ray Charles glow behind his shades in front of the piano still playing off this musical concept he founded in Brooklyn with Becker. Music to be played improvisational and in the moment on any given night. Donald told Variety magazine this year about his old band mate Walter Becker and their work…When Walter and I were together, I think there was something more journalistic.
Steely Dan – Landmark Theater, Syracuse New York – November 23, 2021 (Tour Finale)
Setlist: Phantom Riders, Night by Night, Hey Nineteen, Black Friday, Aja, Kid Charlemagne, FM, Time Out of My Mind, The Goodbye Look, Home at last, Dirty Work, Crusaders, Josie, Peg, Bodhisivattah, Encore: Reelin in the Years, A Man Aint supposed to Cry
Coming fresh off the heels of a Halloween show at Stephen Talk House in the Hamptons, Samantha Fish brought her band to Homer Center for the Arts in Homer, New York on November 3. They laid down some voodoo, bulletproof blues to the 150 year old brick Baptist venue with the center stage having taken on a Jimi Hendrix “Electric Church” vibe this season.
This past Summer Fish performed a festival with Eric Gales who just played the Center in October. Alongside Gales and fellow blues disciples Robert Cray, Ana Popovic, and Kingfish who played the night before her at the Electric Church this season. Fish covered new material from her 12th official album release Faster. She spoke to NYS music about her journey of playing New York State over the years. This tour included stops in Brooklyn, Amagansett, Buffalo, Homer, and Albany.
Samantha Fish spoke with Matthew Romano of NYS Music about her thoughts on performing across New York State:
I remember we did the Dinosaur BBQ circuit for a while. It was always fun, the food was so killer, and the room so intimate. It took on a Groundhog day like vibe after a while there because it always so great. We got the run of the gamut from Buffalo down to these towns like Homer all the way to New York City.
My memories of playing Manhattan always stick out. I remember how special it was playing The Cutting Room for the first time. A different energy around those days, with that pressure of getting through the city and to the gig on time. Ya know that New York expectation after the ticket to the show is bought…OK I have to win Ya’ll over now but it keeps you on your toes. I love playing New York.
We have great people out this way. Its more or less about the people…they travel from all over to see us. This is my third time playing here at Homer Center for the Arts. What I love about this venue is that it is a listening room. The audience gets quiet at the right times and really can feel the music the way we do. A place like this tonight is a warm welcome from start to finish.
The eighteen-song set featured Samantha killing the slide on the legendary cigar box guitar. A similar style model Paul McCartney slid on “Cut Me Some Slack” at Madison Square Garden with Nirvana on December 12, 2012. “Bulletproof” off her Kill or Be Kind record kicked some 12 bar blues to close the show out…You got me trained to sit on a stage Not show my rage for you You got my love, it’s not enough I need to prove it to you.
Fish invited Jonathon Long out for the encore for a spin of a 1937 delta blues song “Shake Em on Down” by Bukka White. The same year this song was released the cigar box guitar had a resurgence and was heavily played in the jug band and delta blues scene circuit. A much needed source of entertainment in trying times. In true jug band fashion fashion Long used the Homer stage mic as a slide to accent Fish’s guitar to help close the evening out. If you caught a glimpse of the Center’s stained glass windows fogged up at the end of the night you know why. Catch Fish before she heads across the pond to Europe in 2022.
Samantha Fish – Homer Center for the Arts, Homer, NY – November 3rd 2021
Setlist: Loud, All Ice No Whiskey, Twisted Ambition, Chills and Fever, Forever Together, Highway, Hypnotic, Better Be Lonely, Kill or Be Kind, Watch it Die, Solo acoustic X2, Go Home, Bitch on the Run, So Called Lover, Faster, Dreamgirl, Bulletproof
