Vermont jam-lords Phish will celebrate the end of 2021 with four nights at Madison Square Garden, capping off a remarkable year for the group.
To say Phish is no stranger to Madison Square Garden would be a huge understatement. The band has played ‘The World’s Most Famous Arena’ a total of 64 times, with only Elton John and the Piano Man, Billy Joel, eclipsing their mark on the venue. The band played their first show at Madison Square Garden over New Years Eve in 1994, and playing one of their greatest shows ever on December 31, 1995, featuring the Gamehendge Time Factory.
The band continued to perform on New Years Eve for many years to follow, including 4 night runs in 1997 and 1998, a single show to mark their return from hiatus on December 31, 2002, and finally returning to the venue in early December 2009 for three nights. New Years 2010 marked the first of a near consecutive string of runs over the end of the year, with the exception of 2014 when the band performed four nights in Miami. Since 2015, the band has performed at Madison Square Garden every New Years Eve since, sans 2020 due to COVID-19 and the ensuring music industry shutdown.
2017 marked the Baker’s Dozen, a run of 13 historic shows that featured no repeats, choice covers and bust-outs galore, a hallmark for the band in their storied career at Madison Square Garden.
Tickets for Phish at Madison Square Garden for New Years Eve 2021 are available via lottery starting now through Monday, October 4th at noon ET). Public on sale begins on October 8 at noon via Phish.com
John Sebastian, an inductee to the Rock and Roll Hall of Fame and Lovin’ Spoonful co-founder has linked up with guitar legend Arlen Roth to reinterpret some of the Lovin’ Spoonful’s timeless songs on John Sebastian and Arlen Roth Explore the Spoonful Songbook,released on September 24.
A group who had their first seven singles reach the top-ten at the height of Beatlemania, including “Summer in the City” and “Do You Believe in Magic,” Lovin’ Spoonful left a mark on the ’60s, capped off by Sebastian’s impromptu performance at Woodstock in August 1969. Bethel Woods Center for the Arts notes of the moment:
After Santana’s magnificent set, there was a bit of a lull before the next act could begin, so lighting coordinator and de facto emcee Chip Monck asked his friend John Sebastian, who was attending Woodstock purely as a spectator, to see if he would go on stage and play a few songs. Sebastian tried to refuse, but Chip insisted, so he borrowed a guitar from Tim Hardin and walked into the breach to create another memorable Woodstock moment.
The genesis of the project for John Sebastian and Arlen Roth was all Arlen’s idea, per Sebastian, the Lovin’ Spoonful’s primary songwriter. Roth, the guitar maestro best known for his studio and touring work with such artists as Simon & Garfunkel and John Prine, and a big fan of the group, reached out to Sebastian in 2019. The album was crafted in the tradition of Roth’s acclaimed reimagining of the songs of Simon & Garfunkel (Subway Walls &Tenement Halls) and the Rolling Stones (Paint It Black: Acoustic Stones). The pair entered producer Chris Andersen’s Nevessa Studios in Woodstock and worked quietly for the next two years.
Sebastian had never considered doing re-recordings of his Spoonful classics until Roth approached him, but Roth’s deep artistry and exceptional knowledge and love of the guitar style of Spoonful guitarist Zal Yanovsky changed his mind. Sebastian added his spin on the songs and brought in special guests: the MonaLisa Twins, Lexie Roth, Maria Muldaur, Geoff Muldaur, Eric Parker, Ira Coleman and Benson Sebastian. And in May 2021 they emerged with this highly anticipated record.
Working out the guitar parts, with Sebastian playing his original licks in each song, gave Roth the opportunity to complement the Spoonful’s sound with his own. “He was doing double and triple flips off the diving board, while I was doing cannonballs,” Sebastian recalls. “It all comes naturally to me and John,” according to Roth. “Collectively, he and I must have about 120 years of experience doing this kind of thing down through the ages. We just look at each other and play off each other. Also many of Zally’s Spoonful parts helped inspire me too.”
I was a kid of 12 when I was first blown away by the Spoonful’s songs, their performances on TV, and their guitar sounds. Zally was such a huge influence off the bat. I was taken by his uniquely ‘country’ approach to lead guitar and that was such a great sound in a rock & roll band! It was right up there with the Beatles and the Byrds! I love the Spoonful songs so much, and they occupied a big part of me, inside.
Arlen Roth
Revisiting those songs in the studio with Sebastian, drummer Eric Parker (Joe Cocker, Bonnie Raitt) and upright bassist Ira Coleman (Sting, Family Man Barrett) was “a joy, more than a challenge,” says Roth. “Since John was involved, it was a collaboration more than a tribute.”
Other Sebastian collaborators were also enlisted: Joining them in the studio were his “favorite exes” Maria Muldaur (with John on the lovely “Stories We Could Tell”) and Geoff Muldaur (with John on “Did You Ever Have to Make Up Your Mind” and a raucous “Jug Band Music”). Sebastian’s newfound discovery the MonaLisa Twins – Austrian twins Mona and Lisa Wagner, who reside in Liverpool – added their “blood harmonies” to Sebastian’s vocals all the way from the U.K., thanks to their producer/engineer father Rudolf Wagner, who digitally delivered the files. Sebastian is a big fan of the sisters’ albums and musical concepts, which showcase their remarkable vocal blending as evidenced here on tracks like “Lovin’ You,” “Four Eyes,” and “Darling Companion.”
Sebastian takes a solo vocal turn on the gorgeous “Darling Be Home Soon,” which he wrote in 1967 for a Francis Ford Coppola film soundtrack. And rounding out the “family” of musicians: Sebastian’s son Benson supplied percussion, and Roth’s daughter Lexie cut lead vocals on “Didn’t Want to Have to Do It,” originally intended as an instrumental. “She loved the song so much, she just had to try it,” attests Roth, “and she nailed it – one take!”
Following initial sessions at producer Chris Andersen’s Nevessa studio, just down the road from Sebastian’s Woodstock home, COVID-19 struck. “We had to separate to do the other thing that Arlen and I are really good at,” says Sebastian, “which is be a multi-instrumentalist – serve the song but not overdo it.” Sebastian added autoharp, harmonica, and his distinctive whistling to several tracks, while Roth contributed his awe-inspiring slide guitar, as well as acoustic lead. “This was constructive in its own way,” says Sebastian. “We were reacting to each other’s parts, even though we weren’t in the studio together.”
On Friday, December 3rd at Bearsville Theatre in Woodstock, John Sebastian and friends will celebrate jug band music from Greenwich Village in the ‘60s, honoring the songs of Fred Neil and Tim Hardin with a sprinkle of the Lovin’ Spoonful.
The show begins at 7:30pm and features Steve Boone (Lovin’ Spoonful), Paul Rishell and Annie Raines, Cindy Cashdollar, Jimmy Vivino, Wormworth and special guests. Catherine Sebastian’s photo documentation of the era’s life and times will be on display at the theater and Lizzie Vann will officially inaugurate the John Sebastian & Fred Neil Porch at the Bearsville Theater at a 6:30pm VIP cocktail party. For tickets visit bearsvilletheater.com.
Joining John Sebastian and friends will be celebrated photographer Catherine Sebastian, who will exhibit her images of some of music’s most important artists in conjunction with the show. Catherine Sebastian’s photo documentation of the era’s artists and their life and times will be on display at the theater with a limited number of prints available for purchase. This exhibit marks the first time Catherine Sebastian’s images of this era have been presented as one collection. Some of the subjects include Fred Neil, Tim Hardin and John Sebastian.
Woodstock-based photographer Catherine Sebastian is among the entertainment industry’s elite set of American photographers of the past half century. The Los Angeles native began work while still in her teens, and quickly became a charter member of the Soho Gallery West group of photographers. Sebastian studied darkroom, printing, and chemical manipulation under legendary teacher, Kirk Kirkpatrick. “What I learned from Kirk and those classes still informs how I capture what I see. Light is the medium. Light is the brush and the heart of my emotional communication,” declares the artist.
Catherine Sebastian’s work has been exhibited nationally and her celebrated images have graced album covers, book covers, magazine covers and special projects for some of music’s most important artists including: Pete Seeger, Bonnie Raitt, Tim Hardin, Fred Neil, Linda Ronstadt, Taj Mahal, Mick Jagger, Leo Sayer, Kathy Valentine (of The Go-Go’s), Lady Gaga, Jimmy Cliff, Debbie Harry, Maria Muldaur, Pinetop Perkins, Dr. John, Booker T. Jones (of Booker T. & the M.G.’s), Paul Butterfield, Edina Menzel, Levon Helm and the RCO All-Stars, John Sebastian, The Plimsouls, The Textones, Jack Lee and Johnnie Johnson (pianist and producer for Chuck Berry).
Catherine Sebastian is married to John Sebastian, founding member of The Lovin’ Spoonful. The Sebastians moved to Woodstock, New York in the mid -‘70s where she established her studio while balancing professional and family life with their two sons.
TAUK have released their long-awaited, seventh full-length studio album Chaos Companion. The electro-prog quartet, based in Long Island, blur the lines between jam music and futuristic electro, creating an infectious blend that doesn’t let up. Their instrumental soundscapes are transportive, and you’re going to want to visit the rock Shangri-La to which they’re inviting you.
TAUK makes music that feels high-speed without forgoing the smoothness of a steady groove. This sublime combination gives the album an overtly cinematic quality; every song could be its own unique score. “Lonely Robot” sounds like the soundtrack to a dreamy video game car chase. Fittingly, the song received additional production from respected film composer Tyler Bates who worked on the soundtracks to John Wick and Guardians of the Galaxy. And “Dormammu,” which features The Shady Horns, could be the soundtrack to a dramatic final fight sequence fought with glowing swords. TAUK’s lack of lyrics allows their music to focus on building a soundscape, and unequivocally transporting the listener into their corner of space.
TAUK bassist Charlie Dolan, guitarist Matt Jalbert and keyboardist Alric “A.C.” Carter began playing together as middle schoolers. Isaac Teel eventually completed the quartet on the drums in 2012, forming the groups current iteration. TAUK recorded Chaos Companion at their newly completed studio on native Long Island.
“Everyones got a chaos companion, something that keeps you grounded amidst all of the madness,” Dolan said of the album title. “For us, it was the music.”
A chaos companion feels like a fitting image in the midst of post-quarantine confusion. TAUK, accustomed to a relentless touring schedule and festival slots at the likes of Bonnaroo and Electric Forest, were forced off the road in 2020 due to COVID-19. Unable to perform, the band explored their creative endeavors independently. Carter and Jalbert began exploring the possibilities of production softwares like Logic, leading them to enter the studio with some of TAUK’s most fully-realized demos yet. Their preparedness, however, didn’t hinder the band from capturing the improvisational quality that infuses these tracks with excitement. In fact, much of what would become the final cut of Chaos Companion was recorded live in the studio.
“Being an instrumental band already comes with a lot of freedom,” Carter said. “Having all that time away from the road really allowed each of us to experiment and explore in our own ways. It opened up whole new palettes for us to paint with.”
The exploration Carter speaks of leads TAUK to some truly astounding genre mashups. This album sounds like a film score, but it’s often hard to put one’s finger on what film. In short, each song is it’s own vignette, existing in the same landscape but telling a different story. Album standout “The Let Out,” which incorporates a grimy guitar riff, feels like the music you’d hear in an elevator headed straight to hell. Starting off with the same dreamy synths and electric guitar TAUK specializes in, they end up offering something totally new.
“Technodrome” opens with a distorted female voice stating, “This is not something you can just run from. Yesterday has evaporated.” The song provides TAUK’s trademark exultant mix of jam guitar and electro staples, but refuses traditional genre constraints. The opening statement feels fitting in that way; music is changing, TAUK is changing, and instead of hiding from that they may as well embrace the future.
TAUK are currently on tour supporting the album, with an upcoming Brooklyn show October 2. For full dates and to purchase tickets, visit https://www.taukband.com/shows/.
As the haze descended over the stillness of West Virginia’s Marvin’s Mountaintop, one could easily miss the creatures cautiously peering out from carefully selected hideouts. Anticipation built for these mystical beings, for the game of games was about to commence. Players arrived unsure of where to go, but had confidence in their mission of finding what they had lost. On the eve of the full moon, the Resonance Music Festival provided a Labyrinth, some goblins, a few other fairy-tale characters and at the center, a Goblin King. This king kept close, but made sure to provide accommodations of the best lighting and soundtrack for the games.
Goblin friends
It’s further than you think. Time is short.
Keeper of the Beans
Paths twisted and tents upon tents repeated. Nondescript thumping of DJ music could be heard in the distance of an unknown direction. Seeking direction was futile when it came to camp dwellers claiming to be “only worms” relaxed at their sites. These worms, while unhelpful, were very friendly and offered players to meet the Mrs. and stop for some tea. Tempting as it may be, Eggy was about to go on and the center had to be found.
She Chose Down
Satan’s Empress
Eventually, that thing the wizard said about the jam holes filled with Magic Beans made a lot more sense. It was not a dead end, but rather, an energizing oasis. Hobbits with stimulated hemp hats were experts at foraging the Resonance grounds. They advised consumption of Magic Beans was best at The Bog of Eternal Funk You. Doing so summoned Doom Flamingo and our first peek at both Goblin King and Satan’s Empress.
Goblin King
The babe with the power.
Cory Wong reminds the Goblin King of the babe with the Voodoo Power
Attitude was everything that mattered for this maze game and Cory Wong delivered a set that helped reconciliation with players still being so early in the game. His laid back and fun energy was something to behold. To casually joke about a complex timing about to be played evoked the feeling of hope that mastery of something as complex as a guitar or a maze game could be achieved. The laughter on stage was infections and as coolness of the night set in, the next two days felt far more possible thanks to this true artist. Cory also showed that, with good listening skills, it could be possible to play with others outside of the tribe. When sitting in with TAUK Cory had slightly more reserved demeanor, which helped him listen and respond without skipping a beat.
That’s not fair!
Occasionally the board itself seemed to be alive. Initiated by the most subtle of Jack-O-Lantern lights, landscapes would shift dramatically.
Melodic
Flamingo
“The mellow jams would pull you in, then (Umphrey’s) got real nasty with guitars. Melodic to demonic in an instant, but all with that smooth bass keeping it all together while the guitars were going wild.”
-VIP Goblin
Demonic
Doom
You have no power over me…
Lespecial commanding attention.
On September 16-18, Eastern met Mountain and Jam converged with EDM with roads paved in metal. The most notable hour of convergence was when Connecticut Ancient HomiesLespecial (or as the goblins playfully mis-pronounced, “lay-spesh-ee-al”) played on Saturday afternoon. From the VIP crow’s nest, hoards of players could be seen running like the fast zombies from 28 Days Later to the center of the labyrinth, easily finding their way after all the searching they had endured. The crowd grew in size and density as a universal epiphany dawned on everyone involved in the games. A next-generation metal-jam-electronic fusion band deriving from influences like Primus was the lost item no one realized they were missing.
Your eyes can be so cruel…
I wish…
It has been said that legendary sets happen in the center of the Goblin King’s Labyrinth. Ask any Goose fan. The great equalizer of the center provided a grounding humility to many that thought they knew a lot about music.
Conversations held in the crowd were surprising in that nobody had heard of anyone else’s favorite band. The players arrived deeply rooted on many teams. Disciples of Tipper were ready for Detox Unit, but had never heard of The Motet or Dizgo. Doom Flamingo fans were psyched to see Papadosio, but had never witnessed a laser show like the one Sunsquabi put on. Umphrey’s fans had however, heard of Lotus and could not wait to see Tim Palmieri display his technical mastery as if it were the plumage of a rare bird.
“I move the stars for no one…”
Photo courtesy of Albie Binkley
Behind the games, behind the curtain, and beneath the veil was an Oz-like figure in control of the entire game. Only when he was satisfied, were we were released from the simulation.
“Should you need us…”
Dizgo members showing up for Eggy in more ways than one.
After it all, when intensity subsided and the sun was up again, Eggy played an intimate set from the VIP Crow’s nest and provided the perfect time to reflect on the lessons learned.
Despite the game only lasting a weekend, the friendships made were lifelong.
What a Sunday for a summer review in September. Trey Anastasio Band debuted their new lineup at Yale’s Westville Music Bowl in New Haven, CT. During its brief history, TAB has continued to add members, starting as a trio and evolving into an octet. New bassist Dezron Douglas said, “I’ve been familiar with his work with Phish since high school; I’m from Hartford, CT, so you can’t grow up in New England and not know about Phish.”
Brooklyn saxophonist Cochemea Gastelum, filling in for James Casey, has worked with Aaron Neville, David Byrne and St Vincent, and collaborated with Soulive drummer Alan Evans. Cochemea is part of Brooklyn’s emerging afrobeat and soul scene and is a great fit with TAB drummer Russ Lawton and keyboardist Ray Paczkowski’s sound. Like Trey this summer with Phish, Soule Monde has been on the road supporting their new album Mimi Digs It, leading up to this East Coast TAB run. Insert Cyro Baptista’s full percussion sections and add Jennifer Hartswick and Natalie Cressman on horns and backing vocals and it’s a whole new groove.
A 6:30pm start time at the Westville Music Bowl allowed the whole crowd to be visible from the stage. Trey commented, “This place is pretty cool, I can see all of you.” They kicked it off and suggested to the crowd “to roll with the funk now and turn it around” during “Set Your Soul Free.” “Olivia” stayed Latin-funky, from Trey’s Horseshoe Curve album. Rolling with the funk now, the band then took on Phish’s “Ghost.” That saw Ray P stretching out on the clavinet. More fitting for a new band lineup is new material to debut, including “And Flew Away” and “Never Left Home” from Anastasio’s Lonely Trip record. Jennifer Hartswick’s voice carries across the Long Island Sound like water on the breeze during “Night Speaks to a Woman.”
The second set opened with one of the funkiest recent TAB songs, “In Rounds,” another groove Ray Paczkoswki can dig in on his clavinet. The late Tony Markellis‘ infamous groove to “Sand” kept his spiritual funk present with the new ensemble, one that Russ Lawton told NYS Music was a staple “still in the setlist after 20 odd years.” The afrobeat to “Curlews Call” allowed new saxophonist Cochemea Gastelum to also stretch out on stage. The variety in TAB’s catalog opened up another portal during “Quantegy,” off One Man’s Trash.
Photo by Scott Harris
As a full moon graced the stage, the band gave a nod to the skies and grooving audience that “we got the moon and stars above” in “Drifting.” Fans could hear the freeway calling as Natalie Cressman and Jennifer Hartswick provided amazing backing vocals on “Traveler.” The band closed with their infamous composition of exploration, “Mr. Completely.” Depending on the room, TAB has had made balconies shake since 2002 with this jam. The lyrics “Sunday morning shadows in the shade…” fit perfectly in the encore slot at the old Yale Tennis stadium with “Ether Sunday,” followed by the always welcome “First Tube” finale.
“First Tube” was played acoustically this year as tribute to Tony Markellis in Saratoga Springs, with Oysterhead at the Peach Fest and on Summer 2021 tour with Phish. It was appropriate for him to end the evening with this staple written by the original trio, to the new cast who can take it any direction on any given night.
The freedom in this music is that although it’s composed, there is room for every member to express themselves during the blended improvisational moments. Ray Packzkowski told NYS Music, “Yea it’s actually a beautiful thing,” regarding music in the moment that can’t be recreated: The band closes out this tour at the venerable Radio City Music Hall in Manhattan October 2 and 3.
Trey Anastasio Band – Westville Music Bowl, New Haven, CT – September 19, 2021
In March of 2020, Brooklyn Comes Alive was set to be a masterpiece at the new Avant Gardner in, you guessed it, Brooklyn. Just days before the event would take place the governor put New York in lockdown due to COVID-19. It was one of the first events cancelled due to the pandemic, but it would not be the last.
Multiple online off-shoots of the event have sprung up over the last year and a half. Justice Comes Alive and Georgia Comes Alive, for example, were highly successful online festivals, meant as a way to spread the word about, and fight injustice and bring our country closer to salvation. After a year and half away, the “6th” inaugural Brooklyn Comes Alive will take place at the Brooklyn Mirage, the massive outdoor venue of Avant Gardner on Sunday, September 26th, 2021.
The lineup includes two sets of The Disco Biscuits who, coming off a cancelled weekend in New Haven, will have plenty up their sleeve for the event. The night is rounded off by sets from Karina Rykman, Break Science: Live Band, The Motet, and a trio made up of Joe Russo, John Medeski, and Dave Harrington. It wouldn’t be Brooklyn Comes Alive without at least one super-group. The night will also be hosted by none other than Sirius Jam On’s, Ari Fink.
Instead of the normal event with multiple stages and venues, this year they decided to keep it simple and safe. The outdoor venue will provide ample room and fresh air for fans, with the King’s Hall being open as well for bathrooms, full bar, and a place to relax in between sets. This will also ensure fans don’t miss a second of music.
Tickets for Brooklyn Comes Alive 2021 are available here.
With four multi-night runs at the Fillmore East already in the books for 1970, the Grateful Dead returned to their New York City headquarters for a fifth one in September. And, once again, they would be joined by their friends in New Riders of the Purple Sage for the festivities. This would be their third run of the year here in this “Evening with the Grateful Dead” format that featured music from both bands, with the Dead playing one acoustic and one electric set of music. This show also marks the first time David Grisman played along side Jerry Garcia in a live setting for the first time. September 20 was the final night of this particular run and features, arguably, one of the better acoustic sets known to Deadheads.
The opening set is accordingly introduced as “Acoustic Dead” and the band immediately launches into “Uncle John’s Band.” It’s a delightfully casual take on a Dead classic that’s harmonized nicely and sets the tone for the set. They even get some assistance from the Fillmore crowd which is gladly clapping along in time by song’s end. Jerry Garcia continues to man lead vocals on the “Deep Elem Blues” that follows, a song that would follow him around in live settings for the rest of his life. Grisman’s mandolin play blends in perfectly with the acoustic guitars, giving this one a unique feel. And with the added strings and acoustic influence provided by Grisman, a first set “Friend Of The Devil” sounds so crisp that one would think they were playing American Beauty over the PA.
“Big Railroad Blues” features David Nelson on yet another mandolin in a fun, fast-paced version that’s like no other. It was only the third performance ever of a song the Dead would go on to play for the remainder of their playing career. This is backed up by a splendid “Dark Hollow” with Bob Weir jumping in on lead vocals. There is so much acoustic firepower on stage, Garcia actually jumps on the piano for “To Lay Me Down,” quite a rare occurrence.
“Rosalie McFall” joins the fray afterwards, a Charlie Monroe cover and another acoustic song that would go on to be a mainstay for future Garcia acoustic performances. The remainder of the opening set has a decidedly classic Dead feel to it, beginning with “Cumberland Blues,” continuing with a riveting “New Speedway Boogie” that has a lovely little acoustic jam tied to it, and ending with the always emotional “Brokedown Palace.”
The second set then brings along the electricity, both literally and figuratively. “Casey Jones” comes rolling down the tracks to open things before the iconic opening licks of “China Cat Sunflower” ring out loud and true. While not particularly stretched out or extended, a perfectly seamless transition into “I Know You Rider” follows, and with each verse the Grateful Dead delighting the Fillmore crowd even further. It’s cut off a bit on the recording below, but “Candyman” then cools things down a bit, courtesy of the delicate singing and customary harrowing guitar play from Garcia.
This Fillmore show also features a few Dead rarities. “Big Boy Pete” is played for the only sixth time ever and the last one ever with Pigpen who finally gets some lead vocal action. It’s a quick. bluesy number that the band would dust off twice more in the future, with random unshelvings in 1978 and 1985. Perhaps inspired by the last number, or just turned up in the mix, Pigpen shines on the “Me And My Uncle” that comes next, supplying some inspired fills. Seizing the momentum, he then takes center stage and belts out one of his signature songs, “Easy Wind,” that also ably serves as one of the more extended jams of the evening.
A still raw “Sugar Magnolia” follows, but has a fun little vocal breakdown and shows all the signs of being a Grateful Dead staple for years to come. After a quick run through of the Weir-led “Mama Tried,” the Dead go big for this particular Fillmore closing sequence, starting with a massive “Not Fade Away.” This may as well have been the “Drums” portion of the evening as drummers Bill Kreutzmann and Mickey Hart lead the charge on this one, trading percussive punches back and forth that fuel a mesmerizing sequence of improv.
This sets the table for “Caution (Do Not Step On Tracks)” which, it could be argued, serves as the “Space” portion tonight. It’s the Dead at their finest: frenetic and psychedelic blues, powered by probing bass lines from Phil Lesh, and adorned with Pigpen riffing on vocals while feedback and other audio wizardry abound. The jam eventually devolves to only drums, bass and Pig on harmonica for a spell. Garcia then reemerges on lead guitar and the band begins to tie a bow on the second set the only way they know how – with a six-minute feedback jam. From this, the a capella “We Bid You Goodnight” emerges, serving as the de facto encore and officially closing out another memorable Grateful Dead run at the Fillmore East.
Grateful Dead Fillmore East – New York City, NY 9/20/70
Set 1: Uncle John’s Band, Deep Elem Blues, Friend Of The Devil, Big Railroad Blues, Dark Hallow, Ripple, To Lay Me Down, Truckin’, Rosalie McFall, Cumberland Blues, New Speedway Boogie, Brokedown Palace
Set 2: Casey Jones, China Cat Sunflower -> I Know You Rider, Candyman, Sittin’ On Top Of The World, Big Boy Pete, Me And My Uncle, Easy Wind, Sugar Magnolia, Attics Of My Life, Mama Tried, Not Fade Away > Caution (Do Not Step On The Tracks) > Feedback Jam > And We Bid You Goodnight
The inaugural Long Island music festival Pine Barrens Jam took over Blue Point Brewery in Patchogue this past Saturday, September 18th. The festival was originally supposed to happen in Center Moriches at the Ringhoff family farm, but due to extenuating circumstances and difficulties maintaining the town’s conditions, the festival had to change venues last minute.
Thankfully, the Blue Point Brewpub ended up being an excellent back up plan; the venue already has a large indoor stage with the ability to set up vendors and secondary stages outside. With plenty of parking and picture perfect weather, the festival went on without a hitch.
Pine Barrens Jam at Blue Point Brewery – 9/18/21. Photo By Buscar Photo
Debuting this year, Pine Barrens Jam was created to exhibit the best of local Long Island bands, artists, poets and other creative talent. When you arrived at the brewery, you were greeted by a row of vendors selling and showcasing their art as well as reps from radio stations and other causes. Vendors were selling t-shirts, paintings, jewelry and other items along the side of the brewery.
A small pop-up stage dubbed the “Peanut Butter Poetry & Arts Stage” was offset in the corner and hosted a slew of poets and other spoken word artists throughout the day. Featured speakers included Justin Vegh, Catheryn Berry, Brian Geraghty, Bri Onishea, MC2, Barbara Joy & Justin Poetry, Rosa Todaro, Nox, Allone and Rorie Kelly.
Peanut Butter Poetry & Arts Stage at Pine Barrens Jam, 9/18/21 – Photo By Buscar Photo
Moving along the grounds to the main entrance of the brewery, the “Lantern Sound Recording Rig Stage” greeted festival and brewery goers alike with a quaint set-up right as you arrived at the entrance. While the festival may have been competing with the brewery’s normal operating business, everyone who came out that day was pleasantly surprised to be immersed in the festival.
Even though it was a one day affair across three small stages, the festival curated a rather large lineup of artists from all over the area. The “Lantern” stage featured bands such as Hank Stone, Bryan Gallo, Leland Sundries, Mick Hargreaves, Frankie Matos, Rorie Kelly, Christine Sweeney, Pete Mancini and a triple performance from The Belle Curves, Anne O-Rourke & Featherheart.
Lantern Sound Recording Rig Stage at Pine Barrens Jam, 9/18/21 – Photo By Buscar Photo
The main space of the brewery is a massive room with several bars throughout. The kitchen was cranking out jumbo pretzels and fresh shucked oysters at a feverish pace as people were coming and going making their way around the festival. At one end of the space, the “Jelly Jam Stage” hosted the featured bands of the day: headliner Drop The 4 as well as Zestrove, Kaido, A Band In Ship, Laurie Anne Creus and Dysfunktone.
Jelly Jam Stage at Pine Barrens Jam, 9/18/21 – Photo By Buscar Photo
Attendees at the festival would have never known the brewery was a last minute venue change. The organizers did an incredible job adapting to the new space, and one might have even thought it was the intent all along. Pine Barrens Jam promises to fight to be able to use the intended farm for next year, but the debut edition of the festival succeeded in highlighting the amazing artistry and musical talent from Long Island. More photos from the day below.
Looking out on the throngs of fans who flocked to North Pearl Street in downtown Albany for PearlPalooza, WEQX Program Director Jeff Morad remarked “This is a prime example of ‘If you build it, they will come.’” With three local artists and a day of prime weather, the first PearlPalooza since 2019 took place on Saturday, September 18, bringing Albany out in force.
photo by Pete Mason
Starting with Yogapalooza at Noon, PearPalooza kicked off with music at 1pm with prog-rockers Timbre Coup, a long-awaited return to the stage for many in the crowd. Glass Pony‘s upbeat pandemic anthem “Something Good” rang through the streets and businesses on Pearl Street.
photo by Pete Mason
Jocelyn and Chris were the third hometown band on the lineup for PearlPalooza, giving many an opportunity to see them play live, in person, as opposed to their near-daily live streams that have been a regular way to get to know the duo since mid-2020. Thus, they brought their yellow livestream couch for a brief respite during their set, and performed the unreleased “Runaways.” While Jocelyn opted for a costume change, Chris showed off his guitar chops, leading into “Witness.” The duo emotionally thanked the crowd for the opportunity to play live music once again, closing the set with radio hit “Sugar and Spice.”
For Slothrust, PearlPalooza marked their ‘first show in forever,’ as frontwoman Leah Wellbaum remarked. After the live debut of “The Next Curse,” they performed a heavy cover of Britney Spears “Hit me Baby One More Time.” The Violent Femmes influence was felt on the Boston group, who commanded the stage, leaving an indelible mark in the annals of PearlPalooza, encoring with “Birthday Cake” and greeting fans side stage after their set.
Dave Matthews Band arrived at Saratoga Performing Arts Center (SPAC) on September 17, 2021, for the first of two shows at one of their most familiar stomping grounds. Matthews briefly grew up in the Hudson Valley of New York before heading to South Africa, then to Charlottesville, VA to form his eponymous band.
The first concert Dave ever saw was that of Pete Seeger. “My parents took my brother, my sisters and me. I will never forget it. I was little. Dancing in a field in Upstate New York while the grown-ups sat on the grass.” Dave was able to share the Saratoga stage with a 94 year-old Pete at the September 2013 Farmaid concert.
Dave Matthews Band opened their two night run at Saratoga Performing Arts Center (SPAC) on Friday with a nod to Seeger by performing “Rye Whiskey,” the first time the full band has played it since Bethel Woods in 2009. A variation on the traditional Scottish folk song “Way Up on Clinch Mountain”, Seeger’s version includes the lyrics “If the ocean was whiskey and I was a duck, I’d swim to the bottom and never come up.”
Tim Reynolds warmed Saratoga up with a two night acoustic run on his own at Putnam Place back in June. He told NYS Music about playing smaller rooms before his sold out SPAC shows “Oh incredible man, I think this year is wide open.”
The band extended out “So Damn Lucky” from the 2003’s Some Devil, seguing into Sly and The Family Stone’s “Thank You Falletinme Be Mice Elf again.” Dave Matthews had reunited with Some Devil bassist Tony Hall for their Labor Day weekend shows at The Gorge Amphitheater in George, WA, where Hall sat in on low end for bassist Stefan Lessard. Hall told NYS Music about the recording of Some Devil “I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.”
A new song debuted by the band this tour, “Walk Around The Moon,” has a psychedelic sound based on a true story of being lost in the woods with unexpected consequences very fitting for Saratoga Spa State park with its forest lining. The band shone a moonlit glow on the crowd for “You Never Know” with it’s fitting lyrics, “Funny when you’re small, The moon follows the car there’s no one but you see Hey, the moon is chasing me”.
The seven piece took “Jimi Thing” for a walk down multiple SPAC trails mashing up covers by Huey Lewis’ “I Want a New Drug,” Prince’s “Sexy Motherfucker” and The Rolling Stones. Dave took on Mick Jagger’s front man energy while singing the Stones staple “Satisfaction” in honor of Charlie Watts, for whom Dave Matthews Band had opened up for in the past.
All the lovers in attendance got a “#41,” “Say Goodbye,” and “Lover Lay Down” to keep their flames lit. Tony Hall’s cajun influence is heard during the appropriate “Louisiana Bayou” jam. The band encored an upstate New York anthem “Don’t Drink The Water,” with the poignant “here’s the hitch your horse is leaving” lyric for the Saratoga race track heads.
Night two at SPAC and the weather was perfect for more Dave Matthews Band. “Big Eyed Fish” opened the show, as the crowd was treated to “#27,” “The Stone,” and “Sugar Will,” all three being golden tunes to catch a vibe. Up next Buddy Strong kicked that B3 Hammond up for a howling cover of The Zombies “Time of the Season.” “Pantala Naga Pampa ” -> “Rapunzel” musical ride hit hard mid set, with “Granny” reminding the crowd why they were in attendance (Love!!!…Baby!!!)
The ensemble closed with Bob Dylan’s “All Along the Watchtower,” while midway through the chilling cover, Dave came in with the final verses of “Stairway to Heaven.” The house lights went up and a fresh fall air set on the crowd. The encore jumped seasons with “Christmas Song,” a simple song about the message of love through baby Jesus.
They finish with “Shake me like a Monkey” to make sure the crowd is on the same page before exiting into our lives: “Do you know what it is to feel the light of love inside you? And all the darkness falls away. If you feel the way I feel then I believe we have the answer. That I’ve been searching for tonight”
https://www.youtube.com/watch?v=Eei2lTAiP6Q
Dave Matthews Band – September 17, 2021 – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY
Setlist: Rye Whiskey, One Sweet World, That Girl Is You, Pig, So Damn Lucky, Can’t Stop, Walk Around the Moon, You Never Know, Minarets, Jimi Thing, I Want a New Drug, Sexy M.F., Brown Sugar, Bitch, (I Can’t Get No) Satisfaction, #41, Say Goodbye, Kill the Preacher, Why I Am, What You Are, Lover Lay Down, Louisiana Bayou, Stay (Wasting Time),
Encore: Sister, Don’t Drink the Water
Dave Matthews Band – September 18, 2021 – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY
Setlist: Big Eyed Fish, Bartender, Grace Is Gone, Grey Street, #27, The Stone, So Much to Say, Anyone Seen the Bridge, Too Much, Sugar Will, Crush, Squirm, Lying in the Hands of God, Time of the Season, Pantala Naga Pampa, Rapunzel, Drive In, Drive Out, Granny, Warehouse, All Along the Watchtower
