Joshua Thew, a London-born, Brooklyn-based singer, songwriter and former member of the New York City Ballet, has released a new single, “Lose Myself,” accompanied by a cinematic music video directed by Jake Kolton.
Thew’s soulful vocals are front and center on “Lose Myself,” demonstrating his first passion (music was the reason he became a dancer in the first place.) In 2017, after nearly a decade in the Company, Thew left the professional dancing space behind to pursue another dream.
Thew grew up in Hertfordshire, England, just north of London, and moved to New York City in 2005 to study at The School of American Ballet, which led to a spot in New York City Ballet.
As I got into my mid to late 20s, I started to feel like I wanted to be in the real world. You live and breathe [ballet], and it’s such a small niche world. I just wanted to get out and make original music.
Joshua Thew
Working with producer and multi-instrumentalist Cale Hawkins at Greylock Studios in Brooklyn, Thew began composing songs in earnest, drawing on classic influences like Donny Hathaway, Nina Simone, and Lee Hazlewood as sources of inspiration. Thew added a contemporary spin, invoking modern icons such as Amy Winehouse and Frank Ocean.
As a singer, Thew creates highly stylized yet unpretentious ballads about love, loss, and starting over. The lush, aching “Lose Myself” chronicles a two-year relationship that ultimately had to end but gave Thew renewed hope around romance itself.
Ultimately, Thew is eager to ingratiate himself with listeners, who will no doubt feel an instant connection to his gentle, meditative ballads. Though he’d been considering a career change for some time, watching fellow dancer and Tony-winner, choreographer Justin Peck doggedly pursue his goals nudged Thew to take a crucial leap.
I just remember always watching him; we were in class together. Dancing was a thing for him, but choreography was always his thing. I remember watching him and part of me would be like, ‘he’s really doing what he really wants to do.’ And that’s how I felt about singing.
Joshua Thew
“Lose Myself” will be featured on Thew’s upcoming second EP, which follows 2019’s Quiet Words.
NYC post-punk outfit Catcher have shared a comeback single entitled “Comparing Saviors and Friends,” off their upcoming debut album, due out in 2022. The single is regarded as one of the first tracks they’d written with the genesis of the band, and comes alongside a DIY music video.
Photo by Kevin Allen
Catcher is a Brooklyn-based post-punk band with a reputation for visceral and powerful live performances. Drawing comparisons to Iceage and Protomartyr, Catcher deliver music with a driving and inundating low-end, provided by childhood friends Cameron McRae and Wilson Chestney, on bass and drums respectively. Guitarists Jack Young and Christian Reech, each having been recruited earlier this year via a Craigslist ad and connection via the band’s shared Tinder, interweave melodies and noise to create an environment that manages to be at once both bleak and moving, desolate but hopeful, violent but tender.
Vocalist Austin Eichler commands listeners with a domineering and chaotic presence. From drawling croons to powerful screams, Austin’s narrative lyrics invoke a wide spectrum of emotion while creating a world of their own. Through endless hours of practice and work, the band has crafted a gripping and tight live performance and a growing international fanbase.
With a sludgy bass and frenetic guitar chords, “Comparing Saviors and Friends” charges forward like an angry bull out the gate, with a deep-seated drawl from vocalist Austin Eichler. The new single comes on the heels of the band’s first four singles: “Yesterday’s Favorite,” “The Skin,” “Only Advice,” and “Fallen Stones,” amid playing countless sold-out shows across New York City, as well as their first headlining tour across the U.S. with fellow NYC rockers Been Stellar.
Catch Catcher at Mercury Lounge on January 2, 2022 with Hello Mary. More information and tickets are available here.
Hailing from the Collar City of Troy, pop-punk band Playoffs have released “Lickety Splitz,” the first single off their upcoming debut album, due out on December 20, 2021.
Formed out of a cover band that ran face first into the year 2020, Playoffs band members Cody Sargood (guitar/vocals), Alex Foster (vocals), Daniel Livermore (drummer) Bill Milhizer (keys/guitar) and Neal Makela (bass) found themselves like many of us, stuck inside and only able to create their sound from virtual messaging.
With all their powers combined, Playoffs was able to come to the table to record their first self titled album with producer Neil Schneider. While navigating the worst year and strangest times, Playoffs became more than just an idea, they became a goal. Schneider also served as producer, engineer, mix/masterer, and collaborator on the album, drawing on a relationship he has had with Cody since grade school.
Like many songs on the upcoming Playoffs LP, “Lickety Splitz,” released on November 22, draws from from the inner perspective of someone’s mental health. The song tells of relationship troubles by addressing self-struggle and the outward projection of those struggles. Mental health issues can suffocate and ravage an individual’s mind, like a troubled relationship that cannot get out of its own way. “Lickety Splitz” became a typical relationship song, but to deal with and address mental health issues that plague so many individuals today. Playoffs hope that people can connect with the song and realize that no mental health issue is too big or small to ask for help, and that there are people in your life that love you and will help you.
I think each one of us — whether a father, expecting father, newlywed, or just human — had an eye-to-eye mindframe. We were all able to see how awful things were for everyone. This project allowed Cody and myself to write what we were feeling while embracing the style of music we already liked playing. Everyone kind of got it. It worked, and everything came together. Whether it was writing the lyrics one-on-one at someone’s house, or going through the recording process, we maintained communication with one another and having that outlet for ourselves is truly beneficial and hopefully transfers to the people who listen to it.
Alex Foster
Prior to forming Playoffs, the band members were involved in a pop punk/hip hop/90s musical jukebox cover band performing at bars under the name kidbilly. Playoffs started just before the world shut down from COVID, but with the uncomfortable and disconnected feeling that grew from having to sit home and see no one and do nothing, the group recorded the album in pieces and parts, some even from across the country with the help of Makela.
Being able to meet online, play music virtually, embrace the hardship that literally the entire world was facing, and turn it into a reflective piece of art was an amazing experience for the group, especially as they are able to highlight mental health amid the frightening state of affairs of 2020 and having to watch the world slow to a crawl.
The Slip, avant-rock trio from Boston, soundly finished their first mini-tour in a decade, playing seven shows over two weeks this November across the northeastern US. This was their first mini-tour since 2011. Brad and Andrew moved to Montreal in 2005, birthing The Barr Brothers. As The Barr Brothers ramped up, The Slip’s performances ebbed, playing only 7 times in 2011, then only twice at High Sierra Music Festival. Everyone wanted to know when they’d tour again.
The long-awaited Slip mini-tour launched at Higher Ground in Burlington, VT, where they’ve played over two dozen times since 1998 (lastly in spring of 2008). BAM started off with the ethereal Landing, prelude to the fiery fan favorite, Get Me With Fuji (a song named by long-time friend and one of the first Slip tapers, Jason Booth). After Fuji fired up the crowd, Brad donned his Danelectro for Nobody Waits That Long Anymore, a brand new song (debuted at Lockn’ Farm). Even Rats, their most-watched video, brought indie rock vibes to keep the first set lively.
The reflective rock classic, Sometimes True to Nothing, warmed the crowd in the first set. “The heart is a wilderness / with beauty and emptiness / that you endure”. The new rock song Motherwolf went into Chasing Rabbits, which debuted in 2003, but hadn’t been played since April 2007. Long-time Slip fans anticipated more good times from the wide mix of new and old songs in their tour opener.
The Slip flexed their jazz chops with their Coltrane tribute, Trane-ing, first played back in 1998 at The Living Room. They continued with an even older classic, Through the Iron Gate, which debuted in 1997 and hadn’t been played in 16 years! Heading back to recent times, they unearthed another gem from Eisenhower, Life in Disguise, then on to The Weight of Solomon, ending the single set with the oft-paired The Orginal Blue Air > Paper Birds.
The boisterous crowd cheered them on for a tasteful encore of The Band classic, The Weight, which The Slip has greatly rearranged, ending it typically with a Dogs on Bikes outro, and Autobody teases. Slip tour commenced robustly.
Thursday, November 11, 2021 – Higher Ground – South Burlington, VT
Setlist Landing, Get Me with Fuji, Long Ways Back, Even Rats, Sometimes True to Nothing, Motherwolf, Chasing Rabbits, Trane-ing, Through the Iron Gate, Life in Disguise, The Weight of Solomon, The Original Blue Air, Paper Birds Encore: The Weight* Notes: * new version, with Dogs on Bikes theme
Their tour evolved at Fete Music Hall in Providence, a cool industrial warehouse converted to a two-stage music venue. Ryan Montbleau, a friend of BAM’s who has Marc Friedman in his current band, surprised us with a lovely opening set of originals on acoustic guitar. This hometown crowd was larger than the tour opener in Burlington. BAM started the set with Landing, but ended there, instead of the typical segue into Fuji. They continued into Trane-ing, Blue Air > Paper Birds, and saved Get Me with Fuji until after the commonly-paired song duo.
Brad announced to the audience they were about to play their new single, Superterranean Onlyness, The Slip’s first studio release since Eisenhower – flowing with harmonized vocals, and brilliantly engineered by Steve Albini. Here’s a fan-shot 4K video of the live debut. BAM then played Driving Backwards with You, a song which debuted in 2000 at Higher Ground, then Lockn’ this August after an 11-year hiatus (last played at Narrows 2010). Even Rats preceded another new song, Hit Song.
More songs came back into regular rotation, such as Chasing Rabbits, Motherwolf, and Sometimes True to Nothing, followed by the sublime Aptos* > Something Learned, which debuted at Bethel Fest in 2003, and was last played at Cafe du Nord in 2010. They delved back into Eisenhower territory with Life in Disguise, then treated their hometown fans with another old-time classic, Autobody Experience (debuted in 1996!). This led into their new version of The Weight, with Dogs on Bikes outro to close, ending with a tasty encore of Children of December (performed over 250 times!)
All the parents of the children of december have a clutch because their birthdays are the hardest to remember when you’re born on christmas or the day before new year’s you can sing happy birthday but nobody hears it
Friday, November 12, 2021 – – Fete Music Hall – Providence, RI Setlist: Landing, Trane-ing, The Original Blue Air, Paper Birds, Get Me with Fuji, Superterranean Onlyness, Driving Backwards with You, Even Rats, intro, Hit Song, Chasing Rabbits, Motherwolf, Sometimes True to Nothing, Aptos, Something Learned, Life in Disguise, Autobody Experience, The Weight, Dogs on Bikes Encore: Children of December
The Sinclair in Harvard Square was packed before showtime, being where they went to music school and have played more than anywhere. Ryan Montbleau opened again.
BAM started with Landing, then Brad launched into wild guitar playing & effects, then segued into a sizzling Get Me with Fuji, then the brand new ballad Nobody Waits That Long Anymore. They continued into Even Rats, Sometimes True to Nothing, and capped the first set with a fierce Motherwolf.
Set two started with the jazzy Trane-ing, The Weight of Solomon, followed by Hit Song into Aptos. They returned to Through the Iron Gate, into Life in Disguise, with Lennon’s Jealous Guy teases (foreshadowing?). They teased Autobody Experience inside The Weight, following up with a Wolof jam and Dogs on Bikes outro to finish the smoking second set.
The most popular encore, Children of December, was well-executed. The weekend ended on a high note, and those attending all 7 shows were eager to see what they’d play next week in Philly and New York.
Saturday, November 13, 2021 – The Sinclair – Cambridge, MA Setlist: Landing, Psych Guitar, Get me with Fuji, Nobody Waits That Long Anymore, Even Rats, Sometimes True to Nothing, Motherwolf, Trane-ing, The Weight of Solomon, Hit Song, Aptos, Through the Iron Gate, Life in Disguise, Autobody Experience, The Weight, Wolof jam, Dogs on Bikes outro Encore: Children of December
Originally scheduled for Tuesday, Nov 16th, their first show at the new Brooklyn Bowl in Philly was canceled. It was great to return there, having attended the venue’s opening night with Soulive. This brand new 900-capacity venue shoulders The Fillmore in Northern Liberties, with two floors, twenty lanes of bowling, dining room, stage, and long bars on both floors. Delicate Steve opened, with a straight-ahead drums/guitar rock duo.
The Slip began with Trane-ing, followed by You Might Say (not played since High Sierra 2008). Ernie Mickey continued, a fan favorite (House of Blues Chicago 2001). BAM continued with The Soft Machine, Hit Song into Motherwolf, into From the Gecko, and Something Learned. They busted into a hot take of Get Me with Fuji, where Steve Marion (from Delicate Steve) joined in on guitar, staying on through Creedence Clearwater Revival’s Proud Mary and ending the set with Sometimes True to Nothing. The Reddish Moon encore was calming, perhaps to prepare us for NYC?
Wednesday, November 17, 2021 – Brooklyn Bowl – Philadelphia, PA Setlist: Trane-ing, You Might Say > Ernie Mickey, The Soft Machine, Hit Song > Motherwolf > From the Gecko, Something Learned, Get Me with Fuji% > Proud Mary%^ > Sometimes True to Nothing% Encore: Reddish Moon Notes: % w/ Steve Marion (Delicate Steve) on guitar and Charlie Hall (War on Drugs) on drums. ^ Creedence Clearwater Revival (cover).
As is usual in pandemic times, inter-city travel is capricious, so the Philly to NYC route was beset with numerous accidents and traffic jams, even after morning rush hour. The usual 2.5 hour ride to Brooklyn took over 5 hours, but I was lucky to have a booked hotel a couple blocks away to unwind before the show. The Brooklyn Bowl in Williamsburg is the first one that Peter Shapiro opened in July 2009. The Slip last played there in 2011, after another slow year in 2010 when they only played 4 shows.
To keep us on our toes, at the first Brooklyn Bowl show on Thursday, The Slip opened with Landing again, but instead went into Even Rats instead of Fuji. They played Superterranean Onlyness third, which was growing on us after a couple of live appearances. There was a quiet pause after, then we were treated to Invocation, first in 1999, last played in 2004 (17 years ago!). Stuart Bogie (tenor sax from Antibalas & Fela! Broadway musical) joined for a sizzling Yellow Medicine.
Brad went into The Weight of Solomon and then Motherwolf, Chasing Rabbits, Through the Iron Gate, into the Nathan Moore song I Hate Love, with Bogie returning on tenor through the set closer, Jumby. A Sometimes True to Nothing encore left fans energized. Few were ready to turn in, so we met for aftershow drinks at The Gibson, a favorite late-night watering hole a couple blocks away, where we discussed what the future may hold for upcoming Slip tours.
Thursday, November 18, 2021 – Brooklyn Bowl – Brooklyn, NY Setlist: Landing > Even Rats, Superterranean Onlyness*, Invocation > Yellow Medicine%, The Weight of Solomon, Motherwolf, Chasing Rabbits, Through the Iron Gate> I Hate Love%, Jumby% Encore: Sometimes True to Nothing Notes: * new song, released Nov. 2021. % with Stuart Bogie on tenor (from Antibalas and Fela! Broadway Musical
Relix hosted The Slip for a livestream on their Twitch channel, at a top-secret location near my old apartment. Brad asked his good friend Jason Booth for his song requests. Brad smiled, then turned to the stream chat for viewer requests, joking that they “probably wouldn’t play any of those”. The livestream included their new hit single Superterranean Onlyness, followed by the scorcher, Sometimes True to Nothing, then Motherwolf, The Original Blue Air > Paper Birds to close the set. Watch the stream here.
Friday, November 19, 2021 – Relix Studio – Manhattan, NY Setlist: Superterranean Onlyness*, Sometimes True to Nothing, Motherwolf, The Original Blue Air > Paper Birds Notes: afternoon set, livestreamed on Twitch – www.twitch.tv/therelixchannel. * new song
Brooklyn Bowl Friday saw the biggest turnout of this tour. Our night startedoff boisterously, with BAM being introduced by Brett Siddell, a comedian from their high school wrestling team. BAM opened with the classic, Aptos > Airplane/Primitive (only time played in 2021), the poetic Friedman song:
The airplane, the primitive, saw it and thought it was some kind of bird it landed, he made up his mind – I can’t live knowing that there’s some other world where men fly, up in the sky, trapped himself on the wing for a one way ride and in the air above a cloud, there his soul stayed when his body fell down.
Before Wolof, Brad thanked the Brooklyn Bowl staff, and everyone who traveled to the show, saying “that’s not easy to do these days”. He continued, “So, if anyone bowls a strike during this song … you get a t-shirt, and a handshake from Marc.” This definitive Slip classic starts with Marc’s infectious bass groove, debuting at Valentine’s in Albany in 1998.
Bloodstone came next, another new song debut (only played at Brooklyn Bowl and Levon’s), followed by the raucous Hit Song. BAM cooled things down with the mellifluous Driving Backwards with You, last played at Narrows 2010. Panda began with Brad spacing out with his pedals, applying feedback for Soft Machine. Next was The Shouters (cut short), which was only played once in 2021. The room exploded for the highly popular Get Me with Fuji (played 243 times), with a tease of Guns N’ Roses’ Sweet Child of Mine that drifed into a few measures of Moby Dick before returning to Fuji.
The band took a breather as Brad asked if anyone bowled a strike and got their t-shirt, then leveled with the audience:
I want to say it feels really good to be The Slip again. We’ve had such a journey, from our beginnings in high school when we were the jazz band … our friend Brett was not kidding. So when we moved to Boston and really became a band together … in the 90s and 2000s, you know, and coming up with all of you and starting to do the festival thing and really getting to know this really cool community of bands getting to know other bands like Lettuce and Schleigho, and Soulive, Marco, The Duo, … they all fit conveniently under the jamband umbrella. And then, at some point for us, for The Slip it became sort of a hard pill to swallow, because we related to maybe parts of being a jam band, but we really didn’t relate to whole other parts of being a jam band. And then there was … an identity crisis there in the mid 2000s and we made our record, Eisenhower, and that was so much fun to make and really felt like a success. But we still sort of had – you know – more than a decade playing together, and it was very hard to see…you know…sometimes it’s hard to see what’s great about you, as a group … and you start thinking of ways to change it, and then we did. And so we went into one identity crisis … beautiful and contorted … what I mean, it’s really good to be back here as The Slip … enjoying what was always good about being The Slip … and having so much fun together up here, with you … and that means a lot to me
Brad’s pensive baring of his soul set the tone for Through the Iron Gate:
I get tossed like a bone into the dogs into the sky the closing is a gathering a gathering of eyes an i will look to you and you to me in between the space we chase the tune we dream so lazily
Ruminating on what he had just shared, Brad continued into the soul-searching Life In Disguise:
The world is only a stage and I’m just a man with a sound caught in his throat and a pick in his hand but when the song comes tumbling out, you understand there’s no great demand well it’s there under your breath behind your eyes and you don’t have to say nothing cause I realize that everything somehow in some way eventually dies
…and then Jealous Guy:
I didn’t want to hurt you I’m just a jealous guy
The introspective, sombre tone evaporated with the first beats from Andrew’s kit to kick off the funky Autobody Experience, while we processed what Brad had just laid on us. After a few measures, feet and hands started flailing as Autobody melted into the newly rearranged The Weight, with guitar pyrotechnics and rhythmic undulation. They merged into Dogs on Bikes organically and fiercely, going back into The Weight, mashed up and dangerous, as they are known for. Dogs kept going, with a blazing solo by Andrew, back into The Weight, Dogs, Weight, Dogs…and our minds will never be the same.
The fans were not ready to leave, and the packed house didn’t budge, cheering for an encore. The Slip came back, and Brad warned us, “We all knew how this was going to end”, as they encored with a 9-minute Children of December.
Friday’s Brooklyn Bowl was the best of the tour so far; The Slip had rekindled the sacred fire.
Friday, November 19, 2021 – Brooklyn Bowl – Brooklyn, NY Setlist: Aptos > Airplane/Primitive, Wolof, Bloodstone*, Hit Song, Driving Backwards with You, First Panda In Space > The Soft Machine, The Shouters > Get Me with Fuji@ > Moby Dick^ > Get Me with Fuji, Through the Iron Gate@#, Life in Disguise$, Jealous Guy!, Autobody Experience > The Weight+ > Dogs on Bikes (outro) Notes: * new Brad song (working title). @ w/ Sweet Child o’ Mine tease from Brad and Marc. # w/ So What (Miles Davis) teases from Marc & Andrew. $ unfinished. + new version, rearranged w/ Dogs outro.
We arrived early to Levon’s to hang by the fire. It was wonderful to see so many dear friends, some from as far as California! The Slip played High Sierra Festival most often, garnering a huge west coast fan base to rival back east. We wondered what they’d play tonight, and who might show up. Our anticipation was rewarded when Kt confirmed that Marco was arriving, which means he’d sit in. Other fans found out when they saw Marco’s Hammond inside the barn. A handful of fans had never seen The Slip before, but the audience was comprised of dear friends and music aficionados Levon’s sold out in a few minutes, so we all counted our blessings to gather at this special venue for our favorite band.
On the way in, we went to check out the merch. The new Slip tour hoodies have “216” on the front, a special code. 216 is Plato’s Number, which has references in ancient texts, the sum of 3 consecutive cubes (a “magic number”).
BAM opened with Suffocation Keep. This was another tour bust-out, last played at Sullivan Hall in 2010 (one of only 4 shows they played that year). This sombre song is about a relationship and introspection (lyrics, video). Trane-ing came next, which was played in every city this tour, but had not been played since a Slip stealth gig at Matt Murphy’s Pub on Valentine’s Day 2006 (The Slip were billed as “The Lips”). Bloodstone returned, which debuted at Brooklyn Bowl Friday. The powerful Sometimes True to Nothing and Motherwolf ended the first set with ferocity.
Marco sat in on Hammond for most of the second set, adding depth and chops to the musical stew. They opened with the sing-a-long If One of Us Should Fall, one of their most popular tunes, last played at Lockn’ Farm this summer. A funky Chasing Rabbits came next, followed by Jumby and a sweet Yellow Medicine with a Zion intro. Marco took a break for Through the Iron Gate and Life in Disguise, returning for Lennon’s Jealous Guy, which BAM only ever played on this tour.
Teasing this song throughout the tour on preprinted setlists, The Slip finally satisfied fans with their most-requested song, Honey Melon. This song is an earworm – once the “Words go in, they don’t come out.” This ended the set with great energy, and everyone was on their feet by then.
BAM returned to play an blazing encore of The Weight (fan-shot video), which was even fiercer with Marco on keys. This version had both the Autobody intro and the Dogs on Bikes outro. Fans danced wildly to celebrate this last show of the tour, and we all hope that The Slip will return to the road again soon.
Hugs and tears flowed as we processed the musical majesty of these last two weeks.
Saturday, November 20, 2021 – Levon Helm Studios – Woodstock, NY Set 1: Suffocation Keep, Trane-ing, Bloodstone*, Aptos, Sometimes True to Nothing > Motherwolf Set 2: If One of Us Should Fall, ? > Chasing Rabbits, Jumby, Yellow Medicine%, Through the Iron Gate^, Life in Disguise^, Jealous Guy$, Honey Melon Encore: The Weight#> Dogs on Bikes Notes: * new Brad song, previously untitled. % w/ Zion intro. ^ the only two songs in second set w/o Marco Benevento on Hammond. $ John Lennon cover. # new version, with Dogs on Bikes outro and Autobody intro.
Singer and songwriter Thom Powers, from Greenwich, NY where he’s been living and playing locally for about nine years now, has released his first single called “Roller Coaster Show.” It’s a rock and roll tune with clear Beatles influences. Powers recruited top musicians in the area to join him on this track including: Darryl Kniffen (drums, producer, mixer), Andy Mollica (lead guitar and bass) from jazz trio Tanager, and Tony Califano (keys) from Rusticator.
Powers grew up in rural Sherrill, NY, listening to his father strum and sing throughout his childhood. He continued to have a love for music and guitar throughout his early 20’s but didn’t explore the playing out scene until 2012. He started playing at Argyle Brewing Company at Greenwich and quickly branched out to other local venues, collaborating with exceptional musicians in the area – all of whom studied music and are multi-instrumentalists.
“Roller Coaster Show” will be the first song on Powers’ forthcoming album. It’s a catchy tune with a solid drum track that keeps you grooving in combination with the wonderful addition of Tony Califano’s Wurlitzer and Organ and Andy Mollica’s well-timed guitar licks throughout.
There are no set gigs as a 5-piece at the moment, but Argyle Brewing Company and Unihog will be on the schedule in 2022. The trio will have a few more gigs and Thom Powers will continue to play solo at The Inn at Saratoga, Bound by Fate Brewing on New Year’s Eve and Cloud 9 Coffee Lounge on New Year’s Day, amongst others. You can even catch him at the Saratoga Farmer’s Market on January 15.
You can check out the brand new single below and on Bandcamp.
Happy Birthday Gregg Allman! The road for the Allman Brothers Band certainly does go on forever. Some of its trails were carved by two of their managers who graduated from Syracuse University. They made residency history at the Fillmore East and The Beacon Theater in Manhattan during their time.
The band evolved with a changing cast at Syracuse University’s Manley Field House over the years as well. The Allman Brothers Band even took on a summer-like residency at the New York State Fairgrounds & ballparks every August.
The musical concept Gregg Allman and his brother Duane ‘Skydog’ Allman founded in Florida has had Syracuse ties since 1970. During an Allman Brothers Band gig that year on Collins Avenue in Miami, while noticing Eric Clapton in the crowd, Duane told his brother Gregg, “Bay brah, dig who the fuck is sitting over there” to which Gregg replied “Man, I saw him two songs ago.”
Duane Allman & Eric Clapton Syracuse 1970
Clapton recruited Duane Allman to play in the studio on Layla and Other Assorted Love Songs. Duane only performed the legendary work live in Tampa, Florida on December 1, 1970 and the last time at The Onondaga County War Memorial in Syracuse on December 2, 1970. Elton John got to see it as he opened the show that night last minute when the dates changed. Less than a year later, Duane gave up his ghost in the band and Gregg took his brother’s angel spirit on the road with him forever.
In March of 1987, many moons before their infamous residencies at the Beacon Theatre, Gregg Allman brought his solo band to Syracuse. The I’m No Angel tour had a stop at North Syracuse’s USA Sams Rock club. My father, Mark Romano was running the infamous Ground Round chain restaurants that year. As he was ready to close shop one night, much to his surprise, Gregg Allman was posted up at his bar. Gregg’s crew was in transit at the hotel next door on 7th North Street with only their tour bus as means of transportation.
After some spirits and laughter, Allman asked Romano if he would be able to drive them in his Buick to other establishments that were open. They went to the legendary Crossroads bar on 7th north street to shoot pool & enjoy some conversation. They certainly talked good music as Romano’s father Frank Romano’s cousin played piano with Frank Sinatra in the seventies. As the closing hour approached, Gregg insisted they go to the club where he was performing the next evening.
Romano backtracked from the North Syracuse club to their hotel on 7th North in the early morning hours to drop them for the night. After all, he had to open the restaurant the next day. While feeling a little bedraggled, he saw Gregg return in true southern gentleman fashion. He brought Romano various records and tapes of music they discussed the night before on the town and passes to his show that evening.
I started 2009 in NYC at Gramercy Theater seeing Gregg’s solo band perform there New Years Day and during Daytona Beach Bike Week that Spring. I was able to share the tale with Allman at the Turning Stone Casino after a solo band performance in 2009 as well. The same southern hospitality he showed my father was reciprocated as Gregg and I played some blackjack and talked blues music.
Jess’s question “What is it about blues music and these older songs that draws you to them? Gregg replied, “It’s kind of an outlet, ya know? If you got a little taste of the blues or something hanging on from way back, it’s like a release. It damn sure works too.” Novak found herself performing at Jones Beach with Devon Allman where Jason Isbell played prior and Gregg closed the show, an experience Novak described as “completely insane”
Gregg’s sax player Jay Collins performs regularly at Syracuse’s Salt City Waltz every year. In 2012 Gregg released his New York Times best selling book My Cross to Bear from a loungey first person account. Don’t forget a 16-year old Cameron Crowe joined Gregg and the band on the road in the summer of 1973 to write a Rolling Stone cover story on the group.
The Allman Brothers Band started The Peach Music Festival at Montage Mountain Ski resort in Scranton, PA in 2012. Allman-Betts band returned to the Peach stage this year collaborating with longtime ABB bassist Oteil Burbridge. Derek Trucks and Warren Haynes performed “Why Does Love Got to be so Sad?” at the 2020 Love Rocks NYC benefit at The Beacon Theatre on the infamous March 12th start date of the pandemic.
Soul Survivor of the original ABB, Jamoie Jameson, grooved on his drum kit at the Peach Festival’s Mushroom Stage this year as well. When I spoke with Devon Allman briefly at the Peach and told him the tale of our pops he replied with a smile “Ah man, that sounds just like him.”
The life and legacy of Gregg Allman can best be summed up in his autobiography, My Cross to Bear: Music is my life’s blood. I love music, I love to play good music, and I love to play music for people who appreciate it. And when its all said and done, I’ll go to my grave and my brother will greet me saying, “Nice work, little brother—you did right”
Andrew Thomases extracts music from his down to earth personality, whether it is his vulnerability or call to action, Thomases has a job for us all to do. “Will You Miss Me When I’m Gone” addresses the topic of climate change from the perspective of the environment filled with eccentric bass rhythms, funky guitar, and booming percussion.
Thomases is always looking to challenge the listener’s mind by stirring curiosity in their hearts. Through his retro rock rhythms, complimented by captivating melodies inspired by the the greats of the ‘80s and ‘90s, it’s almost easy to bypass his lyrics. Defining his genre as “conscious rock” Thomases is dedicated to singing about current events, life experiences, or loss taking his fans on an emotional journey with each listen. His personality always shines through making each emotional journey lighthearted, cracking jokes through his serious messages.
“Will You Miss Me When I’m Gone” is a warning and a call to action, as we must act quickly to preserve what we have for future generations. Otherwise, they may not even know what they are missing.
Andrew Thomases
The New York native grew up just north of New York City as a son of a musician himself. Andrew’s father pursued his passion for bass guitar pushing him to pick up his own at the age of 12. As a typical band-type highschooler, he spent his years organizing and playing in cover bands around his hometown. His tendency to lean on unusual chord progressions threatened the status quo and earned him the role as a DJ for his school’s radio station, and he continued to explore music through college. His recent move to San Francisco has given Andrew more experiences to write upon, bringing more material to captivate his fans.
The powerful call to action will inspire you to pay your respects to mother earth while keeping you grooving on the dance floor.
With Christmas being only a few weeks away, we’ve been starting to hear more Christmas jingles wherever we go. Brooklyn-native Debbie Gibson has released a video to her infectious, sleigh bell-filled original Christmas song “Christmas Star,” a fresh holiday jingle that will keep us singing through the 25th.
“Christmas Star” teaches us to let go of the past while being the change you wish to see in the world this holiday season and beyond. Debbie alongside her guest stars, her three dachshunds named Joey, Trouper, and Levi. Watch “The Christmas Star” below.
Now, I know what you’re thinking, THE Debbie Gibson? Yes, we are talking about THE Debbie Gibson, one of the biggest teen pop stars on Earth since the late 80s. You remember sobbing in bed, screaming along to each innocent adolescent heartbreak like “Lost in Your Eye” and “Foolish Beat.” Debbie earned a Guinness World Record for being the youngest artist ever to have written, produced, and performed a Billboard number one single at 16 years old, a title she still holds to this day.
Conquering the Broadway stage starring as Eponine in Les Misérables, Sandy in Grease, or Belle in Beauty and the Beast, Gibson is a timeless pop-star who reaches for her quintessential songwriting expertise to shed some holiday spirit this coming Christmas. She’s hard to missa, and she’s back for more, without losing any of her stardom.
I think that celebrities should never underestimate their power. I mean just to draw attention, because then people get involved on a personal level.
Debbie Gibson
The Brooklyn born, Long Island-raised popstar has the big city to thank for shaping her into the into a pop-star. We all have to thank her mom too, bringing young Debbie to venues across the five boroughs that influenced her rise to fame at just 15 years old. With time, her songwriting has evolved with each hit released and television or Broadway appearance. Earning the ASCAP award for songwriting alongside Bruce Springsteen in 1989, Gibson continues to shine through each hit she writes.
After all this time, Gibson released her 10th studio pop album, The Body Remembers, waiting 20 years to find the perfect moment, creating a milestone for her and her own label, Stargirl Records. Paying homage to her earlier music, we hear her authentic sound of modern pop hooks and upbeat club bangers.
This time she puts a new refreshing spin on her newest album. The Body Remembers represents all things Debbie: empowerment, living your best life, and staying eternally electric. Listen to the full album below.
Today, New York-based singer-songwriter sautereau, previously known under the name Cee, releases the music video for her single, “Conversation Hearts.” With a glass-half-full perspective even after global struggles this past year, “Conversation Hearts” offers a lighthearted undertone of emotions reminiscent of 90s singers Lisa Loeb and Jewel.
Born and raised in Geneva, Switzerland, Chloé Sautereau picked up her first guitar at the age of 8 and quickly began writing songs. Starting her career under the name Cee, she released her debut EP As I Keep on Dreaming in 2019 at age 18. Swiss radio featured this early project focusing on human relationships and the small perplexities of life.
Now based in New York, the singer-songwriter now goes by her surname “sautereau,” creating a truer world for herself. With a bare-face pop sound that blurs the line between reality and what goes on in our heads, she writes intimate songs about her experiences with an authentic sound, showcasing her storytelling forte. With influences such as Finneas, Julia Michaels, and Jessie Reyez, sautereau’s unapologetically honest voice is accompanied by production that is modern and crisp.
“Conversation Hearts” brings up nostalgic feelings experienced while isolated during the pandemic. The elegant and emotional video shows vignettes of sautereau playing guitar and trying to focus on everyday tasks while falling into the repetition of her daily routine.
This song is about the bittersweet realization of how fast time slipped by, while also feeling like it suddenly stopped, It’s about the frustration of not being able to do what we should have been able to do, but hopefully still acknowledge the good memories made with the few special people we were lucky to have around.
sautereau
Listeners will connect with sautereau’s longing for interaction and wanting to spend time with the world, while dealing with the loneliness we have all experienced this past year. While time seems to blend together, sautereau reminds us that there’s beauty in the little everyday tasks, and spending time with yourself while listening to what your heart wants can be therapeutic. Written by sautereau, the song has elements of bass, synth, and drums, all performed by Toby May, while she plays the guitar.
I always had a passion for writing from poems to prose. Storytelling was always there, and I think that’s around the time I put those together and fell in love with it.
sautereau
The nostalgia and honest emotion conveyed through her songwriting allows sautereau to stand out as an artist. Follow sautereau on Instagram to keep up with her exciting journey ahead.
NYC-based Nicotine Dolls shared their new single “Upset the Neighbors,” the latest from the group that formed in 2017 after lead vocalist Sam Cieri and lead guitarist John Hays decided to form a band after meeting on tour. Bassist John Merritt and drummer Abel Tabares joined quickly after.
The band has spent the past 4 years recording and releasing music (produced by Eric Sanderson) as well as producing their own videos. DIY touring and hometown NYC shows are always left shaking from the bands emotional raw and energetic performances. Balancing genre fluidity between alt-rock, pop, and some bits between, the band’s music is always rooted in honesty and the simple complexities of being a person.
This song is two people keeping veering away and distracting themselves from the issues inherent between them. I brought this one to the band feeling like it was right up our alley, big exhilarating sounds tied onto the inevitable weight of the topic. We went in wanting to chase the distraction part of the story, the fun and the show. So, we take that grounding and then thought, what if “I believe in a thing called love” by The Darkness was covered by a 2007 pop punk band? It’s always a good sign if these are the questions you are asking.
Sam Cieri
Nicotine Dolls have three shows planned at Rockwood Music Hall in NYC, with more information available here.
Nicotine Dolls Tour Dates
Jan 13 – New York, NY – Rockwood Music Hall Feb 17 – New York, NY – Rockwood Music Hall Mar 17 – New York, NY – Rockwood Music Hall
On December 10, the band released the music video for “Upset the Neighbors” which can be seen below.
Our videos are the other half of what we do and we have a lot of fun making them ourselves. The goal for this was to double down on the fun and make something that didn’t take itself too seriously (like those great Foo Fighters videos). We spent two days creating and filming chaos in our friends apartments and it will go down as the most fun we have had making a video so far. This video is meant to make you smile and laugh and feel good because after the year and a half we have all had that’s what we all (including this band) need.
