The debut show of Blue Star Radiation on November 18th at the newly renovated Westcott Theater in Syracuse New York, followed by Putnam Place in Saratoga Springs, Nectar’s in Burlington and Oxbow Brewing and Bend in Portland, Maine. The four night tour before the holidays makes it a fantastic voyage through New England.
Composition versus improvisation. moe., Kung Fu, The Breakfast, Lotus, Percy Hill, Ghosts of Jupiter, and Assembly of Dust all come from a heavy catalog of music that can be played differently any given night. Blue Star Radiation is a new band that glows off these concepts that includes Vinnie Amico on drums, Rob Derhak on bass, Tim Palmieri on guitar and Nate Wilson on B3 Hammond keys and flute.
It is appropriate that moe.’s ryhthm section of Rob and Vinnie started this mini run on a Thursday in Upstate, New York. After all, they have played in front a rowdier 220,000 down the thruway in Rome during Woodstock 99. There is a Danko/ Helm quality of the two when they are on a New York stage that radiates. The freshly renovated Westcott filled the old cinema to the back of the house with new premium seating alongside the left stage. moe.’s “The Pit” opened the inaugural performance and helped welcome everyone to a comfortable spot in the room to groove. Nate Wilson then plays his original “Eye of the Yellow Tiger.”
The new four piece also filled the first set with some back in black covers. The Black Crowes‘ “Wiser Time” and Santana’s “Black Magic Woman” created a sandstorm of surprises. The band also claimed they were playing ‘Set List Yahtzee’ with a malleable list of songs to pull from. Again, it was a Thursday night for the first of four shows, why stick to the plan?
The second set unfolded with some some chilling viking rock. Nate Wilson’s keys and vocals took Led Zeppelin’s “No Quarter” to warn the frosty November crowd that snow falls hard and don’t you know, the winds of Thor are blowing cold. (Led Zeppelin did play in Syracuse at the War Memorial in November of 1969.) What a song to cover ahead of the partial lunar eclipse that night for the blood moon that hasn’t been seen since the 1440’s. One of the first snows of the year did arrive just as the eclipse unfolded at 4 AM giving way to Thor.
The band did give a lighter nod to the Syracuse, New York suburb of Liverpool by covering “She Came in Through the Bathroom Window” by the Beatles. Tim Palmieri took lead on this as he has on many Sunday Beatles acoustic sets he’s been known to do in New Haven, CT. The band encored with the moe. classic “Opium,” no quarter notes in these lyrics, It’s eight AM not a quarter past three, flowers and fog won’t you rescue me.
poster by Matt Leunig
Rob Derhark simply thanked the crowd for letting them do their thing and have a week of music to just simply cut loose to. Tim Palmieri helped raise a glass and get the Westcott crowd to cheers to moe. guitarist Chuck Garvey. The simplicity of appreciation to play music that is essentially improvisational and unplanned transcends after the show is over.
Blue Star Radiation – The Westcott Theater, Syracuse, NY – November 18, 2021
Set 1: The Pit, Eye of the Yellow Tiger, Wiser Time, Blue Jeans Pizza, Dance Hall Days, Black Magic Woman
Set 2: Locomotive Breath, Mar De Ma, All in Stride, She Came in Through the Bathroom Window, Sign, No Quarter, Bloody Well Right
The Grateful Dead’s first ever show in Rochester saw them bring a few friends along for the ride. Members of Jefferson Airplane joined them to cap off a mesmerizing night of music at The Palestra at University of Rochester. The late night gig allowed their fellow Californians, who played earlier that night at the War Memorial, a chance to get in on the fun. Jorma Kaukonen, and later Jack Casady, took full advantage, adding their unique styles to the psychedelic stew that serves as the second set. And the first one is essentially an entire Grateful Dead show crammed into a singular set, featuring more than 20 songs. All of this adds up to a simply unreachable bar for all future Dead shows in Rochester to reach.
The show starts off innocently enough with a leisurely run through of “Cold Rain And Snow” whose ending is unfortunately cut off in the recording. “Me And My Uncle” then picks things up a bit, sung ably as always by guitarist Bob Weir. An attuned Pigpen even adds some inspired fills on the organ as the song progresses. This paves the way for him to take center stage and lead the band through a blues cover of “Next Time You See Me” that has the Palestra now fully engaged. Things then get decidedly more psychedelic, starting with a “China Cat Sunflower” that’s accentuated with an early, effortless guitar solo from Jerry Garcia that hits home. A rapid, near chaotic, jam then transpires before a silky smooth landing into “I Know You Rider” as the Dead show off one of their signature song pairings to the Rochester crowd’s delight.
The Dead follow this up with a smoking take of “Sugar Magnolia,” a still relatively new song in their live repertoire at the time. Another furious Garcia solo and the drumming duo of Bill Kreutzmann and Mickey Hart fuel this one. The pace then slows back down again with the folksy pairing of “Friend Of The Devil” and “Mama Tried,” led by Garcia and Weir on vocals, respectively. An interesting little percussive jam then introduces “Good Lovin’” and the Dead are off and running again. Their cover of The Rascals’ hit song immediately goes deep, as the percussive vibe returns in a big way with a near immediate drum solo that doesn’t let up for several moments. It’s essentially the “Drums” portion of the show thrown right in the middle of “Good Lovin’.” Garcia eventually leads the rest of the band back into the fray and then he takes his turn exploring every aspect of the song in a jam that stretches out well past 20 minutes – a Type II “Good Lovin’” if there ever was one.
The Palestra at University of Rochester
A rowdy “Cumberland Blues” follows this, with the Palestra crowd clapping along joyously before an emotional and well harmonized “Candyman” that settles things back down once more. The first ever performance of “Truckin’” in Upstate New York comes next, as the Dead show off another new tune that will go on to become a classic. Although it doesn’t beget much of an extended jam, there’s some fun musical interplay between Garcia and Pigpen before another manic drum-heavy section that signals the beginning of “The Other One.” However, after an extended opening sequence, it’s a shortened “Other One” as the band quickly shifts gears and jumps into “Saint Stephen” after just one verse. Before “Stephen” is even finished, a noticeable “Not Fade Away”-like drum beat picks up, so it’s no surprise that they launch into that next. This kickstarts a truly vintage “Not Fade Away” > “Goin’ Down The Road Feeling Bad” > “Not Fade Away” sequence that has both the Dead and the Rochester crowd fully engaged.
As if that weren’t enough already, the set goes on afterwards as a bluesy shuffle starts up, clearing the path for Pigpen, with harmonica in tow, to take center stage once more for “King Bee.” The marathon set then finally comes to a close with a rousing “Casey Jones.” The Dead are then able to get their comrades from Jefferson Airplane out for a second set that’s short on songs but long on blues-infused psychedelic improv. It begins with a cover of “All Over Now,” a song popularized by The Rolling Stones. Jorma Kaukonen, who plays the entire set, steps right up and delivers a jaw dropping guitar solo with what sounds like Garcia on the pedal steel guitar and Weir belting out the vocals. A fun, short little “tuning” jam takes place afterwards before they jump into another cover, this time a ripping take Chuck Berry’s “Around & Around.”
Then the band just jams out for a while, with Koukanen and Garcia playfully trading guitar riffs back and forth. The rhythm section is locked in and it makes for one of the more enjoyable portions of this show as the West Coast-based musicians deliver their brand of psychedelic rock to an eager East Coast auditorium. It’s also probably one of the reasons that this sit-in has been dubbed one of the ten best ever with The Grateful Dead, per Rolling Stone.
As the jam progresses, Jack Casady joins in on bass as the music begins to take some structure. The group then goes through two verses of “Darling Corey,” a traditional song that Pete Seeger, among others, have recorded. This is just quick thought though, as the structure quickly devolves and soon dies out completely. After some extended tuning, the ensemble launches into another extended jam, now with dueling basses to go along with three guitars. They bounce and move from one loose melody to another, never stopping for too long. At one point, a jam reminiscent of a souped up “Cumberland Blues” seems to take place. “Uncle John’s Band” then closes out a lengthy night of Grateful Dead in Rochester, highlighted by a monumental sit-in from members of Jefferson Airplane.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below!
Grateful Dead The Palestra at University of Rochester – Rochester, NY 11/20/70
Set 1: Cold Rain And Snow , Me And My Uncle, Next Time You See Me, China Cat Sunflower > I Know You Rider, Sugar Magnolia, Friend Of The Devil, Mama Tried, Good Lovin’ > Drums > Good Lovin’, Cumberland Blues, Candyman, Truckin’ > The Other One > Saint Stephen > Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away > I’m A King Bee, Casey Jones
Set 2: It’s All Over Now, Instrumental > Spring Song Tuning > Around And Around, Jam > Darling Corey > Jam > Tuning > Space Jam, Uncle John’s Band
Detroit based post-punk vets Protomartyr are back; on tour for the first time post-COVID and giving their excellent 5th LP Ultimate Success Today the live treatment. The band made their way to Bushwick’s Elsewhere Hall this past Thursday, November 18 followed by two more sold out shows upstate at Tubby’s in Kingston.
Protomartyr at Elsewhere 11/18/21. Photo by Buscar Photo
The night opened with a fiery punk rock set from the Philly based band TVO. After a short changeover, Poughkeepsie native and free jazz legend Joe McPhee took the stage for a deep and abstract saxophone performance. The crowd was quite taken back by the significant change of pace, but McPhee stepped up to the microphone and performed a 20 minute set consisting of three distinct movements. Bits of distinguishable jazz rhythms kept popping up, surrounded by layers of breathing and speaking (inaudibly) through the instrument as if an entire story was being narrated. You could hear a pin drop in the room while McPhee was performing, but he concluded with a thundering applause from an audience truly shocked and in awe of what we witnessed.
Joe McPhee at Elsewhere, 11/18/21. Photo by Buscar Photo
Protomartyr have been a cult success for their first couple of albums and their stature has grown quite a bit with their more recent releases. LPs such as The Agent Intellect and Relatives in Descent solidified the band’s sound; a solid post punk backing fronted with deep vocal style reminiscent of Nick Cave. Ultimate Success Today, released in July of 2020, stayed true to that sound and provided another pillar to the band’s catalog. One of the singles from the album, “Processed By The Boys,” came along with a comical video featuring the band in 80s era TV game show form.
The short tour started earlier in November and after the three New York shows, the band has one final stop in Pittsburgh to close out the run. Photos from the Elsewhere show are below and stay tuned for more updates from the band as the tour wraps up.
Thundercat brought his grooves to Higher Ground last Wednesday night, performing a jam-heavy set interjected with thoughtful musings on his friends, his passions, and his career.
Known for his mind-bending bass riffs and soulful, high vocals, Thundercat brought an inventive, jam-heavy set elevated by his classic comedic flair. Playing to a mesmerized crowd, he encouraged the Ballroom to fall into the music the same way he does.
Thundercat. Photo by Hattie Lindert.
Compton producer Channel Tres opened for Thundercat, melding glitzy club beats with deep, emotive vocals. At first, Tres rose to fame crafting beats for hip-hop stars like Wale and Kehlani; now he’s forging a name for himself. Although initially the crowd seemed underappreciative of his set (he deserved a Brooklyn Steel crowd), by the end he had converted fans jumping at the barrier. By the time he closed with the pulsating “Topdown,” the crowd was screaming as he performed original choreography. At one point, he wiped his brow with a merch t-shirt, then tossed it into the crowd.
“Hey, I’ll sign it for you,” he called out the lucky winner. “I mean you never know, I might be famous one day.”
Channel Tres. Photo by Hattie Lindert
Channel Tres. Photo by Hattie Lindert
Thundercat’s comical and outlandish style precedes him, and he did not disappoint when he took the stage in an oversize, sparkling Gucci barrette. Even more outsized than his style is his mythical skill on the bass guitar. Before he even stepped on stage, tour staff came out to carefully lay the instrument by his mic.
“There it is,” an audience member in the front row whispered in awe. “There it f*cking is.”
Thundercat. Photo by Hattie Lindert
Throughout the show, Thundercat spoke continually about beloved friends and coworkers he’s lost. Thundercat has often spoken about the pain of losing close friend Mac Miller to an overdose in 2018. That loss had a deep effect on the artist himself, and the formulation of his critically acclaimed latest album, 2020’s It Is What It Is. Thundercat also shared stories of his childhood best friend, pianist Austin Peralta, who has since passed. As he dove into a racing rendition of “I Love Louis Cole,” Thundercat credited Peralta with introducing him to the artist’s music.
“Mac, MF Doom, DMX, Austin… they changed my life,” he said. “And I’m still here.” The following performance was nothing if not a celebration of life. Afterwards, he performed “A Message for Austin,” the track he wrote dedicated to Peralta, falling into an insane acid jazz jam session.
Thundercat. Photo by Hattie Lindert
Thundercat’s personality is defined by his passions, and he mused on them all: fashion, anime, his cat, Tron. He assured the crowd he’s working on new music, though a wide berth of tracks from his extensive catalog, along with Flying Lotus and Knower covers. Mostly, he jammed, disappearing into the eyes of keyboardist Dennis Hamm and drummer Justin Brown.
Thundercat knows his audience, and how long they’ve waited to see him; he gave fans a treat closing with crowd-pleasers “Them Changes” and “Funny Thing.” Though he remained faithful to the hits, Thundercat still experimented. Tracks like “Nowhere,” a Knower cover, and “Existential Dread,” found him switching things up and sometimes even extending runs beyond the crowd’s content. After all, as he playfully called out, many of them were still underage.
Thundercat. Photo by Hattie Lindert.
Thundercat’s expressive, masterful skill on the bass translates well to storytelling, be it comedic or serious. His graceful hands, adorned with tattoos, fly as he describes a night out drunken of Jameson with friends or a scene from Death Note. Above all, he wanted to share pieces of himself with the crowd: music, stories and laughs.
“I know you guys know the power of music,” he said to a cheer. That night, the power of live performance felt just as meaningful.
The Dirty Dozen Brass band from New Orleans just finished up a four night residency at Blue Note on Sunday November 14. Fellow Orleans Cats Ivan Neville and Tony Hall of Dumpstaphunk checked out the brass band at the Note on Thursday before their two night sold out run at Madison Square Garden with Dave Matthews Band.
You never know who will stop in to New York City’s infamous Blue Note Jazz Club in Manhattan. Since the clubs history in 1981 it wasn’t uncommon to have Stevie Wonder appear on the Greenwich Village stage room that seats 250. Isaiah Sharkey and Cory Henry helped kick some funky neo soul beats from the club so far this year. During their Fall 2021 residency lasting over thirty days with Robert Glasper the club welcomed Chris Rock and Dave Chappelle to the Note.
The Dirty Dozen Brass Band helped keep the New Orleans groove in the village vibrant during their four night stay. The brass section consists of Kirk Joseph on jazz sousaphone, Roger Lewis on Baritone Sax, Calvin Johnson on tenor saxophone, Timothy Norris on Trombone and Gregory Davis on Trumpet and vocals. Guitarist Takeshi Shimura and on Drums Julian Addison. Sitting in during the residency were Dave Mullen & Rick Frank on horns.
Gregory Davis gave the club a bit of an angle on the bands influences that helped get every one up from their tables. Davis told the sold out Blue Note crowd,
One of our influences was James Brown. James always played music that people would dance to. So Get on Up! James would want to see you shake your tail feather.
To keep James spirit strutting down West 3rd street the dozen laid down a “Super Bad” jam that everybody on the Note stage stretched out on. Improvisation on a classic funk cut at its finest.
https://www.youtube.com/watch?v=BbUcEt8dRSU
Davis also got to the crowd to partake vocally by turning their seats in to funk doctor chairs. “You know when your at the Doctor and he gets you to say Ahh?” “Do it just like that” The procedure worked as the crowd gave way in unison to their “Ahhs” that helped launch the band in to the classic New Orleans funk composition “Cissy Strut”
The world renowned New Orleans groove that was in Manhattan this past weekend from the Garden to The Blue Note was a vibe. It carved out some trenches from the Mississippi to the Hudson River, It created another musical niche with the other great Blue Note locations in Tokyo and Nagoya, Japan, Milan, Italy, Waikiki, Hawaii, Napa California, Beijing, China and Sao Paulo & Rio De Janeiro Brazil. When asked about performing at the Blue Note Tokyo legendary artist Steve Gadd told NYS Music the secret to playing any great gig.
I mean you always go off the audience. When you get it musically to a level where everyone on the bandstand is having fun and can hear each other and you can trust the audience is hearing it the way you are it gets to a spiritual level. In Japan or wherever you are, that’s the goal.
Empire Live has become quite the up and coming venue in 2021 and what better place to host an up and coming band in Ripe, with The Heavy Hours and Max Muscato opening the show on Friday, November 12th.
The Boston based Ripe rolled through Albany in the midst of a long tour taking them through a lot of the Northeast, into Canada, and finishing out the year with two shows for New Years Eve at Irving Plaza on December 30th and 31st. After taking off the month of January their winter tour kicks off in Knoxville and runs through the deep south before heading out to the Midwest.
Set List: Flipside, Downward > Stanky, Escape, Beta Male, Queen of the City, Pretty Dirty > Passerby, Noise in the Forest > First Time Feeling, Bennie and the Jets, 5am, Talk to the Moon > Follow Through > Little Lighter
Flying straight from Orlando’s EDC concert, Zedd moved the party to New York City on Saturday, November 13 in the heart of Times Square, selling out Nebula’s second official opening weekend. Entrancing the crowd with his signature electro house drops and mesmerizing psychedelic LED screens, Zedd’s very presence atop the stage paralleled that of a higher power.
Worshipping crowdgoers welcomed the well decorated German-Russian DJ that has paved the electronic scene for over a decade. Almost on command Zedd wielded his powers, sending chills down several hundred spines starting with the all so notable eerie Squid Game introduction to unleashing the intoxicating beat of Do it Do it from Cherish. His edit of Squid Game x Do it Do it swallowed us into a two hour rave marathon of his GRAMMY winning catalogue.
Certainly a renowned powerhouse EDM DJ virtuoso, he reminded us how he single handedly shaped the soundscape of the early 2010s era starting his set with Stay the Night (feat. Hayley Williams) and The Middle. Immediately working the crowd with nostalgia of the good ‘ol days, Zedd was just as excited to see fans memorize his every lyric. The DJ, songwriter, and record producer found himself infected with his own rhythms jumping relentlessly with one proud fist in the air. Sampling Lil Nas X’s “Industry Baby” we were lured away from Zedd’s originals, unlocking edits of Drake’s “Way 2 Sexy” and Daft Punk’s “One More Time”.
Palms open and looking to the sky Zedd was able to contact his fellow EDM gods for countless thick heavy bass drops thrumming the dance floor to fuel ceaselessy dancing fans.
Zedd made full use of New York City’s newest club. The all encompassing LED screens put on acclaimed painted visuals taking club goers soaring through space, inside futuristic tunnels, and swimming through vortexes. Combined with synchronized strobe lights pointed every which way, Zedd provided a full sensory performance. A true connoisseur, prolonging each beat drop gearing us for the high intensity ultimate of euphoric choruses from “Spectrum” even singing along to Ariana Grande’s “Break Free” with the rest of us.
The sheer intimacy of the soldout 700 person max venue aided in creating a closer bond to the almost untouchable DJ. His charisma could be felt all the way in the back depths of the club. In a sly attempt to hide his celebrity, he occasionally appeared as a mere shadow letting his LED lightshow dictate the concert along while waving just one finger in the air, complete with a drink in the other. His limited check-ins with the crowd and bright let us know was enjoying it all as much as we were, basking in the glory of the name he has made for himself.
The EDM scene is often believed to be crafted around drugs that claim to fully encapture each performance, yet the community projects carefree and accepting energy builds families on the dance floor. He made it almost impossible not to become best friends with strangers entranced by his music. when erupting countless climax of euphoric woes with every bass drop. Each inevitable buildup releasing to well crafted high intensity drops cooked up an addicting recipe that fans could not get enough of.
To pull in the rails of the night, Zedd cranked his signature “Clarity” with one last remark, “New York! My name is Zedd and I f****** love you! Put your hands up if you had a great time.” One last drop erupted the climax of the night matched with bursts of confetti and fog covering roaring fans and blaring kick drums. His first GRAMMY winning song made way for ubiquitous dancing closing the night with unbelievable insanity. Classic Zedd.
Will Smith, the world-famous actor, musician, and producer, stopped by Kings Theatre in Brooklyn on November 9th for his book tour to promote his self-titled memoir “Will”. Moderated by legendary film director Spike Lee, Smith elaborated on parts of his unusual path to super-stardom for a sold-out audience. What makes Will Smith such a compelling actor and public figure was on full display that night.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Will Smith is a legendary figure in Hollywood, having been only actor to have starred in eight consecutive films which grossed over $100 million in the United States box office. He’s a blockbuster legend and a huge cultural figure for a wide variety of age groups. The sold-out crowd was filled with people from various ages and backgrounds, just showing how wide of a reach Will Smith’s films have had on all of us, which doesn’t even include his big break, the hugely popular 90’s sitcom The Fresh Prince of Bel-Air.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Accompanied by a massive visual board, Will and Spike walked through some of his biggest moments, ranging from Will’s impromptu audition for The Fresh Prince of Bel-Air for producer Quincy Jones to the recent death of his father. Will’s father, Will Smith Sr., casts a shadow over the whole book and the conversations he had on stage. Will has referred to his father in the book as “his biggest ally and his biggest enemy”, which only sheds a little light on how complex their relationship was. While Will spoke about how grateful he was for the lessons his father bestowed on him about hard work, there was still intense resentment due to Will Smith Sr. having been an alcoholic abuser for most of Will’s childhood. Watching the famously guarded Will Smith work through his traumatic experiences on stage was fascinating.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
In spite of the dark subject matter, Will really showed why he is who he is. I’ve rarely ever seen anybody so charming and naturally humorous. Even as an audience member, his charisma was too bright to ignore. You couldn’t help but fall under his spell, which is a testament to Will Smith’s ability as both a showman and a storyteller.
After having spoken to the audience about his life, Will unveiled a surprise and brought out DJ Jazzy Jeff, his old partner during his rapper days, to perform some of the old hits they were both famous for. They ran through classics like “Summertime,” “Switch,” and even the famous “The Fresh Prince of Bel-Air” theme song. I would not have guessed that in 2021 I’d see Will Smith perform these hits live, which was quite the experience.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Will Smith has one last stop of his book tour in London on Thursday, November 18th. You can see more details here. Be sure to check out the full photo gallery below!
Lettuceblazed back to Buffalo during their Fall run of their 2021 Bring Back The Love Tour. This past July they crushedLake George and Western New York’s Art Park. The group played the fully renovated historic Buffalo Town Ballroom on Main Street. The three floor club is an infamous hometown venue to funk artists Rick James and Soulive.
Lettuce founding member Sam Kininger joined for one just gig this summer at the Lake George Adirondack stage. This fall, he has been on tour with Lettuce for every club date and has helped fill out a three-piece brass section with Benny Bloom and Ryan Zoidis. Like Drummer Adam Deitch told NYS music, “Sam’s the godfather of Lettuce”
The November 11 performance went from 8:15 till 10:15 with Lettuce crushing all the way through without leaving the stage for the encore. The current Lettuce hybrid batch is also made up of Erick “Jesus” Coombs on bass, Adam “Shmeeans” Smirnoff on guitar and Nigel Hall on keyboards and vocals.
They treated the Buffalo audience to “Break Out” from their infamous 2004 Live in Tokyo Album. Legendary artist Steve Gadd told NYS music the secret to any live gig. “When you get it musically to a level where everyone on the bandstand is having fun and can hear each other and you can trust the audience is hearing it the way you are, it gets to a spiritual level. In Japan or wherever you are. That’s the goal.”
The spirit of Buffalo legend Rick James could be felt in the house on Wednesday. To pay homage to the city of Buffalo’s funk artist, Lettuce burnt “Mary Jane” from his debut album Come Get It. Like Buffalo native Alan Evans told NYS Music about James’ music, “Its hard to choose…Bustin out of L Seven on vinyl, you kinda can’t go wrong with. That’s a dope record.”
Come catch Lettuce bust out more funk on the road in America with dates leading up to a New Years Eve show at Miami’s North Beach Band Shell. The first week of the new year Lettuce Drummer Adam Deitch will join DJ Logic & a world-class line-up of Friends including Karl Denson on saxophone and MonoNeon on bass at New York’s Blue Note. Lettuce kicks off 2022 with a European tour starting 2/22 for two months.
Lettuce – Town Ballroom – Buffalo, NY, November 11, 2021
Setlist: Purple Highness, Dump, Breakout, Suppit, Mary Jane, Sly>Silence is Golden-> Mr Yancey, Central Nyack, Pep n Step, Move on Up, Don’t Change for Me
Prior to the tour closing performance of Dave Matthews Band at Madison Square Garden on Saturday, November 13, frontman Dave Matthews introduced Dumpstaphunk, who would open the evening’s festivities. Sharing with the sold out New York City audience that he was so damn lucky,
I got to listen to sound check yesterday with Dumpstaphunk and then I got to listen to them last night, then at sound check again today. So you guys only got two, by the end of this set I’ll have four. This is one of my favorite bands in the world. This band also saved my life but that’s a different story anyway have a good time with my friends Dumpstaphunk
Photo by Joseph Buscarello
Matthews’ story was referring to his sold out Labor Day weekend shows at The Gorge where Tony Hall of Dumpstaphunk and company helped sit in to perform three nights of Dave’s music on the spot. DMB keyboardist Buddy Strong sat behind the drums and Tony Hall held the low end down on bass & backing vocals. It was as an alternate format to help the shows go on without Carter Beauford and Stefan Lessard’s rhythm section for the first time in thirty years.
A similar situation of musical chairs unfolded at Madison Square Garden as saxophonist Jeff Coffin was forced to sit out the two-night run. Rashawn Ross opened Leroi Moore’s original brass section to Ben Golder-Novick, Alex Wasily and Ashlin Parker to the 7th Avenue stage. The Dumpstaphunk horns sat in on “Cornbread” and a “Jimi Thing” that led to a cover of Sly Stone’s “I Want To Take You Higher.”
Ben Golder-Novick, who was only a guest at New York’s Irving Plaza for a Dave Matthews and Tim Reynolds acoustic set in January of 2018, was on saxophone for every song. Dave kept the big door open by calling him a day before the weekend shows to send the invite.
Photo by Joseph Buscarello
Tim Reynolds sat in during Dumpstaphunk’s MSG debut set for their cover of Buddy Miles “United Nations Stomp” on Friday night. The song has been considered for the 2022 Best American Roots Performance Grammy. Saturday night’s set included a special guest spot by Dave Matthews and Tim Reynolds for Led Zeppelin’s “Ramble On.” Tony and Dave traded howls on Robert Plant’s words…I gotta keep on searching for my baby.
It marked the first time Tim, Dave, and Tony played the Empire State together since they encored with Led Zeppelin’s “Fool in the Rain” at Rochester’s Blue Cross Arena for the Dave Matthews and Friends Some Devil Tour in December 2003. It was reminiscent of Dave sitting in with the Funky Meters in Albany in 2000 as well. Tony Hall told NYS music, “What’s so bad ass about Dave is that he sounds like nobody but himself, it’s like no other shit.”
Dave Matthews Band celebrated their 25th anniversary at Madison Square Garden this November. It was the last stop of their 2021 tour that included shows in Syracuse and Saratoga Springs. They performed 23 songs each night, filled with originals, covers, and tour debuts.
Friday night’s show that was broadcast live on Sirius XM channel 30 included the debut of “Mad Man’s Eyes” which Dave simply said is about a crazy man. “So Damn Lucky,” off Dave’s 2003 Some Devil record, resonated so right for all those who’ve had close calls in the crowd. The crowd replied singing in unison to Sly Stone’s “Thank You Falletinme Be Mice Elf Again.”
Tony Hall told NYS Music about his recording experience on Some Devil. “I had a lot of fun with that record. some of my favorite songs were So Damn Lucky and the end jam on Too High is killing”
Photo by Joseph Buscarello
Dave goes to the city with the car horns, corners and the gritty during “Proudest Monkey.” Buddy Strong and Tim Reynolds stretched out great jams during “Typical Situation” and “Lie in Our Graves.” Friday night’s encore included a “Two Step” left unfinished by the band as they launched into a chilling version of “Halloween.” It turned back the clocks, buried the past, and sent the crowd trick or treating into the Manhattan night.
Saturday night’s tour closing show at the world’s most famous arena was a celebration with DMB family, friends, and their legendary crew. Dave made sure to thank all of his on road family that made this crazy year’s tour possible each night. “After this year to be in New York City and Madison Square Garden is overwhelming. Its like damn how did I get here?”
Dave Matthews Tour Bus
They wasted no time encouraging all at the Garden party to eat, drink, and be merry with a “Tripping Billies” opener. Matthews played his deepest cut “Stay or Leave,” off the Some Devil album as well. The rare “Water in to Wine” made its way round and round again for the first time in 2021.
Tim Reynolds told NYS Music about an experience he had at Madison Square Garden during a Sting & Peter Gabriel performance. “When Peter did The Rhythm of the Heat with both bands I screamed like a woman and I only have one vocal chord.” Tim was able to feed in the rhythm from the stage at MSG with Dave Matthews treating the New York crowd to a killing version of Peter Gabriel’s “Sledgehammer.”
The band welcomed the Dumpstaphunk horns to the world’s most famous stage for “Cornbread.” During the improvisational classic “Jimi Thing,” the brass section helped launch Dave to sing on Sly Stone’s classic “ I Want To Take You Higher.” It helped solidify the funk vibe that was in the air both nights.
During Saturday night’s encore Matthews performed his moving “Christmas Song” that helped flicker some holiday lighting inside the Garden. Before these crowded streets of DMB’s 43-city tour came “The Last Stop.” This fitting jam during the final encore was left unfinished as it segued into Carter Beauford’s iconic snare drum hit to kick into “Ants Marching” to end the performance.
Dumpstaphunk and Dave Matthews Band made this another two-night run of legendary entertainment history at the World’s Most Famous Arena. The custom basketball jerseys helped count it in.
New Yorker Carrie Band-Leshin told NYS music at MSG, “I’ve been seeing him since he played the Wetlands club in Tribeca until now, its like the same shirt on a different day though. I’ve never seen him play any song the same way twice this whole time.” Dave Matthews told the Garden, “I remember coming here when I was a little kid for the Barnum and Bailey three ring Circus. Just to tell you how old I am.”
Dumpstaphunk Setlists
November 12, 2021 – Dancin to the Truth, I Wish You Would, Let’s Get At It, Where Do We Go, Justice, United Nation Stomp*
*Buddy Miles cover with Tim Reynolds
November 13, 2021 – Meanwhile…., Do You, Make it After All, Street Parade, Ramble On**
**Led Zeppelin cover with Dave Matthews & Tim Reynolds
Photo by: Buscar Photo (www.buscarphoto.com)
Dave Matthews Band Setlists
November 12, 2021 – That Girl is You, Best of whats Around, Crush, Sweet, Funny the Way it is, Don’t Drink the Water, Again & Again, So Damn Lucky, Why I Am, Proudest Monkey, Satellite, Madmans Eyes, What Would You Say?, Lie in Our Graves, So Much to Say, Too Much, Everyday, Grey Street Encore: Two Step >Halloween
November 13, 2021 – Tripping Billies, Dancing Nancies, Warehouse, Stay or Leave, You Might Die Trying, Lying in the Hands of God, You & Me, She. Grace is Gone, Song That (bridget) Jane Likes-> Water in to Wine, Pantala Naga Pampa->Rapunzel, Sledgehammer*, #41, Cornbread**, Jimi Thing**, Where are You Going?, What You Are, Stay Encore: Christmas Song, The Last Stop >Ants Marching
*Peter Gabriel Cover ** Ashlin Parker & Alex Wasily trombone & trumpet
