While I was driving up Route 17 to attend the Chris Stapleton “All American Road Show” at Bethel Woods, the rain was coming down like cats and dogs and squirrels and rabbits. With my windshield wipers on high, I started thinking of August 1969. Back then the heavens had opened up on a little music event at this same location. Maybe this was a good sign.
Chris Stapleton
The “Road Show “, which started in July, has been fluid with its opening acts. On this night Kendal Marvel, a gray bearded Honky Tonker, greeted the early attendees. He and his band delivered a short and driving set. “Low Down and Lonesome” had you moving your feet while “Gypsy Woman” took it down a notch reflecting on a transient love.
Kendal Marvel
Grammy nominated Margo Price followed. Price reached out to all in the house and took control of the stage. As she moved seamlessly between vocals, guitar, and percussion, Margo maneuvered from one end of the stage to the other in her knee-high black suede boots. Price’s set included “Tennessee Song” from Midwest Farmer’s Daughter and a cover of Leslie Gore’s “You Don’t Own Me.” Backed by a full band, including a three-guitar army and pedal steel, her execution was top notch reinforcing her well-deserved musical status.
Margo Price
Stepping out from the wings with a flashlight directing his path, Chris Stapleton centered himself on a dark stage. A man and his guitar. Then, a single spotlight illuminated him from behind setting the tone for his set. This was not about him, but about the music.
Stapleton opened with “Whiskey and You,” a raw look at the struggles of the heart. His full band then joined him on an elaborately constructed stage, which was not pretentious but built to enhance the journey. To his left and lending vocals, was Stapleton’s wife, Morgane. Randomly through the show, she would snuggle up close to Chris and caress the tall Kentuckian’s beard bringing about a joyful glow.
No BS. No fireworks. Just Chris Stapleton and his songs.
The two-hour set maneuvered through Stapleton’s catalog, and included songs from his 2020 Starting Over album.There was not a lot of banter from the singer songwriter enabling each song to resonate fully before the next began. Throughout the night a continuous flow of guitar changes and band configurations afforded each song the opportunity to shine brightly.
You could feel the depth of Chris’s deep, raspy timbre as he shared the challenges of the common man. With Stapleton’s encouragement, the house joined in on “Starting Over” giving this audience of sixteen thousand the opportunity to be one with the artist. At one point, Chris teased the crowd with a snippet of Skynyrd’s “Free Bird” before breaking into “The Devil Named Music.” Taking creative license with the iconic “Tennessee Whiskey”, Stapleton melodically introduced his band and brought the set to a close.
Chris Stapleton
The night concluded with a two-song encore. Beginning with the title cut from his debut album Traveler, citing “this was where it all began.” To close Stapleton chose “Outlaw State of Mind.” The song built up in intensity while performed. As it concluded, each musician with their instruments feeding back put them down on the stage floor and walked off. Sending the music into the ethos.
The deluge leading up to the show did not deter the sold-out audience. What they experienced was a well-constructed night of musical purpose. No BS. No fireworks. Just Chris Stapleton and his songs. Unadulterated for all to consume.
Yo La Tengo helped bring Central Park’s 2021 Summerstage Free Concert Series to a close on Friday October 1st. Despite having to reschedule this performance from one month prior due to sever weather, fans were treated to perfect weather this time around. Fans enjoyed the first night of Autumn with plenty of fleece sweaters and a great lineup of performances.
The show opened up with three short films as a part of Rooftop Films’ Summer 2021 Summer Series. Next up, Amanda Nazario played a brief but energetic DJ set just as the sun began to set over Manhattan. And then Mountain Movers pumped up the crowd with their unique blend of drone and noise rock.
As Yo La Tengo took the stage, applause and cheers became screams when they opened with a cover of Velvet Underground’s “Who Loves the Sun.”
Their 90 minute set included several fan favoritessuch as “Autumn Sweater” (a natural inclusion) and “I’ll Be Around,” which they dedicated to Yoko Ono. Frontman Ira Kaplan brought his mother onstage to close out the concert with their cover of Anita Bryant’s “My Little Corner of the World.” The crowd ate it up, and the show ended on a high note.
Ira also announced at Summerstage that Yo La Tengo would once again be playing a series of eight Hanukkah shows at Bowery Ballroom from November 28 through December 5, coinciding with the eight nights of Hanukkah, which starts on November 28 and runs through the evening of December 6. Tickets will be available October 8th. You can find out more on Yo La Tengo’s website.
Ira Kaplan shared this note with fans on the Yo La Tengo Facebook page:
Shammash-ing Time!
Hi everybody, here to tell you that Hanukkah is just around the corner. (No kidding–it’s early this year!) And that we are going to return to the Bowery Ballroom and play all eight nights, just like we did before life got in the way. Comics, opening acts, whatever other nonsense we can cobble together, and the money will be given away. I’d consider writing more, but it still feels a little unreal to be contemplating this. And yet here we are.
Hanukkah starts on Sunday, November 28 and continues through Sunday, December 5. You must be fully vaccinated to enter the Bowery Ballroom. Tickets are $50 each and will go on sale on Friday, October 8 at 12 pm (noon) EDT. OK, gotta start practicing!
On October 5, 1990, Phish performed at Skidmore College in Saratoga Springs, an overlooked show that was part of the group’s formative years as they hit college markets across the Northeast. The Skidmore Gymnasium, today a part of the Williamson Sports Center, served as the venue for this all-ages show, which was part of Skidmore’s Oktoberfest Weekend.
The numbered tickets for the show read “Oktoberfest Weekend 1990 Continues!! The Class of 1991 Presents: Phish In Concert with Conjunction Junction,” and cost $10. For $15, you could also see NRBQ perform the next day, along with Projectile of Love, all part of the same week-long event. The fall Friday afternoon brought college students and their friends to Upstate New York for the show.
Phish was slowly making their way out of Vermont and into New York State, stopping in Saratoga Springs for the first time in March of 1990 to play at Aikos, then located on Caroline Street. For those in the know, and perhaps those who caught Phish at Pauly’s Hotel in May 1989, it was becoming obvious that Phish was a band whose reputation was building fast. By the fall, they had begun to play college gyms around the Northeast. And for the crowd of 300 or so fans, they had plenty of room to move around, but still had to deal with the gym getting warm due to to heaters in gym being on – you can hear calls for air conditioning that can be heard after “Stash.”
The door on the right was the main entrance to the show – photo by Mike Hoganphoto by Mike Hogan
While the show doesn’t spark much discussion or replay, there are a few notable aspects to the show. The opener “I Didn’t Know” jumps out as a random opener, but the song would open sets as early as 1988, sometims with Fishman on trombone instead of vacuum. If you were ever looking for the lyrics to “I Am Hydrogen”, the line “I walk awakening on the misty fields of forever” is included in the intro, while both “Ya Mar” and “Alumni Blues” each have extended guitar intros. One lucky fan who was calling the Phish hotline all summer, asking them to play “The Curtain” at Skidmore was rewarded for their persistence.
courtesy of Skidmore College archives courtesy of Skidmore College archives courtesy of Skidmore College archives courtesy of Skidmore College archives
Mike Hogan attended the show, and shares his recollections of the night:
It was a beautiful fall afternoon and some of my friends traveled from various parts of New England to come see the show with me in Saratoga at Skidmore college. The show opened with an oddly placed “I Didn’t Know,” followed by a lively “Mike’s Song/Weekapaug” with the additional lyrics as I always thought they were, ”I walk awakening in the misty fields of Rather,” although the show notes say otherwise. Other highlights included “Fee” and “The Asse Festival” and “Possum.”
Looking back on the setlist, a very solid show that I’ve always enjoyed listening to. A few years back, Kevin Shapiro (Phish archivist) had asked me about this show. He had Trey’s date book and all that was written in it was Saratoga. It had no sense of the venue or setlist. I was able to provide him a bootleg copy.
One final thought on the ticket stub above. They took everyone’s ticket upon entry. After the show they had simply dropped them on the floor next to the door and I reached down and grabbed one. I wish I had grabbed a handful.
Matt Hogan
Just three years later, Phish would be playing their first show at Red Rocks in Colorado.
Phish – Skidmore Gymnasium, Skidmore College, Saratoga Springs, NY – Friday, October 5, 1990
Set 1: I Didn’t Know, Mike’s Song > I Am Hydrogen[1] > Weekapaug Groove, My Sweet One, The Landlady, Tela > The Oh Kee Pa Ceremony > Suzy Greenberg, Stash, The Asse Festival, Bouncing Around the Room > Run Like an Antelope
Set 2: Golgi Apparatus > The Curtain > Ya Mar, Alumni Blues > Letter to Jimmy Page > Alumni Blues, Uncle Pen, Split Open and Melt, Fee > Possum[2]
Encore: Good Times Bad Times
[1] “I walk awakening on the misty fields of forever” lyrics. [2] Charlie Chan and Popeye signals.
The beginning of Hydrogen included the lyrics “I walk awakening on the misty fields of forever.” Possum contained Charlie Chan and Popeye signals.
An interview with Trey (Tray) and Mike from Phish in the Skidmore News, 10/10/90. Courtesy of Mike Greenhaus.
Trey Anastasio Band officially closed out their fall tour with back-to-back shows at Radio City Music Hall over Saturday, October 2nd and Sunday October 3rd. It was the group’s first performance at the legendary venue since 2018’s ” A Concert for Island Relief,” where TAB teamed up with Dave Matthews Band and more to raise money for hurricane relief efforts in Puerto Rico.
photo by Rene Heumer
This year’s Radio City shows arrived during a similarly turbulent time for both the world and Trey Anastasio Band. Despite the band’ precautions, the lineup was drastically affected by COVID – 19. First came the loss of Jennifer Hartswick to a mild case of the virus, which put the rest of the brass section in quarantine. Then, shortly before a Columbus, Ohio show, Russ Lawton tested positive as well. Thus, on Saturday night, TAB performed as a five piece, with Jon Fishman again stepping in for Lawton.
As Ray Paczkowski put it:
We thought about it like, half the band is TAB, half the band is Phish. And we want it to sound like something that isn’t quite either.
Though powerhouses like Hartswick and Russ Lawton were impossible not to miss, the tapered-down nature of the band allowed TAB the freedom to improvise. The set stayed playful and experimental throughout, and Jon Fishman’s presence behind the drum kit felt familiar while adding a layer of mystery.
Furthermore, a smaller band gave newer members an opportunity to shine. Bassist Dezron Douglas joined the band this fall with enormous shoes to fill after the tragic loss of Tony Markellis. Markellis, who joined Trey’s earliest solo project in 1998, was a force of nature and a steady heartbeat within the band. Though Markellis remains one-of-a-kind, Douglas’ jazz roots and dexterous abilities add a new element to TAB. Reportedly, Russ Lawton specifically requested working with Douglas as the band sought a new bassist for this tour.
https://www.youtube.com/watch?v=KklDY5VjUkI
Douglas, who studied at the Hartford Conservatory of Music with Hartswick, brings the life and freedom of jazz to his masterful electric bass work. A classically trained double-bassist who first heard Phish in high school, he embodies the timeless quality of TAB’s music. No matter how many times TAB has performed a song, it never feels the same. Their music, like their ensemble, grows and changes as the years go on.
With their rendition of “Mr. Completely” thoroughly embodying their ability to rejuvenate old classics. Highlights included Douglas’ perfect syncopation on bass to Cyro Baptista’s insane percussion break, where he built a beat out of bird calls as the rest of the band went silent. The energy in the audience marked a TAB show at its very best; fans of all ages focused on letting a rhythm take them, dancing their hearts out together. For some 20-odd minutes, the harmony rang throughout the audience.
Despite setbacks along the road and the constraints of touring during COVID-19, the TAB live experience was fully intact at Radio City. After their hiatus from the venue, TAB offered a little bit of everything, from a heartwrenching Paczkowski/Anastasio duet of “Shade” to crowd favorite “Twist.” The packed house got a joyous and poignant set that honored those missing and welcomed new (and familiar) faces back again. As Paczkowski said, the goal was to create something a little TAB, a little Phish, but also new and singular. By the time TAB landed on classic closer “First Tube,” the crowd dancing madly in the aisles, it was clear that job was done.
The final evening of Trey Anastasio Band’s 2021 tour was a Sunday to remember. The revolving cast of musicians included Trey Anastasio and Jon Fishman’s first time together on the infamous stage at Radio City since Spring of 2000. It’s important to understand the level of composition versus improvisation Trey’s music takes on for whomever joins him on stage. Keyboardist Ray Packzkowski, percussionist Cyro Baptista and bassist Dezron Douglas were all the right cats to join in the moment at Rockefeller.
A nod to the NYC subways helped the show open with “Get Back on the Train.” Having Cyro add another layer of percussion to Fishman’s grooves all night was reminiscent of Phish’s Halloween’s shows in Atlantic City 2010 with Giovanni Hidalgo and Atlanta 1996 with Karl Perrazo. Dezron Douglas’ bottom end locked in with them served up the funkiest “Moma Dance” to date that clocked in over 20 minutes. “Undermind” also included heavy drum grooves with Jon and Cyro exploring all of the skins in front of them. “Ocelot,” “Set Your Soul Free” and a chilling set closing “Dark and Down” helped wrap up a complete jam heavy 6-song set.
The second set opened the Art Deco venue with Tony Markellis’ infamous bass line to “Sand” This ensemble really had all three mezzanines grooving immediately. Paczkowski’s rig sounded as if it was coming from Radio City’s organ in the main theatre, the largest instrument ever built by the Wurlitzer company. “Everything’s Right” served up the longest layer of improvisation clocking in at over 35 minutes of sound stretching out to the grand foyer. Ups, downs, ins and outs… it was hair raising. Trey returned to his Upper West Side abode for “Lonely Trip” and never “Never Left Home,” recorded solo during his NYC quarantine. Dezron Douglas’ bass line sounds like jelly jam to Trey’s lyrics on this. “Oh, I’ll never be halted, I always shall roam. Oh, scaling the cliffs and enjoying the view” The band then closed the show with a dark and extended “Carini.”
The encore was full of special dedications and moments to TAB members current and past. Trey let the crowd know that members Russ Lawton, Jennifer Hartswick, Natalie Cressman, Coachema Gastelum and James Casey were all in good health and on the mend despite their absence. A soul Sunday nod to Markellis was sent out to the theater as well. Trey appropriately performed “Strange Design” and “Backwards Down the Number Line” on the acoustic guitar to reference all these friends as part of the tour’s ever changing ride.
He then invited special guest James Casey to the stage in hand with alto soprano sax for backing vocals on the last three songs. “Evolve” “Rise/Come Together” and “Life Beyond a Dream” Casey’s sax blew like Branford under the great proscenium arch that sits above the stage. All three songs’ message is saturated in positivity and optimism towards whatever life can throw at you. Love is the message here. “We’re all looking for a little more love to shine a light and lift us up,” “Don’t give up hope. Keep on dreaming.”
Trey Anastasio Band – Radio City Music Hall, New York City – Sunday, October 3, 2021
Set 1: Back on the Train > The Moma Dance, Undermind > Ocelot, Set Your Soul Free, Dark and Down
Set 2: Sand, Everything’s Right, Lonely Trip, I Never Left Home > Carini
Encore: Strange Design [1], Backwards Down the Number Line[1], Evolve [2], Rise/Come Together [3], A Life Beyond The Dream[3] [1] Trey solo acoustic. [2] With James Casey on saxophone. [3] With James Casey on additional vocals and saxophone.
On October 2nd, Janet Evra performed her concert “A Night in Paris” to a sold out crow at the Seneca One Auditorium in Buffalo. This was a big moment for JazzBuffalo as it was their first use of the auditorium.
Photo by Samantha Rychlicki
Janet Evra along with guitarist Will Buchanan, sax and flutist David and drummer Tim Moore created a wonderful night of jazz that took the audience to Paris. Evra’s voice was soothing and pure. Plus, her ability to play the bass was equally as flawless.
With this performance, the audience at Seneca One was taken on a beautiful journey through songs by Miles Davis, Édith Piaf as well as Janet Evra originals. Those originals, Evra has been eager to play since pre-pandemic times. Tony Zambito, Executive Director of JazzBuffalo, said it best “The future of jazz is in good hands.”
Janet Evra and company provided an amazing night of music that was just what Buffalo needed.
Setlist: Comment te Dire Adieu, C’est Si Bon, Que Reste-t-il, Baila, Dream a Little Dream of Me, Solar, Paris, La Vie en Rose, Koop Island Blues, La Mer, Zou Bisou Bisou.
Photo by Samantha Rychlicki Photo by Samantha RychlickiPhoto by Samantha Rychlicki
Photo by Samantha Rychlicki
Photo by Samantha Rychlicki Photo by Samantha Rychlicki
Photo by Samantha Rychlicki
Photo by Samantha Rychlicki Photo by Samantha Rychlicki Photo by Samantha RychlickiPhoto by Samantha Rychlicki Photo by Samantha Rychlicki
New Orleans bounce artist, Big Freedia, performed with her usual thunderous energy at Brooklyn Steel on Monday, September 27th. Bounce music is known to be raucous and high energy and Big Freedia did not disappoint, as she showed up with her signature aplomb.
As with my other musicians, Big Freedia’s touring schedule had been on hiatus for the better part of two years. Many in the crowd mentioned that they had been looking forward to this show for quite some time and it reflected in the crowd’s atmosphere, as their eagerness to witness the pioneer of bounce music was palpable.
A 20-year veteran of the bounce music scene in New Orleans, Big Freedia rose to mainstream prominence with vocal cameos on Beyonce’s “Formation” and Drake’s “Nice For What“, two massive hits that exposed her to a wider audience. But, unbeknownst to many is that Post-Hurricane Katrina, Freedia has been known as one of the biggest voices in the regional bounce music scene and maintains and extremely devoted fanbase.
Despite not performing regularly for almost two years, her stage presence has not waned. Right after getting on stage Freedia immediately began flying through several tracks across her several EPs & albums at bone-rattling volume, as she performed nonstop for several records. All the more astounding as she, along with five backup dancers, frenetically went though their choreography. It’s rare to see a performer with such intensity across any genre, but Big Freedia exemplified the spirit and movement of bounce music for a hungry audience. She didn’t let up and neither did the crowd.
Big Freedia is undoubtedly tied to her home state and her success only means more exposure for the region. What was once considered to be a niche regional sound is now being performed for large audiences in major markets. And Big Freedia displayed why it deserves its recognition, and why New Orleans is still a city to be reckoned with musically.
This was not a one-off show for Big Freedia, she will continue touring throughout United States, with more information on her upcoming tour dates available here. Be sure to take a look at the full photo gallery down below!
In an exciting prelude to his performance on the first day of the Governors Ball, Freddie Gibbs made an appearance at Schimanski nightclub on Thursday, September 23rd for the “Gov Ball After Dark” series.
A veteran of the rap game, Gibbs has established himself as a strong force within hip-hop’s landscape, while enjoying a cult following since his days as a member of Young Jeezy’s camp. Always considered a strong lyricist with great street tales, Gibbs’ star trajectory began to shift after his first collaborative album, Piñata, alongside legendary hip hop producer Madlib.
After a string of quality projects (including another album with Madlib) and two projects with producer, The Alchemist, he broke into the mainstream consciousness with a Grammy nomination for Best Rap Album in 2020 with, Alfredo. From there, it’s only been an upward trend in popularity.
Like many artists post-pandemic, Gibbs had taken a long hiatus from touring. Based on his performance, it looked like any rust was quickly shaken off. In front of an adoring crowd, he ran through his most popular records from recent projects in quick succession as he was all smiles during the entire performance, seemingly basking in the glory of being afforded a chance to once again entertain the fans.
While his performance was fairly brief, Freddie displayed his obvious mastery of live performance, as he’s a veteran of the hip-hop game. While Freddie does not have any upcoming tours or projects announced, whatever he does next will be eagerly anticipated by both his fanbase and the hip-hop community at large.
Check out the full photo gallery from the show below.
The Brooklyn Mirage played host to the 2021 Brooklyn Comes Alive on Sunday, September 26th. The massive outdoor complex was the perfect venue for such an occasion.
Break Science: Live Band
The day started off with a quick introduction from none other than Sirius XM’s Ari Fink, getting right into a set from Karina Rykman. The trio started the day off strong, with Karina’s heavy bass lines pumping up the growing crowd. Marlo Shankweiler of Melt came out for a couple songs, not surprisingly as she was a part of Karina’s band during quarantine. After her set, Karina dove into her role as DJ in between sets for the remainder of the evening.
Karina Rykman Band
Brooklyn Comes Alive at Brooklyn Mirage would not be the same without a set of full improvisation from a super group of incredible musicians. Joe Russo, John Medeski, and Dave Harrington combined for an incredibly eclectic and outlandish set. Russo was pulling out every conceivable instrument to rattle, bang, and drum along to Medeski’s organ while Harrington switched back and forth between bass and guitar.
Medeski/Russo/Harrington Trio
Denver, CO was presented well this night with two heavy-hitters taking the stage. First was Break Science: Live Band. Most of Lettuce usually rounds out the “Live” portion of this group, but this time around they changed it up. Eric “Benny” Bloom was in attendance, with Chris Karns and Hunter Roberts making up the rest of the band. Karns and Roberts brought a wonderfully jazzy change of pace, letting Borham Lee and Adam Deitch just groove along and keep things flowing.
Break Science: Live Band
Second up from the Mile High city was funk-masters, The Motet. Special guests Shira Elias (Turkuaz), Jeremy Schon (Pigeons Playing Ping Pong), and Benny Bloom were more than welcome on stage as the band put on a mostly instrumental set, as Lyle is no longer with them. Shira more than made up for the vocals, coming out for “Highly Compatible” and “The Beat Goes On,” with everyone coming back out for “Death and Devotion and last, but not least, “Get it Right.”
The Motet
After having both shows in New Haven canceled, fans of the Disco Biscuits knew they were in for a treat. Ari Fink once again introduced the Philly jamtronica pioneers who kicked off their set with “Helicopters” -> “Running Into the Night.” The bass line of Blondie’s “Rapture” rose from “Running,” and the band invited Shira Elias back to the stage to add vocals to “Rapture,” marking the first time the group has gone beyond an instrumental version of the 1980 new wave song, with “42” closing the set.
Set 2 started strong with the rare-these-days “Pilin’ it Higher” that took a jam spin before slowly morphing into “I-Man,” which led into the fresh Biscuits tune “M1,” highlighted by Aron Magner’s synth work that played off Jon “The Barber” Gutwillig’s masterful guitar playing. “M1” found its way back to “I-Man” then headed into more new territory with “Evolve,” which continues to evoke some of the most enthusiastic interaction between crowd and fans, giving off a ’90s club vibe in the process. To close the set, the Disco Biscuits moved back into the end of “Helicopters,” closing out an incredible day of music at Brooklyn Comes Alive at Brooklyn Mirage.
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Robert Cray and his four piece ensemble helped turn the Homer Center for the Arts into a Sunday soul release of blues on September 26. In just over 40 years, Cray and his band have recorded 20 studio releases, as well as co-wrote and performed on Eric Clapton’s iconic blues piece “Old Love.” When Producer Steve Jordan worked with Robert in the studio, he said the artist has to be able “to perform at a live capacity, a very high level. The way Robert sings and plays, that’s at the highest level. So, boom. We got that.”
The Homer Center for the Arts helped treat the 400 person capacity crowd to a live performance as intimate as a studio recording. The center is a community of artists, art lovers, music makers, and creators who truly have the fervor for live music. The 150-year-old church turned venue still boasts rows of pews leftover from with balcony spirits. At one point Robert looked up to the center ceiling and said “Jimi… (Hendrix) can you hear me?,” a nod to Jimi’s quote about a live music performance, “When I get up on stage – well, that’s my whole life. That’s my religion. My music is electric church music, the cosmos are the sky church as you can see.” On the altar with Robert Cray was bass player Richard Cousins, drummer Terrence Clark and keyboardist Jim Pugh. Robert’s catalog of sound included all the ups and downs of lifestyle love through the blues.
“You can’t make me change” and “Anything you Want,” both performed in Homer this evening, originated in the studio with drummer and producer Steve Jordan, who produced Cray’s blues album Take Your Shoes Off, winning the Grammy Award for Best Contemporary Blues Album at the 42nd Annual Grammy Awards in 2000.
Robert begged for someone to “Fix This” during a take on a painful love experience: “Fix this, broken heart of my I just can’t catch my breath, I’m all, torn apart, Trying to forget all the pain I’ve been through And all the time spent with you, not knowing you never gave a damn about us.” The band kept the bitter blues ballads on “I’m Done Crying,” for accepting a love that’s come to its end, singing “I’ve got no more tears you can’t hurt me anymore At least now I know where I stand you won’t take away my dignity Cause I am still a man.”
Cray gives hope for the ones still looking to move past an old love with “Bouncin Back,” singing “I’m finally bouncin’ back, I’ve got the urge to dance, I believe that I’ll Give love just one more chance.”
The crowd heard Crays’ classic cut off his 1986 studio album Strong Persuader. “Right Next Door (because of me),” a tale about being the man on the side that sacrifices his love for the woman’s greater good. You can hear Cray’s guitar tone influence on John Mayer’s new Sob Rock album.
The band closed with “You Must Believe in Yourself” That’s what you gotta do now! What you gotta do!,” to a standing ovation from the Homer audience. The two song encore “You Move Me” and “Time Takes Two” helped end the Sunday sermon, “You know time makes two, it takes two to heal a broken heart.”
The Sunday gospel blues presented by Robert and his band helped ease everyone’s restless hearts in attendance.
Setlist: Anything you want, I Shiver, You can’t make me Change, Deep in my Soul, Fix This, Bouncin Back, Sitting on top of the world, Chicken in the Kitchen, You don’t even care, Hot, I’m done Crying, Right Next Door, You Must Believe in Yourself
Hugo Pierre Leclercq, a.k.a. Madeon wrapped up a two-night run at Terminal 5 on Friday, September 24th in support of 2019’s excellent LP Good Faith. The album was released back in November 2019, just a couple of months before COVID would force the music industry into lockdown. Madeon had completed a short first leg of the tour around the time of the release, and a planned second leg was never announced until earlier this spring when live music started to make a comeback.
Madeon at Terminal 5, 9/24/21 – Photo by BuscarPhoto
Good Faith is a lively mix of electropop and deep house elements, presented with very colorful collage-style visuals. Madeon is alone on stage, positioned on a small platform in the center of the stage and backed by a large LED screen. Flanked by two DJ tables on the sides, Madeon is in full-view and the perfectly symmetrical presentation is visually stunning and focuses the crowd’s attention towards center-stage the whole time. Even though the production was not overly large on stage, the lighting had no problem filling the cavernous Terminal 5.
Madeon at Terminal 5, 9/24/21 – Photo by BuscarPhoto
The tour continues on the east coast with a show in New Haven on Tuesday, 9/28 before heading out west for the remainder of the dates through October. See a full list of the tour dates HERE. Next up at Terminal 5 is Tinashé this Thursday, 9/30 followed by a stop on Dr. Dog’s final tour on October 2 – full list of shows at the venue can be found HERE.
