Earlier this year, as the weather thawed and there were early signs of the coming easement of pandemic restrictions, a small courtyard in the Center Square neighborhood of Albany became the home to intimate sessions from a variety of Capital District artists.
James White. Photo by Frankie Cavone
Produced by Frankie Cavone of Mirth Films, the Courtyard Sessions provided an opportunity for a variety of musicians from across the 518 to step into a private outdoor space and play acoustic renditions of their tunes.
Brad Hester of Annie in the Water. Photo by Frankie Cavone
Starting in May 2021, Cavone started the Courtyard Sessions as a way to help promote solo musicians in a creative form. Combining his video skills and a new courtyard at his recently moved into house, it was a match made in heaven.
For myself this was a way to stay creative learn and try new things. I don’t like being stagnant and after the big live streaming boom that we experienced in 2020 and early 2021, I wanted to try something different something less sterile.
Frankie Cavone, Mirth Films
The lineup was curated by Cavone, working with musicians he had worked with previously, as well as hoped to work with for the first time. The response was strong, with musicians coming to the courtyard for an afternoon or evening session, with enough interest and response from viewers to continue the series this fall and into 2022.
I did not know if this was something that would last as long as a did, but after 14 episodes, it’s something that I want to continue doing. As a creator it definitely helps me learn and build my skills.
Frankie Cavone, Mirth Films
Cavone’s end goal with Courtyard Sessions, now that it is established, is to have not only local musicians but national touring musicians as well who are coming through the Capital Region step into the courtyard.
An official Mirth Films series, Courtyard Sessions is one of a handful of new series that will be coming out before the end of 2021,
The Fall season will end later this month, with local singer/songwriter Caity Gallagher, who has a voice comparable to Dolores O’Riordan of The Cranberries, as the penultimate guest, premiering Wednesday, October 20 on the Mirth Films YouTube Channel.
Watch all episodes of Courtyard Sessions from Mirth Films below.
Tucked away in the hills of Coeyman’s Hollow, NY at Magic Forest Farm, artists, vendors, and fans alike came together for the first ever Diggin’ Roots Festival. Sugar Productions, Lyons Den Productions, and co-founder Koryn Shear put in countless hours, days, and months making this cozy little farm with a name to match a haven for the few hundred fans who would descend upon it.
The two-day festival started Friday evening with solo artist Matt Cosgrove covering plenty of 90’s rock hits and some amazing originals. Local Favorites, Raisinhead, were the first to grace the main stage with a few sit-ins from harmonica extraordinaire, Junebug. Ted Grey of Raisinhead stayed on stage for the next set as Quantum Cosmic came on, comprised of him and members of Annie in the Water, The Switch and the Reflexions. Last but surely not least, the Deadbeats rounded out the night with two hour long sets.
Saturday, music began at the crack of noon with the Token Locals. And no, not the heads just waking up from the night before. The wonderful Laura Leigh Band was on next. Laura and companions put on and amazingly whimsical and beautiful performance, setting a light mood for the remainder of the afternoon for Hilltop and the Lousy Slaughters.
As the day grew dark, local legends, the Wheel rolled out a classic set of Grateful Dead tunes before stepping aside for Dr. Jah and the Love Prophets. These two Captiol Region favorites have been playing here for many years, Dr. Jah looking at close to 30 years of incredible Reggae.
Hailing all the way from Harrisburg, PA, you might remember Yam Yam from their recent set at Alive at Five, Albany’s free summer concert series. Shane Spillinger of Sugar Productions noted how well they were received that night, making sure to bring them back for this festival. As the band came on stage the crowd chanted “Yam Yam! Yam Yam!” continuing, whether they liked it or not, after every song.
Long Island’s Baked Shrimp was the last band of the night, playing a quick hour set before giving way to Danish DJ David Maros who played deep into the night.
Their inaugural year was an absolute success and we at NYS Music hope there will be plenty more in the years to come as the new festival continues Diggin’ Roots.
At only 17, Hudson Valley singer-songwriter Stella Prince has a voice and sensibility well beyond her years. Her eerie soprano simultaneously evokes Americana and traditional choral music. But her raw lyrics, which evoke the anxiety and open-heartedness of Gen Z with a rare clarity, even further reflect an old-soul songwriter. After a new single and many solo shows, Prince is looking to take a lifelong dream to the next level.
Photo Credit: Lily Prince
“Ever since I was like 4 I had it in my head that I wanted to be a famous singer,” Prince said. “But I feel like during the pandemic I really just realized that this was meant to be, and it really started growing incredibly quickly.”
Prince has released three new singles this year, each more arresting than the last. Though the unassuming honesty and plucked guitar evoke idols of her own like Taylor Swift, her more unconventional tastes shine through as well. As a pre-teen, Prince hosted her own radio show where she primarily played tunes from the ‘30s and ‘40s. She’d grown up with the genre, and liked the idea of playing something unique. Furthermore, she already respected the era’s influence on her, and wanted to share it.
“I was just drawn to it,” Prince said. “It taught me so much about music.”
Sharing something deeply personal is inherent in Prince’s musical philosophy. Prince describes her goal as bringing “an authentic, acoustic sound back to contemporary music.” Stella Prince believes making something timeless and catchy, that diverse audiences can relate to, doesn’t have to mean sacrificing the words in your heart.
The urgency of Prince’s lyrics is nearly palpable in her singular voice, which effortlessly recalls the measured melodies of classic folk. Even on the highest notes, Prince’s voice holds a softness and lightness. Over careful and striking guitar lines, she all but lulls you into a trance. It’s a unique and memorable sound thats led her to critical acclaim.
Prince’s first live show, at the iconic Bluebird Cafe in Nashville in early 2020, left her both elated and intimidated. She dropped her guitar onstage, breaking all of the strings. But she thought fast, used the house guitar, and continued to perform. The “traumatizing” experience is far behind her now, and these days Prince’s biggest dream is to play a stadium someday. But Prince said she ultimately gained something from the early mishap.
“You have to learn when you’re performing that all of these things can go wrong,” she said. “There’s so many things that can go wrong, and you just have to deal with it.”
Photo Credit: Lily Prince
Since gaining her associates degree at 16, Prince has split her time between Nashville and Los Angeles. Prince credits her parents’ support with keeping her sane as she travels more and more for her career. COVID-19-withstanding, Prince has maintained a growing and consistent touring schedule around the East Coast since her graduation. Still a minor, she always travels with her parents. Prince said she’s grateful they’re fellow artists: her father is a writer, and her mother a painter.
“I think their work ethic really inspired me growing up,” she said. “They worked all day on their art, and I saw that from a really young age.”
Despite her newness in the studio, Prince has already begun solidifying her own tastes into a style. She got a taste for producing with her last single “The Rain Might Fall,” and hopes to continue honing that skill, and control over her sound, in the future.
In the track, over a twinkling and methodic melody, Prince grapples candidly with the confusion and turmoil of adolescence. “The Rain Might Fall” finds her unsure of what’s coming next and where she’s going, but aware she must go. Singing “I’ve been staring at the ocean/ mesmerized by motion/wondering why,” Stella Prince effortlessly captures the moment you realize just how big and mysterious the world can be.
“I think, you know, in terms of songwriting I really knew exactly what I wanted to say,” she said of developing the track. “Because I think the song for me really just talks about what its like to not know.”
It’s here that Prince’s young age comes through in an arresting way. Her existentially questioning, and sometimes painful, lyrics poignantly reflect the specific anxieties of Gen-Z’ers. Her peers around the world face an uncertain future and rapid change, in a way that feels both collective and personal.
On the spare “Scared,” Prince faces that uncertainty head on, as bravely as she did years ago with a broken guitar at the Bluebird Cafe. She sings: “In the end I really have to trust myself/ Once again I can’t wait for someone else/ To fill my dreams, I’m scared it seems/ Its up to me.” The lyric beautifully captures the moment of anxiety right before you do something big, on your own. With confidence and grace, Prince seems well on her way to filling those dreams herself.
A new archival release from the estate of Jerry Garcia highlights a series of Fall 1989 shows taking place in Hartford, CT and Uniondale, NY. Dubbed “The Long Island Sound,” the two shows recorded by John Cutler feature one set each night from Bob Weir and Rob Wasserman, along with two-set performances each night from Jerry Garcia Band.
cover art by Stanley Mouse
Released on Round Records, Fall 1989: The Long Island Sound features two complete performances with over five and a half hours of previously unreleased music from September 5th, 1989 at the Hartford Civic Center in Hartford, CT and September 6th, 1989 at Nassau Coliseum in Uniondale, NY.
Fall 1989: The Long Island Sound celebrates the storied East Coast 1989 run which featured acoustic duo Bob Weir and Rob Wasserman setting the stage for two nightly sets from the Jerry Garcia Band.
Recorded on a 2-track DAT and mastered by Joe Gastwirt, this collection contains audio with apparent, irremediable sonic imperfections (most notably the distortion on Jerry’s vocal during “Cats Under The Stars”) heard by all who experienced these performances in person or on tape. Despite the limitations in fidelity, the performances presented showcase timeless, transcendent and often blistering moments of pure magic.
The release features an album package including a liner note essay by Blair Jackson and archival memorabilia from the collection of Steve Parish. Pre-order the box set here.
September 5th, 1989 – Hartford Civic Center – Hartford, CT
Bob Weir & Rob Wasserman: Festival, Fever, K.C. Moan, Desolation Row, Looks Like Rain, The Winners, Victim or the Crime -> Wasserman Bass Improvisation no. 1 -> Throwing Stones
Jerry Garcia Band Set 1: Cats Under the Stars, They Love Each Other, Waiting for a Miracle, Run for the Roses, Like a Road, My Sisters and Brothers, Deal
Set 2: The Harder They Come, Mission in the Rain, Forever Young, Evangeline, Gomorrah, Don’t Let Go -> Lonesome and a Long Way From Home
September 6th, 1989 – Nassau Coliseum – Uniondale, NY
Bob Weir & Rob Wasserman: Walking Blues, City Girls -> Fever, Blackbird -> When I Paint My Masterpiece, Shade of Grey -> The Winners -> Easy to Slip -> Wasserman Bass Improvisation no. 2, Heaven Help The Fool
Jerry Garcia Band Set 1: How Sweet It Is (To Be Loved By You), Stop That Train, That’s What Love Will Make You Do, Mississippi Moon, I Second That Emotion, And It Stoned Me, Deal
Set 2: The Harder They Come, Dear Prudence, I Shall Be Released, Let It Rock, Evangeline, That Lucky Old Sun, Tangled Up in Blue
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.
Jason Matu releases his first single “Fare Thee Well” today, September 17th, from his upcoming EP set for release October 15th.
Matu, a songwriter from Brooklyn creates music he describes as simple, immediate songs with a literary bent and expansive soundscapes. When told not to pursue music until he has completed college, Matu went ahead and enrolled into law school.
The indie artist’s new single displays an uplifting tone in a grim year plagued by the pandemic. “Fare Thee Well,” the first single from Jason Matu’s upcoming Same Day EP, is an Americana piece which paints a portrait of an overcoming feeling of perseverance and triumph.
Matu’s upcoming EP was written all in one day’s time and recorded by frequent collaborator and Grammy-nominated producer Justin Craig, responsible for Hedwig and The Angry Inch. Joining him are base and guitarists Jordan and Talor Steinberg of The Moon City Masters.
Eventually, Jason Matu rediscovered his musical purpose after insulating himself as a creative force in a short-lived arena rock band, and shifted priorities. he moved to Brooklyn. With a series of tragic medical emergencies, deaths, and global pandemics in the way, Jason was literally (and figuratively) forced underground. In his isolated apartment Jason found himself writing song after song.
With no one else to sing his compositions, Jason took it upon himself be the vocalist. Somewhere in the cracks between 5,000 discarded lines of song, Jason found his voice. Jason made his debut album Dumb Ecstatic Bliss, which rose to #115 on the college radio charts. Working on his neon Americana follow-up, the Same Day EP, titled cleverly due to the fact that all three songs were written on the same day during the pandemic.
For many bands it is a struggle to make it past a few years. However, when they do, it requires something special. To commemorate their 20th anniversary, Georgia’s Blackberry Smoke spun up the “Spirit of the South Tour: A Celebration of Southern Rock N Roll.”
To help support this momentous adventure, Blackberry Smoke brought along The Allman Betts Band and The Wild Feathers, as well as having special guests sit in at various stops along the way. As luck would have it in the year 2021, midway through the tour a member of Blackberry Smoke tested positive for Covid. With proper protocols in place, the band isolated for enough time to enabled them to finish out the run and reschedule dates where possible. NYSMUSIC caught one of the rebooked shows at The Stone Pony Summer Stage in Asbury Park, N.J.
With a light breeze flowing in from the Atlantic Ocean, The Wild Feathers opened the late Sunday afternoon show. Fired up and raring to go, this five-piece from Nashville shared songs from their 2013 debut album, The Wild Feathers, and the soon to be released Alvarado. Per the band’s website, they “have been through the wringer” in the music biz, but you wouldn’t have known it as they strutted the stage, kicked up their heels, played their hearts out and found Ricky Young and Joel King climbing out on speakers to take in all the house had to offer.
The Wild Feathers
The Allman Betts Band faced logistic issues due to the rescheduled date and surprised the crowd with a three-piece acoustic version of ABB comprised of Devon Allman, Duane Betts, and R. Scott Bryon. Devon set the expectations for the afternoon calling it a BBQ backyard show, with the band writing the set list as they went along. Being in Jersey, the trio shared their take on Springsteen’s “I’m on Fire” to the delight of the Asbury crowd. Drew Smithers sat in mid set with his slide guitar prowess and later Jimmy Hall, founding member of Wet Willie, joined in contributing vocals and harmonica. In the spirit of paying homage to their musical forefathers, the collective finished with Sonny Boy Williamson’s “One Way Out.”
The Allman Betts Band
As the sun was setting, Blackberry Smoke launched into a 16-song set covering their multi-decade existence. Front man Charles Starr thanked those in attendance for their support over the years and attendance at the rescheduled show. The night featured songs from their latest, You Hear Georgia, in addition to “Good One Comin’ On”, “Medicate My Mind”, and “One Horse Town. The band closed with “Ain’t Much Left of Me.” BBS’s performance let everyone know they were not calling it quits at 20 years.
Blackberry Smoke
After these three acts finished, one could have gone home satisfied. But then the magic took over. After a short break, Blackberry Smoke hit the stage again bringing with them a variety of players to salute those who paved the musical way. Joined by The Wild Feathers, they started in with Charlie Daniel’s “Long Haired Country Boy” followed by Lynyrd Skynyrd’s “Tuesday’s Gone.”
Larkin Poe guested on Marshall Tuckers “Can’t You See” and Jimmy Hall fronted the jam with Wet Willies “Country Side of Life.” Not to remain on the side of the stage, The Allman Betts Band led a special tribute to Charlie Watts with “Honky Tonk Woman.” Throwing in a few more southern classics for good measure, Blackberry Smoke brought it all together as everyone joined in on “Midnight Rider.”
The New Jersey shore, known for its boardwalk, games of chance, and salty air was transformed this night by Blackberry Smoke and friends into simply “Southern” Jersey.
Keybank Rochester Fringe Festival is back in swing this year, with more than 400 in-person and online performances between September 14 and September 25. The 10th anniversary features the return of fan favorites such as the Silent Disco, Cirque Du Fringe, Fringe Street Beat dance off, and Pedestrian Drive-In.
For the first time, organizers have curated a mini music festival, called Smokestacks, to mark the finale. The free outdoor event takes place starting at 4pm on September 25 at Parcel 5 on Main Street, and features live performances by Cammy Enaharo, Mikaela Davis, Kopps, Spencer, Cannons, and Joywave.
For safety, COVID protocols are in place. All indoor events require masking and proof of vaccination. Attendees ages 12 and up who are unvaccinated must be masked at all times, even for outdoor events. Protocols may be subject to change. Prior to attending, check for updates online.
“After 18 months of closure that have devestated the performing arts, we’re thrilled to play our part in getting them back on their feet. Nearly 90% of our shows are live and in person, which wouldn’t be possible without our absolute commitment to keeping performers and attendees safe.”
– Erica Fee, Founding Festival Producer
A plethora of entertainment is available – from theater and dance to spoken word and comedy. And of course, music. Some Ska Band will heat things up with irresistible ska and reggae beats at the JCC canalside (outdoor) stage on opening night, September 14 at 7:30pm (get your tickets here). Gospel Sunday takes place on September 19 at 2pm, led by Reverend Rickey Harvey of Mt. Olivet Baptist Church at One Fringe Place (free). And the Taiko Japanese Drumming Performance makes a reprise at The Little on September 25 at 3:15pm (also free). And don’t forget about Smokestacks on September 25 at Parcel 5, where you can catch rising singer/songwriter Cammy Enaharo, the eclectic talent of Mikaela Davis, and of course Rochester’s own Joywave.
The complete lineup of events at Rochester Fringe is available online at RochesterFringe.com.
The organizers of DelFest, held at the Allegany County Fairgrounds in Cumberland, MD, have announced they have no choice but to postpone the upcoming music festival until Memorial Day 2022.
Despite best efforts from promoters in working with state and local governments, the postponement was shared on Thursday, September 9, citing specific staffing and COVID-19 safety requirements needed for the event to carry forward. Issues are noted in the announcement by Rob and Ronnie McCoury point to a lack of vaccinated staff among local workers, coupled with a general lack of available workers for staffing. Among these cited are local shuttle services and vendors.
The music industry by and large has needed strict adherance to safety protocols, including daily testing and mask wearing at all times, to ensure that one band or crew member getting sick does not cause a show, let alone a full tour or festival, to be postponed or cancelled. The surge in the Delta variant of COVID-19 left DelFest 2021 no choice but to push back to Memorial Day 2022, when conditions may better warrant a full festival experience.
This edition of DelFest featured headliners The Travelin’ McCourys, Béla Fleck’s My Bluegrass Heart, St. Paul & The Broken Bones, and Railroad Earth. Other acts included Old Crow Medicine Show, Sam Bush, and Leftover Salmon.
DelFest will offer refunds as requested through September 20, with all non-refunded tickets honored at the 2022 festival. While DelFest is held each year in Cumberland, MD, promoters were forced to cancel the 2020 edition, and then postpone the 2021 edition until this September. Two years without DelFest and fans shouting ‘Del Yeah!’ leaves a gap in the festival and travel schedule for many.
Revisit NYS Music’s past coverage of DelFest, and read the letter from Rob and Ronnie McCoury below.
A new album from Smithsonian Folkways challenges the historical conception that New York was the sole epicenter of the 1960s folk revival. The Village Out West: The Lost Tapes of Alan Oakes compiles extensive field recordings from the revival’s burgeoning center in Northern and Central California, all carefully taped by autodidact documentarian Alan Oakes.
The vibrancy and creativity of the 1960s folk scene in New York has been well-documented. From the epicenter of Greenwich Village, where Bob Dylan and Joan Baez rose to prominence, to Upstate’s lasting legacy of Woodstock ‘69, folk music has deep roots on the East Coast, and the 1960s revival would inspire generations of artists to come. But on the other side of the country, an equally spirited musical movement was occurring in the San Francisco Bay Area, where traditional musicians came together, and up-and-comers learned from their techniques while establishing their own legacies.
The “self-appointed sonic Boswell” of the 1960s California folk revival, Alan Oakes was born in Fresno in 1940. After his death in 2019, his wife Marnie Oakes connected with album co-producer Deborah Robins and shared she planned to discard some of his unknown archives of recordings. Robin’s desire to properly preserve the collection, an invaluable window into the early days of the folk reemergence, resulted in the creation of the album.
Oakes recordings, taken from over 60 open reels made between 1960 and 1975, capture the enthusiasm and palpable excitement of the early movement. The recordings span a variety of venues: storied festivals like the Jabberwock and Berkeley Folk Music Festival, clubs like The Cabale and the Blind Lemon, and many workshops, interviews and intimate house concerts.
The two-CD set features never-before-heard live performances from legendary musician Doc Watson, whose distinctive flatpicking technique on acoustic guitar helped shape the sound of bluegrass, country and folk during the 60s. A live recording of classic tune “Billy in the Lowground,” finds Watson joined by lifelong fiddle master Hank Bradley and banjoist Rick Shubb, whose “Shubb capo,” which features an adjustable clamp, is still a top-stelling capo style today.
Via Smithsonian Folkways
The eclectic combination of musicians at the peak of their craft, frequently documented in New York, was also a key aspect of the Bay Area musical community. Just as important was the influence, inspiration and integration of traditional masters with up-and-coming musicians of the time, like Kathy & Carol. The Vista, California duo began singing together in high school in the early 1960s, and claimed Baez as a central influence. Their haunting harmonies reflect the way the folk movement spread from coast to coast, rooted in shared love for classic Americana techniques.
The album, co-produced by Deborah Robins, Henry H. Sapoznik, and Jeff Place, will be accompanied by an 80-page booklet containing essays from all three producers, as well as extensive biographies of the featured performers and the historic time period they shared. The full album will be released on September 24th, but a preview of 4 selected songs is available now for streaming:
