Algiers made their way to Saint Vitus Bar in Greenpoint, Brooklyn on Tuesday for the fourth stop (and first of two nights at the bar) on their renewed 2021 tour. The pandemic forced the band to cancel the 2020 tour in support of their new album at the time There Is No Year. The ongoing threat of COVID is still omnipresent in all of our lives, especially for drummer Matt Tong who elected to sit the tour out to protect his newborn baby. Dante Foley, the drummer from the opening band was filling in behind the kit.
Algiers at Saint Vitus Bar, 9/14/21. Photo by Buscar Photo
Support for the night came from Cleveland’s Mourning [A] BLKstar, an eight-piece band described as “a multi-generational, gender and genre non-conforming amalgam of Black Culture dedicated to servicing the stories and songs of the apocalyptic diaspora.” The stage at Saint Vitus was a tad small for the big group, keeping band leader RA Washington on the floor within the crowd who routinely danced and mingled with the people throughout the set. The performance featured a trio of vocalists backed by soaring horns and driving electronic R&B and funk elements not to be missed.
Mourning [A] BLKstar at Saint Vitus, 9/14/21. Photo by Buscar Photo
Saint Vitus is a very intimate setting; a square room off the back of a classic NYC metal bar with ~200 person capacity. The PA could serve a room 4 times the size and fans get an up close and personal experience. Algiers plugged in for a sound check pre show, to test it out to see how all their samples and distortion would sound in the small room. Once filled with fans and friends, the energy was overwhelming, especially as Franklin James Fisher jumped in and out of the crowd while singing.
Algiers at Saint Vitus Bar, 9/14/21. Photo by Buscar Photo
The members of Mourning [A] BLKstar as well as Algiers both made comments during the show about all being a part of a family. Two vocalists from MAB joined Algiers during “Dispossession,” and as Algiers was finishing off the night with a high energy run through of “Death March,” candles were being lit on a cake to celebrate Fisher’s 40th birthday. Both bands had many friends and family in attendance, and the atmosphere in Saint Vitus was pure celebration.
Algiers at Saint Vitus Bar, 9/14/21. Photo by Buscar Photo
Night two in Brooklyn was Wednesday, September 15th. The tour runs across the US through October, then goes on break until a European leg throughout May 2022. Franklin teased that a new record is written so stay tuned for new music from the group in the near future.
New York jam/groove trio Organ Fairchild today release their debut album Brewed In Buffalo. The trio consists of Joe Bellanti on keys, Corey Kertzie on drums and Dave Ruch on guitar. The three lifelong musicians have played together in cover band Wild Knights since 1983, but only began writing and performing originals in 2019.
The album offers a classic jam sound, begging to be heard at an outdoor venue with plenty of space to dance. The trio operates like a well-oiled machine, maintaining steady grooves while deferring to each other with communicative solos. On opening track “Amateur Night at the Apollo,” Bellanti’s organ and Ruch’s guitar quite literally feel in conversation with each other, steadied by Kertzie’s masterful rhythms. Although none of the tracks have lyrics, in its best moments, this album speaks.
What stands out most about Organ Fairchild is their fascination with building a melody from the ground up. Building melodies with this in mind creates an immersive experience; Organ Fairchild’s music is as easy to fall into as it is to snap out of. The thick, whirring hum of Bellanti’s organ is essential in building Organ Fairchild’s musical environment, and especially hypnotic on longer tracks.
The album mainly follows traditional jam/groove patterns, displaying the trio’s mastery of their craft. But tracks like album highlight “Bailar” step outside of the mold, proving Organ Fairchild best find their footing in experimentation. “Bailar,” anchored by a breathless Latin percussion line, is pure fun and movement.The beginning of the track boasts a guitar solo from Ruch that would drop Santana’s jaw; the climactic end brings the maniacal riffs of Funkadelic to mind. The extensive influences that come from the trio’s years of cover experience convalesce here into a beautiful crescendo. The song runs through your body like a shock.
Album closer “Dylan St. James” takes a lighter approach, employing the eye-on-the-sky warmth of Tom Petty’s music. Of all the tracks, Dylan St. James feels the most listenable in daily life; on a long car ride at sunset, or a particularly introspective moment where headphones drown out the rest. If the album speaks without words, this track represents a central mantra; keep moving, keep trying, keep finding joy in the little moments. Uplifting, mournful and downright fun in equal measures, Organ Fairchild leaves the listener with their head held high, looking onwards and upwards.
Organ Fairchild also won this year’s NYS Music March Madness, voted #1 out of 64 bands in the annual friendly competition.
Organ Fairchild will perform songs from Brewed In Buffalo live at upstate New York’s Borderlands Festival, to be held September 18th and 19th. Watch a live performance of album single “Get The Scotch Out” below:
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.
Experimental music & spoken word collaboration Vapor Vespers have returned with a new double-sided single. The two tracks, “Sex” and “You Changed,” each come with an accompanying video.
Vapor Vespers is the transcontinental brainchild of New York multi-instrumentalist Sal Cataldi (also known as Spaghetti Eastern Music) and Alaskan playwright, actor and slam poet Marc Muro. The pair, whose musical and personal relationship dates back to their teen years in Queens, New York, first bonded over boundary-pushing musicians like Sun Ra and Frank Zappa. The pair have also cited artists like Miles Davis as inspiration, alongside spoken-word icons like John Cooper Clarke and poet Charles Bukowski.
Their mesmerizing blend of hazy electro-funk and searing, lyrical poetry garnered critical acclaim on their 2020 debut album, One Act Sonix. On the new singles they maintain the momentum of that unique fusion, offering a sneak preview to their sophomore album, set for release in winter 2021.
On “Sex,” set over a menacing slow-jam of drums and electro funk, Muro’s echoing voice builds a string of metaphors for sex; a “time bomb under your seat and a dog sleeping at your feet,” “the tip love leaves after good service,” a “really good episode of Gilligan’s island.” The mixture of humor and great existential depth in the lyrics is hypnotic, especially over Cataldi’s instrumental, which sounds as if Predator had a penchant for Frank Zappa. The video for the song compiles black-and-white clips of sensual moments– kisses, embraces, flirtatious laughs and states of undress–which slowly come into neon color.
“You Changed,” ups the tempo from the start. The galloping beat is supplemented by competing yet harmonious lead electric guitars and a perfectly placed clavinet. The angsty, manic lyrics are a rant against a friend who has not only changed, but seems to have become too good for Muro. “You used to be nice, you used to be normal, you used to be my friend, then you suddenly changed…” Muro anxiously laments. However, the song is far from sorry for itself. Muro’s lyrics comically recognize the way that an urge for notoriety and identity can breed ridiculousness. In frustration, Muro calls out: “You wanted to be interesting, so you rented a wolf, had your elbows pierced, bought a stuffed owl, and went to the opera dressed as a music!” The accompanying music video, which uses black-and-white footage transitioning into neon as well, puts that personal hedonism on sly display.
Both tracks were mixed and mastered by Cataldi out of studios in Long Island and West Saugerties, New York. To listen to more, visit vaporvespers.bandcamp.com or Vapor Vesper’s Spotify page.
After long anticipation, Buffalo came together for the Beau Fleuve Music and Arts celebration. This 5-year event brought crowds of people to the Buffalo Central Terminal on August 29.
Photo credit: Maddie McCafferty
The atmosphere was uplifting as performers took over three different stages and venders filled the walkway. In addition, silent disco sets continued throughout the day. There wasn’t a dull area in the festival as many embraced the numerous exhibits.
Musicians with an array of different genres established their unique presence on stage. From alternative to rap to rock and everything in between, nobody left room for disappointment. Mom Said No was instantly a crowd favorite from the moment they walked on stage in matching blue suits. Not to mention their infectious energy that felt reminiscent to those harmonic alt boy bands.
Photo credit: Maddie McCafferty
Just when you think the intensity can’t get any greater, it did just that. Other artists like Billie Essco, A.I. The Anomaly, and FREAK THE MIIGHTY got the crowd even more wired up. Their stage presence and crowd engagement kept many up on their feet.
Photo credit: Maddie McCafferty
Throughout the day many were highly anticipating an exciting performance from the headliner Jae Skeese. His accolades are nothing short of the clear skill and passion he places in his craft. Guests stayed alongside Jae Skeese throughout the set while dedicating the night to a friend who passed, Weeze.
Photo credit: Maddie McCafferty
Beau Fleuve Music and Arts celebration brought together a diverse group of local musicians, artists, fashion designers, and other contributors to support Buffalo. The community collectively united to uplift the talented artists that are located right in their backyards. Supporting the arts has become a priority and with that comes even greater potential in the future. This event is just the start of a more profound movement.
It was a calm, quiet Wednesday night in Greenwich Village, Manhattan. With the streets hardly packed, some headed home to end their evenings early, others made their way to the Subway for their night shifts, while scattered groups searched for a potential brouhaha to jumpstart their night. New York City has a suis generis aura because not only is it one of the world’s marquee Metropolitis, but it is also the cultural hub of the world. And on any given night something amazing could be happening around the corner.
Such was the atmosphere inside the intimate setting of Blue Note Jazz Club. Founded in 1981, Blue Note’s motto is centered around preserving the history of jazz, according to their website. “The club is a place where progression and innovation – the foundations of jazz – are encouraged and practiced on a nightly basis…while regularly showcasing up-and-coming jazz, soul, hip-hop, R&B and funk artists” and has seen the likes of Stevie Wonder, Tony Bennett, Liza Minelli, and Quincy Jones grace their stage.
But on this night, Blue Note did not play host to any developing talent, but rather two established hip hop legends. For two consecutive nights on August 24 & 25, GZA of the Wu Tang Clan headlined the culturally historic club accompanied by Talib Kweli and of course live music as the Phunky Nomads shared the stage with the two hip hop greats.
Thus, on a cozy summer night the two Brooklynite’s performed a medley of records that reminded those in attendance of a simpler time in the world. Fans lightly serenaded the club, singing along to some of GZA and Wu Tang Clan’s more recognizable records and even some album cuts.
GZA is a master of his craft, so it came as no surprise that he had memorized not only his rhymes, but those of his groupmates as well, performing several verses from the deceased Ol’ Dirty Bastard and other Clan members. In one sequence in particular, the Liquid Swords emcee began performing the Clan’s hit record, “Triumph.” You know, the one where Inspectah Deck “lyrically performs armed robbery” before transitioning into “Shame on a N***a” and performing ODB’s verse.
The live music only added to the atmosphere as the Phunky Nomads took command of each record, seamlessly sequencing between jazz, classical, funk, hip hop and rock instrumentation. They made each record their own, evident when GZA began performing “C.R.E.A.M.” backed with classical sounding music (They even did a rendition of The O’Jays’ “For The Love of Money”). Their choice of musical direction often kept the audience on edge, wondering what new possible twist they would put to classic Clan records.
Up and coming artist, Nick Vivid, released his new single “Hush Money (Straight to the Bribe)” on August 18, 2021 off his upcoming album No More Secrets.
Nick Vivid hails from Buffalo, NY and creates music that is a blend of indie electronic funk that has blends of soul and blues throughout it. Between his father being a radio DJ and his mother loving glam rock Nick Vivid was always surrounded by music which shaped and formed his musical style and taste. He currently resides in New York City and works with Bill Aucoin who is the original manager of KISS and Billy Idol.
The single “Hush Money (Straight to the Bribe)” was released in anticipation of his upcoming album No More Secrets which will drop on November 12, 2021. He has two albums out Nicksploitation which was released in 2017 and Blissed Out which was released in 2019 but his new album is going to be a bit different than these previous albums. This album will revolve around themes of the loss of both of his parents in recent years and the life lessons he’s learned from what he calls “intensive meditative pandemic soul searching.”
Nick Vivid spoke on the newest single to his repertoire saying that the single is about what he’s learned from observing people making decisions based on self-serving fear and greed. He elaborated on this saying, “The ‘bribe’ in the song is the alluring ‘shortcut’ to the fake ‘easier’ solution. But for me, that doesn’t work. I’ve tried.”
The new single “Hush Money (Straight to the Bribe)” definitely plays into multi-instrumentalist Nick Vivid’s indie electronic funk sound. It almost sounds like a blast right out of the past. It features a simplistic yet captivating beat that goes around and around in your head and you will find yourself bobbing side to side without even meaning to it while listening.
For more information on Nick Vivid and his upcoming album No More Secrets and new single “Hush Money (Straight to the Bribe)” check out his website.
After being closed for 18 months during the pandemic, Bardavon Presents has announced the reopening of Ulster Performing Arts Center (UPAC) on Sunday, September 26 at 7pm. The show is rescheduled from August 22 due to Hurricane Henri, with tickets from August 22 being honored.
Sunday August 22 at 7pm with preformers Trombone Shorty & Orleans Avenue, followed the week after by Brit Floyd on Sunday August 29 at 8pm.
Trombone Shorty & Orleans Avenue – Sunday, August 22 at 7pm at UPAC
Troy Andrews, or, “Trombone Shorty,” brings his R&B, rock, rap and funk brass band to UPAC for the first time ever! Come early and enjoy the Brasskill second line on Broadway starting at 5pm, and grab dinner in a great Kingston restaurant before celebrating UPAC’s reopening!
Trombone Shorty has draw the unqualified respect of some of the most iconic legends in jazz and is known to, “Deliver a high-energy funk rock show capable of mesmerizing international rock stars.”
Trombone Shorty is equally gifted on both trombone and trumpet. Originally from New Orleans, Trombone Shorty was a bandleader by the age of six. He spent a great deal of time absorbing lessons from his older brother James, a dynamic musical performer known as “Satchmo of the Ghetto.”
“It really is as good as they say – believe the hype and don’t miss it. The perfect rock show” -LA Times
In 1989, New Orleans had its own gold lit resilience of funk around town. Many helped add to the consonant grooves inside legendary buildings turned nighttime studios. Every great musician in town was collaborating and famous artists were there to help feed in the rhythm. Tony Hall was part of this golden era and is still a staple in the New Orleans sound.
Hall had been grooving with the renowned Neville Brothers on St. Charles Avenue. Tony played the chilling bass line on their album Yellow Moon. The track “Healing Chant” off the album won best pop instrumental performance at the 32nd Grammy Awards in 1989.
Tony has gone on to work with bayou locals like The Meters, Dr. John, Aaron Neville, Harry Connick Jr. Trombone Shorty, and Marc Broussard.
He has been part of infamous studio sessions with Bob Dylan, Emmylou Harris, Trey Anastasio, Dave Matthews, Willie Nelson, Joan Baez, Brian Eno, Daniel Lanois, Jewel, Edie Brickell, Linda Ronstadt, Pretty Lights, Herbie Hancock and Maceo Parker.
Producer and musician Daniel Lanois felt these sounds in his soul. He assisted in some of these collaborations and on his own work. Tony covers bass for Lanois’ famous original composition “The Maker.” It has been honored with covers by Willie Nelson, Jerry Garcia Band and Dave Matthews Band with Victor Wooten.
Tim Reynolds said this summer of his old band mate Tony, “You know those guys when you’re playing a gig, he’ll look right at you? That’s him. He’s a bad ass.” This past spring Tony just released a new studio record with his band Dumpstaphunk for the first time in seven years. He took some time to talk about the timeline on these projects with NYS Music.
MR: Daniel Lanois claimed Oh Mercy was a record you listen to at night because it was, “designed at night. Bob Dylan had a rule, we only recorded at night.” What did that session look like behind the scenes in a house turned studio in New Orleans?
TH: We would go in at about 4 in the evening and Dan had a lot of ideas of the songs so we went through a bunch of them. Then… when Bob came… It would all go out the window. He’d start a groove and we would follow him. Let’s just match whatever he was doing.
TH: It was all of us in a circle in a room, facing each other. Very long hours on this record. So many different versions of songs.
MR: Well how about the funkiest collaboration on the track Everything is Broken?
TH: It started with Bob playing his line and we just came in. Willie (Green) grooves and I jumped in on the spot (bass line humming).
Ivan Neville, Keith Richards, Tony Hall, Don Was
MR: Was Dylan just playing harp on that track for his solo?
TH: No, he’s on guitar for that as well. He played guitar on a lot of songs and piano too. Brian Stoltz played with all of us as well on guitar.
MR: Was that just a studio experience? Did you get to bring that on the road?
TH: Just a studio record. Never got to play it live.
TH: My experience working with Daniel Lanois came from him producing the Yellow Moon Recording, Bob Dylan’s Oh Mercy, and Emmylou Harris’ Wrecking Ball. I recorded on his solo album Arcadia. He had a completely different approach.
TH: He pulls everything you got in you…out. On “The Maker,” was me noodling and I kept adding parts. He even wanted to add a harmony part to one line. It has five different bass parts on that track
TH: I met Dave Matthews in the early 90s. The Neville Brothers and DMB did a show together. I saw him in 2001 at a Emmylou Harris show and he knew as me the guy from “The Maker” that his band went on to cover
TH: When we did the Dave Matthews solo record Some Devil in 2003 it felt so good. Brady and Trey all suggested we should be a band. “Hey let’s take this on tour.”
MR: How was it behind the scenes during that legendary studio collaboration with Brady Blade, Trey Anastasio, Ray Paczkowski, Dave and Tim Reynolds?
TH: Dave had all the songs written and we just came in and added our own parts to it. When you hire people to do a record, you have them bring what they do to the table, you know? So you can give them a lot of options. You play some stuff… like this? Sometimes the first thing is the one. “How about that?” No you did it already… (laughter)
TH: I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.” And the song “Too High.” I love the end. The groove on the end is killing. We even overdubbed The Seattle Symphony to it. The big line everyone is playing together is led by Dave on the guitar. It’s killing. Its a great record!
MR: Where does he come up with those unique sweet up and down chord progressions? Are they easy to jump on?
TH: That would be a question for him (laughter). Some of the chords are open tuning with a lot of different fingerings for it. But it’s cool as shit. It works well together.
MR: Then there was the Some Devil live tour that went to every major arena in America. Headlining sets at Bonnaroo and Vegoose Music Festivals. Even a Caribbean Cruise with Bob Weir special guesting on the boat. Who chose all those great covers ranging from Sly and the Family Stone, Chaka Kahn, Little Feat, Joe Walsh, The Band, Bob Dylan, Paul Simon, Peter Gabriel, Stevie Wonder, Hendrix, Zeppelin and Stones?
TH: That was Dave and Trey’s call any given night. Ya know during the break sometimes (laughter). Let’s go do this…
MR: After meeting Trey Anastasio and Ray Paczkowski at this project you ended up in the studio with him for his Album Bar 17.
TH: The Trey thing, musically, was very talented. I didn’t know him before Some Devil. He had me come to Atlanta to do a session and sent me the songs to learn. But it wasn’t a session. It was an audition. Which is a cool way to audition somebody. Make them think it’s a session so if it doesn’t work you pay them and they just go. You don’t have to tell them they suck (laughter). But afterwards they said hey you got the gig. I’m like cool… what gig? (laughter)
Brady Blade, Tony Hall
TH: But the composition “Goodbye Head,” that song I listened to and it was a very long jam. I thought, “Oh, I got this,” and during rehearsals Trey’s like, “You have it down?” (of course). But I didn’t check the end of the tape where there was a whole ‘nother section. It got to the jam part and I just stopped. This tune gave me a run for my money. That song kicked my ass, I got to tell you that right now.
MR: Then you went on a US tour with Trey Anastasio as part of an ever changing cast on stage in 2005 and 2006. It had special guests like Stewart Copeland, Bill Kreutzmann, Jon Fishman, Skeeto Valdez and Jeff Sipe along the way on Drums. Yet It always had you on bass and Ray Paczkoswki on keys as a constant. There was even Raymond Weber from New Orleans with you holding the bottom end down on drums at one point.
Trey Anastasio, Stewart Copeland, Tony Hall
TH: Yea Raymond ended up in the band after Trey came to sit in with us for the Dumpstaphunk show at B.B. King’s in New York City. So we call some stuff I got him to do, “46 Days” and um, “Cayman Review?” Raymond killed it on “Cayman.” He was like, “Damn you hear that on the bell? That reminds me of New Orleans.”
TH: But our official live band release came from Original Boardwalk Hall Style in Atlantic City on New Year’s Eve 2006. That was the most cast with an 11-piece band. Yea, but I had a lot of fun playing with Trey. He would kick into a groove and then I’d pick up. He’s like, “OK this is your job, when it mellows out you take the way.” I think it was good for him to have someone who’s like, “Come on. Come on.”
TH: He was always adding songs though. Like that Frank Zappa “Peaches En Regalia.” By it being new at soundcheck, I would learn it that night. So afterwards in Albany, between eating, I’m making notes before the start of the set figuring it out (laughter).
MR: Heading Back to The New Orleans studios in 2017 you were a part of Trombone Shorty’s record that has the ultimate cover of Ernie K Does “Here Come the Girls.” Shorty is also on your new record this year.
TH: Yeah that’s nice. I think George (Porter) is on the original version. I’ll have to look it up.
TH: We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.
Joseph “Ziggy” Modeliste, George Porter Jr, John Mayer, Bob Weir, Bill Kreutzmann, Tony Hall
MR: Speaking of horns you were on legendary sax player Maceo Parker’s album released last year recorded at an old New Orleans hotel turned studio.
TH: Yea at Goat’s studio down in the ward, who’s Maceo’s soundman. It was fun and great to be on a record with his original track MACEO. Then great covers by Dr. John on “Right Place Wrong Time” that Dumstaphunk started doing.
MR: The new Dumpstaphunk record you just released this year has some just straight funk instrumental tracks. Where did the “Dumpstamentals” come from?
TH : Some of those came up at soundcheck. Me and the drummer Deven Truscleir started jamming on some stuff and other people came in. Ian (Neville) always records those on his phone and so do I so we can revisit them. Ian came up with Backwash when checking his rig during warm up and things like that.
TH: We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know? We did two of our favorite covers by Sly and the Family Stone for “In Time” and Buddy Miles’ “United Nations Stomp.”
MR: How about Buddy with Band of Gypsies? He also covered “Don’t Keep Me Wondering” into “Midnight Rider” by The Allman Brothers for his own record.
Tony Hall Beacon Theatre
TH: He also covered their song “Dreams.” I know those from Buddy and I found out later they were Allman Brothers songs. Just like “Down By the River,” I learned that from Buddy and then found out after it was a Neil Young song
TH: Yea Buddy’s the man. He’s one of my favorites. One of my mom’s favorites. She used to play it all the time. His live release is one of the best records. One of my top favorites.
MR: Last time Dumstaphunk played New York State was headlining the 2019 Blues Fest in downtown Syracuse. After hours you and Deven Trescleir on drums came for a special sit-in with the band at Funk n Waffles for a bass-leading cover of The Temptations “Standing on Shaky Ground.” Less than a month later Dumstaphunk was opening for The Rolling Stones at the Louisiana Superdome in front of 60K. Are you ready to get at it like that again in 2021?
TH:That was a great show, Most of the time when you’re an opening act people are just walking in doing your set or the place doesn’t fill up until your last song, but that show the crowd was there and it was a lot of our fans, the energy was high and we felt the love. It was our home town, it felt great!
MR: The Woodstock 99 documentary just released features your performance with Brady Blade and Jewell. Any memories of that infamous Sunday gig in Rome NY?
TH: We drove over night to the festival, I woke up on the bus at the site. I didn’t do much. I watched a few bands from the side stage. We had a good set. We stayed to watch the Red Hot Chilli Peppers show and left right before everything went down. The people from the documentary reached out about my experience there. I was only able to tell them what I’m telling you (laughter).
Beginning in September 2021, the Park Theater Foundation will begin its flagship series, “The Park Presents,” featuring a diverse lineup of national and international musicians from genres including folk, Americana, zydeco, jazz, classical and more.
The Park Theater, located in Glens Falls, is known as the “newest premier venue” in the area and has a passion for sharing quality and affordable musical entertainment and educational opportunities. The building was established as a movie theatre in 1911, subsequently closing in 1935. Revived in the mid-2000s, The Park Theater reopened its doors with a new vitality for providing a stage for music and arts performance in 2018.
The Park was shut down for eight months following the COVID-19 pandemic and returned in a small scale to present “Dinner & A Movie: ‘A Beautiful Day In The Neighborhood‘” in November 2020. “The Park Presents” introduces the full-force comeback of the theater!
We have been hard at work on this schedule and are beyond excited to welcome live music back to our stage and guests to our seats.
Chris Ristau, Excecutive Director
On September 10, guitarist Ariel Posen will be the first to take the stage for “The Park Presents” season. This season will also feature The Gibson Brothers, the Villalobos Brothers, The Small Glories, The Jason Anick Acoustic Trio, and many more.
In addition to music concerts, the 2021/22 season will feature a variety of other programs including “Tribute Band Rewind,” “Live & Local,” “Comedy After Dark” and “Third Thursday Jazz.”
Tickets for the 2021/22 season will be on sale beginning August 6th, 2021. For the full performance listing or to purchase tickets, visit www.parktheatergf.com.
