Orebolo, an acoustic trio featuring Goose members Rich Mitarotonda (vocals, guitar) Peter Anspach (vocals, guitar), Jeff Arevalo (upright bass) have announced a series of six winter tour dates.
In December, the trio will make stops in Upstate New York at Tarrytown Music Hall, and Homer Center for the Arts, as well as Spruce Peak Performing Arts in Stowe, followed by a three shows in Colorado in late January.
The group has built a faithful following nationwide, following a series of virtual festival appearances in 2020, and an acclaimed performance at Lockn’ Presents FRED The Festival in August 2021. Formed during the height of the initial COVID-19 surge, the members of Orebolo shared a home and found comfort in learning new covers and creatively exploring Goose’s deep catalog acoustically.
Starting this project was a source of relief for all of us, especially during such a crazy time. Our initial practice and recording space was inside our solarium – the vibe was really tranquil, and we wanted our listeners to share in that feeling. I’m stoked we have the opportunity to take this out on the road and perform in some incredible rooms.
Peter Anspach
Pre-sale tickets will be available Wednesday, October 13 at 10AM venue local time using the code ‘OREBOLO’. The general on-sale will follow on Friday, October 15 at 10AM venue local time. For more information, and to purchase tickets, visit orebolo.com.
Goose made it look almost all too easy to sell out their second night of Terminal 5 on October 9, 2021. The Connecticut-based quartet undeniably took the audience on a full fledged journey that encompassed the multitude of genres that have influenced the band, thus far. Lucky New Yorkers had a chance to experience the powerhouse that transported us somewhere outside New York City this weekend.
Stage lights dim welcoming Rick, Peter, Trevor, Ben, and Jeff on stage, accompanied with a roar from fans begging “GOOSE”, echoing from all three stories inside the terminal. “Tumble” opened the show where Ben Atkind (drums) did us the favor of pulling us into the groovy funk dictating the addictive dancey beat that defines Goose. Rick Mitarotonda (guitar, vocals) spoke indefinitely through the gorgeous Paul Reed Smith Hollowbody II, putting the audience in a trance with his guitar shredding improv through Bob Don.
Peter Anspach makes his first lead vocal debut of the night with a new song from the band, Life On the Shelf. Clearly an unreleased hit, without knowing any words fans were hooked on the chorus, dancing and swaying to the sincere folk tune, highlighted by Rick and Peter’s buttery harmonies. Followed with “Jive Lee” and “Jive II,” Peter’s funky solos and Trevor Weekz thick bass lines brought the crowd furiously jumping and screaming once again. Without any hesitation the audience was pulled into a surprise cover of “Rock the Casbah” from the Clash shaking the floor until the end of set I.
“Wysteria Lane” kicked off the second set with a smile and Peter’s earnest vocals, with some help from the Luigi plush on one of his three dazzling double casio keyboards. Unbelievable Goosian-shredding kept the crowd mesmerized cheering with each cadence as both Rick and Peter swiftly moved up and up the neck leaving the audience asking if they came to a hard rock concert. Rick guided us through Seekers on the Ride I and II with ease reminding fans of their versatility as artists. The loudest cheers of the night broke when Rick’s eccentric solos pushed to the well known hard twangy intro of “Hot Tea.” Ending with “Dragon Fly I & II,” Rick eased our anxieties with a smile “Don’t worry we have one more set.”
“Get The Funk Out of My Face” was not the only cover of set III, but Goose’s folk rock cover of Foster the People’s “Pumped Up Kicks” made it sound like Goose could’ve written the song. Just when we thought Trevor Weekz might just be too cool for us, being the backbone of Goose with his 5-string bass and sunglasses, the spotlight shined on him as he read a “Acquainted with the Night” by Robert Frost backed by Ben Atkind (drums) and Rick filling some eerie melodies. The band endurance was unrequited through three full set of nonstop music eventually wrapping with an Encore of “Hot Tea.”
Goose – Terminal 5 – Friday, October 8, 2021
Set 1: So Ready, Look Out Cleveland, Honeybee, Indian River, The Whales, All I Need
Set 2: 2021> Old Man’s Boat >2021, Rosewood Heart > Into the Myst, Echo of a Rose > 2021
Encore: Flodown
Goose – Terminal 5 – Saturday, October 9, 2021
Set 1: Tumble, Bob Don, Life on a Shelf*, White Lights > Jive 1 > Jive Lee > Rock the Casbah
Set 2: Wysteria Lane > It Burns Within, Seekers on the Ridge [Part I & II], Hot Tea > Dragonfly [I&II]
Set 3: Get The Funk Out Ma Face, Creatures > Pumped Up Kicks, Madhuvan** > Turn on Your Love Light > Madhuvan
An iconic venue located on the Lower East Side of Manhattan, known for being a hotbed for indie talent since the early-1990s, the Mercury Lounge welcomed country singer-songwriter sensation Maggie Rose on Tuesday, October 5. An emerging star based in Nashville by way of Potomac, Maryland, Maggie Rose has created her own original recipe of the rock, pop, blues and soul genres.
No stranger to the road or to the stage, Maggie Rose is approaching the century mark for appearances at the legendary Grand Ole Opry, while also touring extensively over the past few years with the likes of Sheryl Crow, Kelly Clarkson, Heart, Joan Jett, Emmylou Harris and Jason Isbell, just to name a few. Having honed her power-packed vocal talent since getting her first start in 2009, Maggie Rose is currently in the midst of a headlining tour in support of her third album titled Have a Seat(Starstruck Records), released this past August and recorded at the legendary FAME Studios in Muscle Shoals, Alabama. On this early autumn night, her frequent touring collaborator Them Vibes (a sextet formed in 2013 and also hailing from Music City) would once again be backing her.
The night’s proceedings were kicked-off by Dylan Hartigan, the “Jersey Boy” who calls home only a short distance away, when he casually walked onto the stage with the confidence of a seasoned veteran. Dylan Hartigan was officially introduced to the music industry in 2018, as a contestant on “The Voice,”where he impressed many. One of those who praised Dylan’s musical talents was Maggie Rose herself, who would go on to co-produce his brand new album out this week, titled The Way My Bones Creak.
In the short time that it took for Dylan Hartigan to remove his sneakers, adjust the height of his microphone and grab his acoustic guitar, the patrons I navigated around the bar entrance to the stage minutes earlier had seamlessly appeared around me, drinks in hand. I was now a witness to the exhilarating scene of Dylan’s friends, family and loyal fans of his Americana music, jam-packed from wall-to-wall, joyfully singing along to his lyrics. One highlight of Dylan’s 30-minute set was a song called “Tucson, Arizona,” introduced by him revealing to us that he wrote the lyrics based entirely on someone telling him that “it gets so hot there that you can fry an egg on the sidewalk.”
With the opening set nearing its completion, and while standing on the edge of the stage sans guitar, Hatigan acknowledged the crowd for their support. In near darkness behind him, the band members of Them Vibes were quietly taking to their instruments. Suddenly, the stage lights exploded back to life, fully revealing Them Vibes at their respective stage positions. Dylan Hartigan once again collected his guitar and closed out his thrilling and emotional set.
After a brief intermission, Them Vibes reappeared for the middle set of the night. Only a few moments after their frontman Larry “Brother Love” Florman lit an incense stick and its smoke began to bellow across the front of the stage, this rock and funk band pounced into their first song with an inspired and electric fervor. As he navigated around the intimate stage, Brother Love’s uniquely raw and intense energy was immediately apparent, with sweat quickly running down each side of his face as he twirled around the stage. Maggie Rose delighted her fans by appearing onstage for Them Vibes’ last song of their set, “Right On,” taken from their 2017 EP titled Electric Fever, which also featured Maggie’s passionate vocals.
With the moment we had all been waiting for now upon us, Maggie Rose took to the stage for her second turn, greeted warmly once again with applause and whistling. The first seven offerings from her 16-song set were taken from 2021’s Have a Seat, including the show opener and first single “Do It,” along with the gospel-powered “Saint.” After performing “Smooth” from her second album released in 2018 (Change the Whole Thing), the apex of the evening was capped by Maggie’s performance of “Crazy” with Dylan Harrington, who thrilled the “hometown” crowd with his reappearance and newest single. The final song of the night, “The Letter” (a 1967 cover by The Box Tops), left everyone in attendance still wanting more.
If you want to see more of Maggie Rose, you still have the chance as she continues her North American tour with several more shows over the next few months, commencing on December 18 in Chicago. Tickets are available here.
Setlist: Do It > Telephone > What Makes You Tick > For Your Consideration > Are We There Yet > Now and Then > Saint > Smooth > You Got Today > Best In Me > Crazy (with Dylan Hartigan) > Help Myself > Pull You Through > What Are We Fighting For > It’s You > The Letter (The Box Tops cover)
Spirit Of The Beehive made their way to Brooklyn’s newest live music venue, Brooklyn Made, on Thursday night in support of their outrageously creative 2021 LP ENTERTAINMENT, DEATH. The five-piece Philadelphia based band drew a sold out crowd to the week-old venue, stretching out the legs of the new PA with their heavily distorted and layered backing tracks.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
One can always expect growing pains in a new space, and Brooklyn Made was no exception. The group was forced into a brief delay after running through the opening track of ENTERTAINMENT, DEATH as the backing distortion tracks were not coming through the main speakers. The sound techs resolved the issue, and the band fell right back into step much to the delight of an extremely patient and understanding audience.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
Brooklyn Made is a sprawling space with several different areas, but the performance space is quite intimate and very unique in presentation. A super-wide, crescent shaped stage lines the back wall (similar in style to The Sultan Room) with a very shallow, sunken dance floor that allows for even late-comers in the back row to be rather close to the stage. Off the back doors is a separated bar area equipped with a pool table and direct sound feed from the live show. There is a courtyard, with a staircase up to a large rooftop space overlooking the many Bushwick Collective street murals and offering views of the Manhattan skyline.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
ENTERTAINMENT, DEATH is a continuous, artistic expression of the themes suggested in the title. Different songs cyclically build into ferocious rhythms and fade into distorted ambience over and over again across the 37 minute runtime. Motifs and instrumental pieces do not repeat themselves, even with the confines of a single track, and the listener reaches the end of the record with a strong desire to play the album back. On first listen, the record seems more of an unfinished collection of demos, but the more you listen, the more you discover a meticulously crafted artistic experience the delivers a new perspective with each listen.
Spirit Of The Beehive at Brooklyn Made, 10/7/21. Photo by BuscarPhoto
Spirit Of The Beehive have one more scheduled show on this run, which takes place Friday, October 8th in Washington DC. The band will also open for a couple shows on the Japanese Breakfast residency at Union Transfer in Philly next August. Check out a full concert calendar for the new venue Brooklyn Made HERE. More photos from the Brooklyn Made show below.
Miles Francis captivated their late-night audience on Wednesday, October 6, at Baby’s All Right. Originally set to perform at 10 p.m., scheduling delays led to a slightly later start to the already late-night show. Despite the wait, the audience at Baby’s All Right was buzzing.
The New York City native lived up to their reputation as one of the best-kept secrets of the local music scene. The show began with Francis walking through the crowd and jumping on stage enveloped in a silver morph suit. An intrigued audience watched as Francis acted out hurriedly ending a phone call.
After quickly unzipping their morph suit, Francis and their supporting band jumped into an energetic opening number. Francis performed a carefully curated mix of their discography, making sure to perform their two latest releases, “Service” and “Popular.” With their effortless dancing and humorous stories rounding out the set, it’s clear that the stage is a second home for Francis.
Miles Francis is currently working on their debut album, set to release in late 2021. Listen to his latest single, “Popular” here.
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.
We Are Scientists have just released their seventh studio LP, Huffy, via Masterswan Records. Their first effort in three years shows the NYC based band continuing to hone their distinct brand of catchy, guitar driven indie rock. Soaked with anthemic hooks and dance floor guitar grooves, the album is an extraordinary consistent addition to the band’s catalog that will instantly win over the hearts of their long held fanbase.
Huffy Cover Art Variations
Listening through the album is meant to evoke feelings of pure fun. Much needed in our lives these days, an approach to an album like this is a welcomed change of pace. While some of the songs detail crazy scenarios (and gory endings), the delivery and presentation is all about joy and individuality. Fans who ordered physical copies of the album receive a bare cover complete with sheets of stickers featuring We Are Scientists and Huffy, plus an assortment of characters and shapes to arrange on the cover however they please. Not to mention, the vinyl edition comes in your choice of 10 colors including “earth scoop,” “seafoam spritz,” or “dog tongue.”
“You’ve Lost Your Shit” by We Are Scientists, via YouTube
The fourth (and last) single previewed from the record is lead track “You’ve Lost Your Shit.” Accompanying the song is a music video showing lead singer Keith Murray waking up in a bathtub after having some organs stolen from his body. The song opens with a driving punk guitar riff surrounded by Keith’s soaring hooks and punchy vocal style. Much of the album continues in the same fashion, including personal highlight “Fault Lines,” which consists of an infectious guitar track and easily the catchiest hook on the record. “Bought Myself a Grave” features a somewhat country vibe both in guitar style and storytelling. The records closes with another indie sing along “Behavior Unbecoming,” solidifying the record’s prominent place in the catalog.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
We Are Scientists ended a tour back in December of 2019, right before the world would abruptly change due to the pandemic. It turns out, that the songs for Huffy were already largely written and the guys would use the time in quarantine to focus on all the other aspects of producing a final product.
All of the songs for our new album, Huffy, had been written and production for the record had begun just before COVID brought the world to a quarantined standstill. Fortunately for us, that little head start meant that the record largely avoided manifesting any of the sense of gloom or claustrophobia that might have infused the music, had it been fully written and recorded under lockdown. If anything, the fact that there was nothing else we could possibly be doing beside watching full seasons of old TV shows meant that we were able to pour even more attention into the making of the record. It became a refuge, for the first few months of lockdown — escaping to our little studio sanctuary became a relief, rather than a chore. We tend to hate the tedium of the recording process — messing with microphone placement, testing out every possible snare drum tuning, etc. — but that kind of thing became somewhat more appealing in quarantine. I think it made us a little more playful in our production approach, and the result, to me, is perhaps our liveliest, most exuberant record, to date.
We Are Scientists
Once concerts started to make a comeback in New York City, We Are Scientists announced a warmup show on Elsewhere’s rooftop. Unfortunately, the show never took place as a severe thunderstorm right as doors were opening forced the show to be postponed to September. However, fans that night were treated to an excellent surprise; never allowed on the roof to begin with, the people who showed up early were told to shuffle into the empty main hall and await an appearance from the guys. A bartender came in to open the bar, and shortly after We Are Scientists came out onto an empty stage armed with an acoustic guitar, a snare drum, and three voices.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
Neither the audience, or We Are Scientists for that matter, knew what to expect from this moment, but the guys performed acoustic versions (with a chorus of backup vocalists from the half-filled room) of several of their hits as well as a couple tracks of the yet to be released Huffy. For a last-minute, impromptu performance, the fans who were there that night witnessed a truly memorable show from one of their favorite artists. The rooftop concert would eventually be made up in September, with a full blown performance, but the 20 minute show inside the empty Elsewhere Hall will stick in those fan’s minds for a long time.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
We Are Scientists is about to kick off a lengthy European tour, beginning this Saturday in the UK. The first leg runs through early December with a second leg throughout April 2022. Check out all the tour dates HERE, along with links to order the highly customizable record as well as a slew of colorful merch. More photos from the impromptu acoustic show in the gallery below.
Key Tracks: “Fault Lines,” “Contact High,” “You’ve Lost Your Shit”
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!
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Joseph Beaty, Coyote Reverieand many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Joseph Beaty
“Kick Out The Pieces” is Adirondack musician Joseph Beaty’s latest single, ahead of his upcoming album Rust, You Can Leave Me Now. Out October 15, Rust is shaping up to be a callback to grunge and indie rock of the ‘90s. “Kick Out The Pieces” is the most menacing track yet, which says a lot next to previous singles “Still Forming” and “Thick of Things.”
Rust, You Can Leave Me Now is the embodiment of 2020. Things in my life (in all our lives) were put in perspective and it was time to remove the negative bits. This record was my catharsis, my therapy. It is gritty, unsafe, and dark. No sense in sugar-coating it. You will hear many lyrics talk about knocking the rust out. This therapy experiment helped me arrive as a new, more focused person for 2021.
Joseph Beaty
Coyote Reverie
Vermont trip-hop duo Coyote Reverie will release their debut album Imah on October 13. New song “Achilles’ Helix” has arrived just in time for Halloween, with spooky and cryptic lyrics: “I’m her shadow on the wall, I’m her echo down the hall / I’m the voices in her head, I’m the snakeskin that she shed.”
Lou Barlow, founding member of Dinosaur Jr., will make a few stops in New York State this week, with performances in Ithaca, Rochester and Buffalo.
On Tuesday, September 28, Lou will be at Six Mile Creek Vineyard in Ithaca, and the next night head north to Rocheter for an intimate show at the Bug Jar on Wednesday, September 29. He’ll then play a unique backyard show in Buffalo on Thursday, September 30.
Lou shared this message with his fans in announcing the shows:
Hi everyone, I’ve got even more time before I head out on tour with Dinosaur Jr. so I want to do even more acoustic shows, again in the eastern US and a little further south. If you haven’t seen me before it’s always pretty fun and loose. I take requests and ramble on about things here and there. I really enjoy it, play for about 2 1/2 hours and haven’t had any complaints! I’ll play songs off my new LP too. Join me!
Lou Barlow began writing songs in 1981 inspired by bands like Minor Threat and the AM radio of his childhood, John Denver and Black Flag. The first official results of these pendulum swings were released as contributions to the 1984 Deep Wound 7”. By 1986 he was home recording his first acoustic LP Weed Forestin’ and touring his post-hardcore collaboration, Dinosaur Jr,, leaving in 1989 to join Sebadoh, and late in the ’90s, Folk Implosion, including the 1995 top 40 hit “Natural One.”
In 2005 Lou finally released a proper, under his own name, solo LP: EMOH,” an acoustic-based, singer-songwriter , studio-recorded effort that began a run of 4 similar collections culminating with 2016’s Apocalypse Fetish EP. Concurrently he rejoined Dinosaur Jr. and contributed songs to their successful 4 LP (and counting) reunion era.
For the Bug Jar show, proof of vaccination is required to attend this show, and seating is first come, first serve for this limited capacity event. Tickets for all shows are available here.