Category: Jam/Progressive

Gogol Bordello Bring The Immigrant Punk Party to Burlington

Gogol Bordello, the legendary gypsy-punk collective known for their high-energy shows and genre-bending music, touched down in Vermont on Wednesday, performing at Higher Ground in Burlington, VT.

The show replaced a Montreal tour date that was rescheduled due to shifting COVID regulations. But Gogol Bordello has a long history in the Burlington area. Frontman Eugene Hutz moved to the area with his family when they first came to the states, as political refugees from Ukraine in 1992. Already an avid guitarist, Hutz formed popular local punk band The Fags before eventually moving to New York, where he would form Gogol Bordello in 1999.

The anticipation among the crowd at Higher Ground matched that long, storied history. Concertgoers of all ages mulled around the venue, often greeting each other with a smile and asking “you ready?” A worthy question– it’s hard to be fully ready for the kind of breakneck, immersive experience that is a Gogol Bordello show.

Nu Folk Rebel Alliance, a duo of Gogol Bordello member Pedro Erazo and guitarist Leo Minimum Tek, opened the show. A frequent associate of Gogol Bordello, Nu Folk Rebel Alliance shares their passion for blending global folkloric traditions with a punk rock twist. Pedro Erazo proves a charismatic presence, as arresting on vocals and percussion as in front of a DJ table. An electro-influence cover of “Working Class Hero” cemented the band’s power-to-the-people message, along with original “Fronteras,” an immigration anthem which Erazo addressed to “our brothers and sisters at the border.” Fronteras features a spaghetti-western guitar riff over heavy bass, nimbly blending the old with the new. The song bitingly addresses those who “wash their hands with corruption/ Making our lives miserable/ Miseducating our hoods.” Sung in Spanish and English, “Fronteras” urges immigrants of all nations to rise up in international solidarity and fury.

The humming Romani melodies signaling Gogol Bordello’s entrance began echoing before the group even stepped on stage, mesmerizing the crowd. The longer it lasted, the more voices in the audience called for them: “We want you!” A security guard tapped me, warning “you might want to be ready to get out of the way. Just in case there’s crowd surfers.” What exactly was I in for?

What I was in for, it turned out, was a rousing, electric and moving performance; a “gypsy punky party,” as Eugene Hutz declared. Once they began performing it proved impossible to look away. Their musical capability is astounding; just drums, violin and an acoustic guitar can give the impression of the center of a thunderstorm. Each song seems to feature a new instrument offering the perfect final tough; bongos, or bells, or an enormous marching bass drum.

The band’s unity, creativity and technical skill make thundering tracks like “Wonderlust King” and “Immigraniada” feel stadium-worthy. But the close environment of a club offered Gogol Bordello an opportunity to highlight their other grand talent: engaging an audience. Hopping from platform to platform and teetering at the edge of the stage, the band treats the stage like a playground and encourages the audience to adopt the same mentality. Many times, Hutz spun his hands as the crowd energy grew and grew, literally stirring the pot.

What felt most revolutionary about the performance was its embodiment of the Gogol Bordello’s mission: breaking boundaries, emphasizing global solidarity, and rejecting the norm. Even the band itself was somewhat shifted; Gogol Bordello announced on Tuesday members Ashley Tobias and Boris Pelekh had tested positive for COVID-19 and were quarantining. Leo Minimum Tek stood in for Pelekh with the rousing support of Hutz, whose unfettered, wiley joy seems utterly unsinkable. Waltzing across the stage in an open, tasseled bolero jacket, twirling his guitar as casually as the bottle of Brazilian rum he brought onstage, Hutz couldn’t be less bothered. His demeanor of carelessness seemed to say: Hey, the world is fucked, but we can have fun with it, together. The emotion is as intoxicating as their breathless musical pace.

Furthermore, crowd participation isn’t optional with Gogol Bordell. Hutz’s gutterall yells and ad-libs always include a microphone to the crowd, and occasionally a tease to get louder. But the chaos of their music never loses you, as the mind-boggling technique kill violinist Sergey Ryabtsev specifically catches you and doesn’t let go. His mesmerizing violin brings to mind a lived-out version of The Devil Went Down To Georgia, the classic tune where a musician plays for his life. Ryabtsev could surely beat the devil at this game, even in his own territory.

The band came out for a lengthy, rowdy encore after an hour-long set, performing classics like “Start Wearing Purple,” and new track “Roaring 2020s.” As wild moshing continued in the pit, a couple on the edge of the crowd waltzed together, twirling furiously. No one wanted the party to end.

However, all parties must end, and before they headed offstage Gogol Bordello stood together, extending their arms to the crowd. Though they had been the ones to bring their wild breed of freedom, we had all shared in the moment, and they thanked us. Hutz left the audience with a final, affecting message: “Don’t believe the hype, don’t believe the anti-hype. Stay fucking centered.”

Bob Marley’s “Redemption Song,” played as the crowd trickled back out into the night. Whatever had been released in that theater left, in its place, a free and easy feeling; the performance had captured the angst, energy and possibly fleeting joy of this moment in time. When Gogol Bordello say they ‘confront the jaded and the irony-deseased,” they mean it. Their inspiring message of international-mindedness, righteous fury and pure fun is enough to leave the most jaded of souls with hope for the future. That is, a future with lightning rods like Gogol Bordello in it.

September 19, 2021
The Slip plan Northeast November Tour, with stops in Brooklyn and Woodstock

Just as cargo shorts, hair dye and flannel are making a comeback in the ’20s, a classic jam band from the ’90s is also making a triumphant return. The Slip, having just reunited at LOCKN’ in August, will hit the road for six shows this November, with three shows in New York.

https://www.youtube.com/watch?v=fMRHbayESZQ

The Slip – drummer Andrew Barr, guitarist Brad Barr and bassist Marc Friedman – had released eight albums over 10 years, starting in 1997, and while they have reunited here and there over the years, this run of shows marks their first tour in more than a decade.

After starting the tour in Burlington at Higher Ground, they’ll make two more stops in New England at Fete Music Hall and The Sinclair before heading to Brooklyn Bowl for two nights, followed by an intimate performance at Levon Helm Studios in Woodstock. Tickets go on sale this Friday, September 17 at 10 a.m. ET at each venue’s website below.

The Slip Tour Dates

Nov. 11 – Burlington, VT – Higher Ground
Nov. 12 – Providence, RI – Fete Music Hall
Nov. 13 – Boston, MA – The Sinclair
Nov. 18 – Brooklyn, NY – Brooklyn Bowl
Nov. 19 – Brooklyn, NY – Brooklyn Bowl
Nov. 20 – Woodstock, NY – Levon Helm Studios

September 16, 2021
Frisell, Metheny and more Modern Masters Reveal their Creative Journeys in “Guitar Talk” by Joel Harrison

Since 2010, the annual Alternative Guitar Summit has presented dozens of daring players who push the boundaries of this ubiquitous instrument to their most inventive, unexpected and beautiful extremes. Now the festival’s founder, Brooklyn-based guitarist/composer Joel Harrison, is revealing the inspirations and creative journeys of 27 of guitardom’s most intrepid masters in a new book, Guitar Talk: Conversations with Visionary Players (Terra Nova Press).

Harrison’s overview of creative guitaring begins with some of the influential icons who emerged in the 1970s including Pat Metheny, Ralph Towner, Fred Frith, Henry Kaiser and the criminally-underrated Michael Gregory Jackson. Jackson is a multi-genre master namechecked as an influence by the likes of Metheny as well as Vernon Reid, Bill Frisell and Brandon Ross, who are also featured in the book. Nels Cline, Julian Lage, Elliott Sharp, Ben Monder, Anthony Pirog, Mike and Leni Stern, Mary Halvorson, Wayne Krantz, Liberty Ellman, Dave Fiuczynski, Wolfgang Muthspiel, Ava Mendoza and Sheryl Bailey are also profiled in-depth. Harrison also explores lesser-known artists like Nguyên Lê, Rez Abbasi, Miles Okazaki and Rafiq Bhatia who are marrying the melodies and rhythms of their ancestral lands to the outer reaches of jazz.

As evidenced with a listen to any of the above, an enormous, fast-expanding range of approaches and sounds now exist within modern guitaring. The instrument can howl, hum, scrape, scratch, scream, sing, pluck, grate and soothe. What stands out in this book is not so much the instrument itself, but rather the wonderful and idiosyncratic personalities of these bold souls. They are all united by their sometimes wild, often zigzagging and ultimately profound journeys toward beauty, meaning and excellence in their work.

As an accomplished player who has known or collaborated with these artists over decades, Harrison is uniquely equipped to orchestrate these interviews. They are far more informed, revealing and absorbing than the ones you might read in general music media or hear on NPR. His intimate knowledge of their lives and creative struggles provides a unique perspective on this breed of musicians. They are the ones who take the road far less traveled to create artistry that never approaches cliche.

The book begins with a profile of Ralph Towner. Towner was the man who brought nylon-string classical guitar and acoustic 12-string into jazz, along with a litany of rich classically-informed compositions, through his work with Oregon, Weather Report and his solo ventures. He speaks about the impact of Big Band, Brazilian and Bach on his work. He also relates a humorous story of finding himself in folk singer Tim Hardin’s band at Woodstock ‘69, playing one of the “worst sets” of the legendary festival to a crowd of 450,000.

Many guitarists interviewed speak about the scene in Boston that grew up around the Berklee College of Music in the 1970s. It was an especially fertile one which launched players like Bill Frisell, John Scofield, Mike and Leni Stern and Pat Metheny to name a few. Metheny speaks about the development of his renowned sense of melody with his namesake quartet and also his lesser-known explorations to jazz’s far reaches with the Synclavier, Ornette Coleman and his Orchestrion records. A name that comes up with Pat and several other guitarists is Berklee educator Mick Goodrick, a chordal master who taught many of these names and shared guitaring duties with a young Metheny in the Gary Burton Group.

Harrison has a special reverence for the music of Michael Gregory Jackson. Jackson is a genre-hopping instrumentalist/improviser, as well as a later-day singer/songwriter in the R&B mold, who emerged as a teen in the mid-1970s NYC loft jazz scene with the Oliver Lake Group and groundbreaking solo records like his 1976 debut Clarity. Jackson packed influences ranging from Son House, Stockhausen, Hendrix, Albert Ayler and Stevie Wonder into his fast-evolving style, leaping from avant-garde to R&B to CBGB’s proto punk. His searing melodic style and techniques, like his use of volume pedal swells, has been noted as an influence by Metheny, Frisell, Mary Halvorson and others. The element of racism, the fact that the massively talented Jackson didn’t quite breakthrough to the big time, is sighted not only by the author but in interviews with Vernon Reid and Brandon Ross. After a quiet period, Jackson re-emerged in a big way in the last decade, recording acclaimed discs both here and in Denmark that are firmly rooted in his initial avant style.

In his interview, Bill Frisell charts his development from his busier, fuzzier earlier style to what Harrison labels the “deceptively attainable haiku style” of current day. Like many here, Frisell credits his sense of melody and harmony to his study and friendship with the great Jim Hall, along with a love of pop songsmiths like Burt Bacharach, someone his younger self would’ve considered “way too corny.” There’s also a fun story here about how his teenage R&B band beat one with future members of Earth Wind & Fire in a high school battle of the bands.

The husband-wife guitarists, Mike and Leni Stern, speak frankly of their battles – in developing unique and differing styles and with substance abuse. Mike relates how his ill-fated jamming partner Jaco Pastorius was the unlikely figure who sent him to rehab, while Leni relates the challenge of being one of three women in a Berklee guitar class of over 200. Mike also discusses the slings and arrows from critics for his now much imitated heavy metal bebop style introduced with Miles Davis on “Fat Time.” This was the searing opening track of Miles’ 1981 comeback album, a track titled for the nickname the trumpeter gave the then hefty guitarist.

Nels Cline speaks of his light bulb moment of guitaristic inspiration: hearing Hendrix’s “Manic Depression” at age 12. He also discusses the influence of artists as disparate as The Allman Brothers, early Weather Report and the avant-gardists of the AACM collective have had on his style. Cline is one of many musicians here who frankly discuss the financial struggle faced as a creative musician. He relates how he was about to quit full-time music and get a day job when he was called to join Wilco. He laments how current listeners seem to lack the attention span of those of decades past and how much more challenging it is to create a 5-second solo for a Wilco song than an expansive jazz improvisation.

Vernon Reid credits his interest in music to the now rare instrumental hits that made the pop charts when he was growing up, The Surfari’s surf standard “Wipe Out.” He also discusses his shift from the avant-garde to MTV and stardom with his rock band, Living Colour. Like Reid, Brandon Ross thinks the jazz university complex has maybe made for learned but less innovative musicians. He relates the huge impact that hearing Joni Mitchell’s “Dawntreader” had on him as a second grader, something that has influenced his shimmering acoustic work with singer Cassandra Wilson and on his own solo records. Ross also addresses the impossible financial challenges faced when festival bookers and A&R people can’t define a band and chose not to support adventurous bands like his edge-pushing trio, Harriet Tubman. David Tronzo, the innovator who brought slide guitar into the Sun Ra-like avant-garde, speaks about how the financial woes facing musicians out of the mainstream has played a role in his decision to forsake the road for a teaching gig.

Nguyên Lê is one artist who represents how jazz in evolving with the growing impact of non-Western musics and musicians, something evidenced in his album, Tales of Vietnam, and in the Indian/Cuban informed work of another interviewee, Rez Abbasi. Young Brooklyn guitarist Ava Mendoza details how she is using free jazz, noise rock, ragtime, blues and punk to create wholly unique sounds – in soundtracks, in collaboration with artists like John Zorn and works like her solo CD, Shapeshifters. Veteran player and educator Dave “Fuze” Fiuczynski has been using his fretless guitar to explore the microtonality of world music for years. Here, he discusses his journey to departing from even-tempered 12-note per octave scales for ones with 24 to 128 tones per octave.

No guitarist among the edge-pushing modernists in this book may be as busy as Mary Halvorson. On the subject of being a woman in jazz, she says that many of her greatest role models and advocates have been men. But the danger for women is in the learning phase – when men might try and convince you that youcan’t play. Halvorson recalls her beginnings studying traditional jazz harmony and standards before burning out and turning to the more adventurous compositions and improvisational style of her teacher Anthony Braxton. Her singular style emerged at this time, in part with her creation of unique intervallic exercises that are still a hallmark of her work. Through a recent MacArthur Grant, she has furthered her work on several projects. This includes her three-woman/three-man Code Girl ensemble and a move into writing songs with lyrics, inspired by her love of Fiona Apple and Robert Wyatt.

Harrison’s book concludes with a wonderful discography of selected listenings. You can also check out his recent CD Guitar Talk, a collection of solo pieces and duets with artists like Ben Monder and Steve Swallow. The release was celebrated with a recent performance by at Brooklyn’s newest jazz institution, the wonderful Soapbox Gallery, which can be seen below.

September 9, 2021
Experimental Duo Vapor Vespers Drop Double-Sided Single, You Changed and Sex

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.

September 2, 2021
Diggin Roots Festival Releases Inaugural Lineup and Schedule for October 8-9
In a year light on music festivals, the season has been extended into October in Upstate NY. Over October 8-9, Magic Forest Farm in Coeymans Hollow – just 30 minutes south of Albany – will play host to the first annual Diggin Roots Festival.

Diggin Roots features an amazing lineup of bands, kid friendly activities, food vendors, local craftsman and more. Magic Forest Farm also has multiple hiking and walking trails to explore and animals to meet.

The great minds behind the Festival, Koryn Shear and Sugar Productions, bring a fantastic lineup over two days, featuring Yam Yam, Wild Adriatic, Baked Shrimp, and many more.

Diggin Roots came to fruition from Shear’s longtime family friend Joan Mahony and her partner Jason Ball. Mahony’s family has owned the 200 acre property since the 1970s, in an effort to have an escape from their home in Brooklyn. The idea for a music festival came together in the last few years, with Jason building the stage. Jason and Joan brought Koryn to the farm and she fell in love with the space and vision to bring music and people to the venue.

The Schedule for Diggin’ Roots Festival

Shear used her connections in the Albany music scene to find those who would be able to bring her vision to life. Among those was Shane Spillinger of Sugar Productions, and once he saw the property and potential for a late fall event, he was on board. Kirk Lyons of Lyons Den Productions will handle lights and sound at Diggin Roots.

In its first year, Shear hopes to connect the community to the location, have a successful event and make this the beginning of something that can grow over time, bringing music and people together. Over time, larger acts are on the horizon, making this an annual gathering with long term potential, especially given the location of the space in Coeymans Hollow, which has its own deep history.

The name for the festival came as Shear and Spillinger discussed names along with Joan, the property owner. Given the festival is slated for October, and there is a good deal of harvesting at that time, Diggin Roots was decided upon, especially as they aim to dig in and make this a regular community event.

Over two fall nights in October, live music lovers will capture the last flicker of festival season with Diggin Roots, which also has camping and limited RV passes. Tickets are available here and are $90 for the weekend. Day passes will also be available. Check out exclusive photos of the grounds of the farm via Shear, and stay tuned for updates on this inaugural event.
September 2, 2021
How Sweet It Is: Dead and Company at Hershey Park Stadium
Jam band supergroup Dead & Company make their summer tour stop at the land of chocolate, Hershey Park, on August 28. With them as always, following is their eclectic, eccentric, and electric fanbase: the Deadheads, as colorful as their kaleidoscopic visions can take them. The fanbase is incredibly kind, tight knit, dedicated, and functions as a self sustaining community that follows the band.

The band started the night with “The Music Never Stopped,” a good way to get things going. “Touch of Grey” proved to be a most apropriate song, one whose message we can all relate to in the midst of a worldwide health pandemic. Mayer shines on “Tennessee Jed” with some fancy chicken picking and long time superstar vocals on “Mr.Charlie.” The band wrapped up the first set with an incredible “Cassidy,” featuring iconic Weir vocal parts and a fast, fun, everyone sing a long “Don’t Ease Me In” to end the set.

Visit NYS Music’s interactive Grateful Dead in New York series, So MaNY Roads

The second set blasted off with a psychedelic “Here Comes Sunshine”, featuring Mayer leading everyone into the sun, vocally and theoretically speaking ofcourse. Now Bobby gets to shine on vocals as the band goes into an epic “Estimated Prophet”. Dancing shoes are coming on and the band pulls of several extended, even for Grateful Dead standards, improvised sections on a massive “Eyes of The World”. Mayer gets to shine on vocals again with “Althea”. And now comes time for the rhythm devils as the rest of the band leaves.

After “Space” Dead & Co went into an unexpected Miles Davis cover of “Milestones,” a most psychedelic and sonically unexpected spectacle. They switch gears into “Going Down The Road Feeling Bad” and quickly again into “Death Don’t Have No Mercy.” This featured a somber Weir on vocals, really belting out about death and loss. And to close out the set, a most apropriate “One More Saturday Night” played with all the vigor and groove a Saturday night show should have.

Bobby declares that there is a strict curfew in play so they’ll skip the formalities of getting off stage and get right to the encore which was a thumping sing along, “Quinn the Eskimo.”

Dead and Company – Hershey Park Stadium, Hershey, PA – August 28, 2021

Set 1: The Music Never Stopped -> Easy Answers -> The Music Never Stopped, Touch of Grey, Tennessee Jed, Mr. Charlie, Black Throated Wind, Cassidy, Don’t Ease Me In

Set 2: Here Comes Sunshine > Estimated Prophet > Eyes of the World > Althea > Drums > Space > Milesstones > Going Down the Road Feeling Bad > Death Don’t Have No Mercy > One More Saturday Night

Encore: Quinn the Eskimo
September 2, 2021
Inaugural LonCon Music Festival Captures Lightning in a Bottle
The inaugural LonCon Music Festival took place over August 27-29, 2021 at the legendary Arrowhead Ranch and Retreat in Parksville, NY. Organized by Long Island up-and-comers Baked Shrimp, the two day event served as a tribute to the late Lon Gellman, a well-known and beloved supporter of live music.

Fans attending LonCon 2021 saw performances by Twiddle frontman Mihali, Dogs in a Pile, RCA, Creamery Station, and artist-at-large, Hayley Jane. Unfortunately just two acts into day one, torrential rains and an intense lighting storm forced all music to be suspended due to safety concerns. Originally scheduled headliners Aqueous were unable to play their set. While gloomy and on the cusp of rain throughout all of Saturday, LonCon managed to rock on without a hitch.

RCA, comprised of Dopapod’s Rob Compa and Kung Fu members Chris DeAngelis and Adrian Tramontano, played mostly songs off Compa’s 2019 debut solo album, Same Damn Thing. In a set filled with more teases than you could count, including moe.’s “Rebubula” and the Beatles’ “Norwegian Wood,” the undisputed highlight came when artist at large Hayley Jane sat in for a ferocious take on Alanis Morissette’s ‘You Oughta Know.”

Due to their opening day set being cut short by lightning, event organizers Baked Shrimp played an extra long mid-day set to make up for lost time. Picking up right where they left off by completing a “Rosa” jam, the ambitious young band also debuted “Hurricane Jane,” which saw both Hayley Jane and Rob Compa sit in.

Jersey Shore jam band Dogs In A Pile immediately raised the energy on the farm to a whole new level. Distinguished by their colorful outfits, two guitar-attack and otherworldly sounds courtesy of multi-instrumentalist Jeremy Kaplan, the band managed to turn the soggy farmland into a veritable dance floor. Making her third appearance of the afternoon, Hayley Jane returned to the stage once again, this time with a washboard draped around her neck, joining Dogs in a Pile on a rollicking version of the beloved The Band classic “Ophelia.” Not done with sit in’s just yet, Rob Compa would later join the band for an extra funky rendition of ‘Boogie on Reggae Woman.”

With nightfall now upon LonCon 2021, Day 2 headliner Mihali Savoulidis took the stage shortly after 8pm. Before starting his set, Mihali spoke candidly about his special connection to the late Lon Gellman and explained just how much of an honor it was for him to be there at this inaugural event. He would go on to play a sentimental set, highlighted by Twiddle staples “Apples,” “Mamunes the Faun,””Every Soul,”and “Hattie’s Jam” > “When It Rains It Pours,” and “River Drift.” Other highlights included an impressive mashup medley of “Glycerine” > “No Woman No Cry” > “Farmhouse” > “Wagon Wheel” and Hayley Jane joining on a cover of No Doubt’s “Don’t Speak.” The set also featured sit-in’s from Kung Fu/RCA drummer Adrian Tramontano and Baked Shrimp members Jared Cowen and Jager Soss.

Mihali Setlist: Be There (1), Collective pulse (1), Glycerine -> No Woman No Cry ->Wagon Wheel -> Farmhouse-> One Day, Ballad of the Broken (2), Living is the Lesson, Don’t Speak (3), Cali Roads (3), Open House (4), Heart Song, Apples, River Drift, Empty Overflow, Mamunes the Faun (5), Every Soul (6)
Encore: Hatties Jam (1) -> When it Rains it Pours

(1) Dedicated to Lon Conscious
(2) Formally known as CaliRado
(3) W/ Hayley Jane
(4) Formally known as Castle in the Sky
(5) w/ Jager Soss (Drums; Baked Shrimp) Jared Cowen (Guitar; Baked Shrimp)
(6) w/ Adrian Tramontano (Drums; RCA / Kung Fu)

Baked Shrimp Setlists

Friday, August 27
Setlist: NO2-4U, Molly Ann, Tulu, Melting Over Nothing, Pork Etiquette, Rosa (1)
(1) Cut short due to lightning storm.

Saturday, August 28
Setlist: One Set: Rosa (1), Weird Times, Who are You and What am I?, Ollie Blu, Hurricane Jane (2), Stomatopoda, Level of Gold, Pig Hearts and Mechanical Parts, Super Human Mutant, Benny, Down the Drain -> Equinox
(1) Ending jam only; completes 8/27/21 version
August 31, 2021
Dead and Company wrap up New York State run in Saratoga
For their fourth and final show in the Empire State, Dead and Company made their annual stop at Saratoga Performing Arts Center, hallowed ground for seeing the Grateful Dead in the 1980s. And much like the Dead shows at SPAC in the 80s, the venue was as packed as ever, hosting a sold out crowd of 25,103 – a few short of the record set by the Dead in 1985.

On Friday, August 27, Deadheads of all ages – grandparents bringing their grandkids, parents going with friends, college kids meeting up with uncles and aunts, or just locals looking for a night of classic American music – filled in every corner of SPAC, and in this era of social distancing, the crowd at times felt like there were more than 25 thousand in attendance. Early entry was a smart move this night, as COVID-19 vaccine checks as well as ticket/security checks slowed entry down for many. If you’re attending a sold out show at SPAC this summer, the best move you can make is go in early and avoid the rush.

photo by Conor McMahon

Once inside, the Saratoga Springs crowd was as boisterous and congenialÂ as you’d expect at a Dead and Company show, let alone a Phil and Friends, Ratdog, Billy and the Kids, Joe Russo’s Almost Dead, Dark Star Orchestra, or any other Grateful Dead side-project/tribute band. That’s what makes these shows so appealing to so many – you get that same wonderful vibe from those around you, all of whom are there for the music and allow themselves respite from the daily grind.

Visit NYS Music’s interactive Grateful Dead in New York series, So MaNY Roads

That collective release was felt when Dead and Company dropped into “Shakedown Street” to open a show, a resounding statement that tonight was going to be a barnburner. With Bob Weir wearing ‘Bobby Shorts,’ and Oteil Burbridge donning Section 119 shorts, even the band knew it would be a hot one. The “Bertha” that followed maintained the momentum out of “Shakedown,” which wound down so Weir could play a couple of acoustic numbers, the beautiful “Peggy-O” and “Me and My Uncle,” both of which were tour debuts.

photo by Conor McMahon, Oteil’s shorts by Section 119

Would be captain John Mayer took over vocals for “They Love Each Other,” and on “West L.A. Fadeaway” successfully pushed for a second jam with the help of Jeff Chimenti on keys. The set closing “Bird Song” was played at such a slow tempo it took Weir six minutes to get to the lyrics, while he and Mayer struggled for direction throughout the rest, clocking in at 22 minutes for the longest song of the night.

Set 2 opened up with “Let the Good Times Roll,” evoking memories of the show opener on “Downhill From Here,” and driving the bus towards “Scarlet Begonias,” which was paced at times as it meandered over 13-minutes. Surprisingly, “Help on the Way” arrived when “Fire on the Mountain” was expected, cranking up the energy once again, and diving into a “Slipknot” that was exploratory courtesy of John and Oteil, and is well worth a listen below. When “Fire” finally arrived, it lit the crowd up in a haze for 10 minutes, before an exodus of fans made their move towards the back of the lawn or parking lots with the onset of “Drums.” Oteil joined Rhythm Devils Bill and Mickey for the a tribal interlude, followed by Mickey getting to work on The Beam for “Space.”

Upon the band’s full return to the stage, “Cumberland Blues” brought the crowd back to their feet, then giving them a chance to rest during “Days Between,” the final tour debut of the night. “Not Fade Away” would close the set, bringing Buddy Holly’s lyrics to echo across SPA State Park and beyond. To balance out “NFA,” an encore of “Black Muddy River,” while soulful, zapped the energy that had been flowing all night.

While an up and down show tempo-wise, Dead and Company were energetic and polished throughout. It would be difficult to find a fan of the Grateful Dead who didn’t enjoy this performance at SPAC, or elsewhere on this tour, one that comes at a needed time for the fans after many months without live music.
Dead and Company – Saratoga Performing Arts Center, Saratoga Springs, NY – August 27, 2021

Set 1: Shakedown Street > Bertha, Peggy-O, Me and My Uncle, They Love Each Other > West L.A. Fadeaway, Bird Song

Set 2: Let the Good Times Roll, Scarlet Begonias > Help on the Way > Slipknot! > Fire on the Mountain > Drums/Space > Cumberland Blues > Days Between > Not Fade Away

Encore: Black Muddy River

photos by Conor McMahon
August 30, 2021
Dead and Company Roll into Darien Lake, pay tribute to Charlie Watts

Dead and Company continued their Empire State run on Wednesday, August 25 at Darien Lake Performing Arts Center, with the amusement park behind the venue giving the performance an county fair vibe. John Mayer sported a pair of headphones after noticing a slight ringing in his ears post show in Bethel Woods and wanted to protect his hearing. The headphones also allowed him to hear the band better and in turn, play in the band better.

photo by Josh Davis

Mayer immediately lit up the show with opener “Viola Lee Blues.” In a Tales from the Golden Road conversation with NYS Music, Mayer said he loved bringing his approach to the Grateful Dead’s mixolydian blues catalog. “A song like ‘Viola Lee Blues’ I can really pull the Hendrix thing to it. It’s not that different.” Thus, “Viola Lee Blues” jammed and was weaved into both sets. Mayer stayed out front vocally on “Cold Rain and Snow” that hit inland from Lake Ontario to cool off the summer crowd. Bob Weir got on the mic for “Feel Like A Stranger” to remind the crowd that it’s “gonna be a long long crazy silky night” with Oteil Burbridge really fueling the funk level. He told NYS Music earlier this year “Well I mean there is so much funk in the Grateful Dead’s music. The Jerry Bands’ music. It’s just like there for the picking. So I just lean into it” Oteil and John really bring a new energy to this celebrated catalog and traded lead vocals on a swaying “Ship of Fools.”

The New York western plain vibe continued with “Friend of the Devil” that had Jeff Chimenti leading with saloon style piano – Chimenti has been playing with Bobby in “Ratdog” for a reason for over 20 years. Bob Weir started howling vocally on “Loose Lucy,” with a tone that night very in the moment and full of raw emotion. Mayer got another stab at the mixolydian blues to close the set with “New Speedway Boogie”. Mayer said of the musical concept in Dead and Co., “It’s very ascending and descending that’s what’s allows people to ride it”

photo by Josh Davis

The second set started with a nod to the western terrain of Darien, with “Truckin’” (up to Buffalo), followed by the first song Dead and Company ever played as a group, naturally, “Playing in the Band.” A beyond welcoming composition for Mayer, Burbridge, and Chimenti who joined the 3 core members on this musical journey six years ago. Burbridge said in an interview with NYS Music in Miami about the band’s first gig: “That was a harrowing night. That was a trip. That beginning time. But when Bill Walton says you’re good, you stop worrying.”

Visit NYS Music’s interactive Grateful Dead in New York series, So MaNY Roads

The ensemble then unfolded a “China Cat Sunflower” into a “I Know You Rider” that shone the light back on Weir’s vocals, taking on the spirit animal of an old wolf howling under the night tent at Darien. This sole survivor momentum lead into the band’s tribute to Rolling Stones drummer Charlie Watts who passed earlier this week with a cover of “The Last Time”. Again Bob Weir lead the pack in the moment, “This could be the last time, I don’t know.” Billy and Mickey’s “Drums” segment opened up some chakras with their vibrations, and the band returned for “Space.” After orbiting it was time to bring the children home with “Uncle John’s Band” The final song of the evening brought great imagery to a late August night with “Wharf Rats” and the band came full circle by closing the show with a reprise of “Playing in the Band.”

The encore was truly chilling as they covered Bob Dylan’s “Knocking on Heavens Door.” Although Bobby and John both sported cut off tees like Guns & Roses, this was truly their take on this song, a very heavy way to end a show. A night of music like this brings all your feelings to the surface. Jerry Garcia once said of music’s effects “I don’t know why. It’s the same reason why you like some kind of music and not others. There’s something about it YOU like. Ultimately I don’t find it’s in my best interests to try and analyze it. Since it’s fundamentally emotional.”

Dead and Company – Darien Lake Amphitheater, Darien Center, NY – 8/25/21

Set 1: Viola Lee Blues > Cold Rain and Snow, Feel Like a Stranger, Ship of Fools, Friend of the Devil, Loose Lucy > New Speedway Boogie

Set 2: Truckin’ > Playing In The Band > Viola Lee Blues > China Cat Sunflower > I Know You Rider > The Last Time* > Drums/Space > Uncle John’s Band > Wharf Rat > Playing In The Band (Reprise)

Encore: Knockin’ on Heaven’s Door

Photos by Josh Davis

August 29, 2021
Getting Involved Under The Goose Moon: Fred the Festival at LOCKN’ Farm

Under the hazy light of 2021’s August Full Moon, it became apparent that attendees of Fred The Festival at LOCKN’ Farm were, in fact, getting involved. Fred, a festival hosted by Goose, included side projects of the band itself like Vasudo, Elephantproof, and the aGOOSEtic trio, as well as Peter Anspach’s debut acoustic solo performance. The festival provided a refreshing and wholesome interpretation of what a music festival could look like without ever compromising on the quality of production and music.

Stormy weather

Is It The Wind Upon My Neck?

Turned Clouds

Despite threatening skies that seem to always make for the most beautiful sunset, security guards seemed disinterested in the potential weather and said that the storms always passed behind the farm. They did.

Is It The Glowing Of The Moon?

On the weekend of August 20-22. the full moon illuminated the rolling fields at Lockn Farms in Arrington, VA.

It is said that if a seeker perceives their environment to be safe, then the light of a full moon can illuminate new intuitive understanding about how to navigate through darkness or uncertain times. New and excellent music can be medicinal in properties. ElephantProof gave the entire crowd a dose of the rare form of stoke that only comes from that ear-tingly reserved only for future favorite artists.

Sam Bardini and Andrew Goedde making Garcia’s Forest a safer, brighter, more musical place

The real magic of this moon, this gathering, and this grand reveal was that many found out just how loved they were by their chosen family. The plot twist theme seemed to be that the haze hills and dark pathways were much easier to navigate when in the company of others.

Oasis in the depth of the night illuminated by the Lover’s hoops and serenaded by the wise minstrel himself

It proved to be especially helpful when that company happened to be carrying an illuminated hula hoop at a silent disco half way back to camp. Doey Joey and Becky provided more than just a boogie-down pit stop. They offered their love and shared their creativity without hesitation. Those wise guiding lights and silent dances helped some of those that might have been lost to find their way.

The more time I spend with this (Goose) community the more I realizeâ¦ the people you do things with become a part of you and who you will be. In your blood, family.
Doey Joey

Seekers On The Ridge

LOCKN’ Farm hosted Fred the Festival. At about a day’s drive for most participants, the rolling hills are located in the midst of the stunning Blue Ridge Mountains. The environment allowed for all seekers on the ridge to separate themselves completely from everyday responsibilities. To truly detach allowed for the examination and reevaluation of moonlit discoveries.

Get Involved

The rolling hills and open fields provided the perfect place for games. The “Get Involved Games” were held on the lawn adjacent to the main stage and in front of the much smaller Porch Stage. Color coded teams assembled every morning to play games like tug-of-war, noodle hockey and giant Jenga. Band and crew members captained the teams and provided support from afar due to Covid restrictions.

Participants were actively partying less because they did not want to let their team down during the games. One team member recalled meeting with the captain bright and early to discuss potential strategies for the games ahead. A festival that had games scheduled during an hour that required early bed times with dedicated participants begs the question of if Fred the Festival itself have been an illusion.

In Search Of An Honest Place To Call My Home

Elmeg in Love

One dedicated couple chose Fred to be the place for wedding vow renewals in celebration of their five-year wedding anniversary. After enduring years of tumultuous societal overtones, this couple learned what it truly meant to find meaning in the grounding comfort of the earth and all it has to offer. They live and love in harmony with the land and have honed the ability find joy in the most uncommon places (hint: turn over a rotting log and watch her lose her mind at all the fungi growing). Multi-tiered snow forts and multi colored livestreams filled their time together until restrictions were lifted enough to dawn their chef and spaghetti costumes for Halloween at South Farms in Connecticut way back in November. Goose helped them stay involved with each other.

Adorable Hour

One benefit to waking up early, regardless of game status, was seeing Goose Guitarist Keyboardist, Vocalist Peter Anspach deliver his first solo set on the extremely intimate Porch Stage setup. What could easily make a fabulous segment on a TV show, some fans had their heart strings pulled at the music so much that they lovingly came up with the segment intro that goes a little something like, “On this episode of The Adorable Hour with Peter Anspach: Things that make you say, “Aww.” Peter’s set truly showcased a side of vulnerability and artistic ability in himself that created a bond between the crowd and the man in only the way accepting someone when they try something new can. To lead by example in that difficult and personal way set a precedent for others to take into consideration what can be gained with honesty and vulnerability.

Danny taking a compliment

It is said that the moon represents illusion and that what might have been seen under the moonlight could have been skewed. Fred the Festival revealed the depth of misinterpretation held about what a music festival should look like. Many traveled far and wide to attend even just a day of FRED, but it was not simply a music festival to which they were so drawn. The seekers were drawn to an evolution from participants to chosen family that has occurred over the last year as a result of what Goose likes to call “getting involved.” A little over a year ago, many seekers met in chat boards during the virtual interactive Bingo Tour. As reopening began, many of the people that met and remained in contact through message boards and streaming chat rooms got to meet in person and form more personal connections.

Many felt the undying support and safety of this familial bond. Conditions like these made it possible for some to consider seeing their own inner beauty. Fred was a safe place to consider possibilities like being more athletic, or to smile genuinely in a photo.

So Ready

Disco gaggle

Fred the Festival was special because this time, it seemed like not only were most of the usual subjects present, but it was like some sort of family reunion. Those that were meeting for the first time appeared to connect through shared love for a mutual fan friend or their favorite show. The amount of streaming music Goose has put out over the last year has been a great unifier for fans.

Fearless leader and contributor to the “El Goose Times” Marc Komito, aka “Scarf Guy”

Attendees of Fred the Festival truly appeared to begin to reveal their true nature of filling familial gaps for those lonely or in need. Goose cane-wielding uncles were able to connect with grandparents of tie dye wearing sloth mayors.

Children attended and parents were rejuvenated by remembering what it was like to see live music for the first time and connect with others that shared the same values. Walking the pathways during the day or night seemed like endless reunion after reunion. Grand reunions, quick catchups and then boogying down to a song seemed to be the pattern repeating over and over.

Take Your Troubles

Brothers at boards

The complete synergy among the crew illuminated group flow with familial bonds stretching out further than the Goeddes. At front of house, the flow between Sam Bardini and Andrew Goedde was reminiscent of a synchronized wingsuit team. Sound and light existed as one and because Sam and Goedde can pivot and finesse knowing the other will by right there without having to speak. If they did take the time to talk about what adjustment they might make next, the moment would have been long gone.

Goedde flexing

This healthy, family relationship atmosphere reflects in both the product as well as the constant inspiration and motivation for everyone on crew to push their craft to the next level. This transcends the band, the crew and the attendees. Everyone seemed to be excited for another’s new venture as if they were a proud grandma.

Having a chance to be away from “real life” created a new space for gratitude as well as a space to accept new music. Fred removed any stress that might disallow the space to give new music a try. Some attendees recalled a time where listening to one song or one set helped sooth anxiety during shutdown. The signs of curiosity indicated for many that their mental space was improving as the country began some semblance of a reopening.

Cory finding optimal position for photosynthesis

Stand out performer Cory Wong captivated the audience with attention grabbing musical know-how, a charismatic band and his charming personality. There were no still feet to be found because everyone seemed to be up and dancing for Cory’s set. To win over an audience largely filled with fans that have only been out to see one act and one act only spoke volumes for those that took notice. One die hard “Gong Gang” member recalled giving Cory’s set a few minutes because the nautical shirt was reminiscent of Jeff’s sailor hat. That person ended up staying the whole set and could not wait to listen to more of Cory’s music on the way home.

The Don

Mayor Little Baby Crepes making his rounds

To travel far and wide to be with people that mean a lot and for one common connector, like Goose, had words like “family” and “vacation” being used a lot. It was rare to hear the words “music festival” because it felt like so much more than that.

Guess the song you think this face happened for!

Fred the Festival was the result of the entire Goose community working hard over the last year to cultivate an atmosphere that is conducive to those that might not normally consider a music festival an option. The Hot Tea Party on Facebook had a showing of fans in recovery and made sure to provide support for anyone that might have been struggling.

Metamorphasis

The festival allowed for participants to come together, play games, be themselves and have a safe space for contemplation. Led by a strong production and management team, the three-day music family vacation event felt extremely wholesome and like “pure happiness.”

Goosemas

Aptly named “Santa Todd” on instagram, one outlier story must not be overlooked. One couple found at one of the cornhole stations admitted to never having heard Goose before and shared that they were attending to see Dawes.

New fan Santa Todd

Santa Todd and Mrs. Santa (Michelle) ended up staying for both sets of Goose and quickly understood the draw.

Goose recently announced that their annual Goosemas show will be on December 12 at Mohegan Sun. Be sure to coordinate with Goose Family to get everyone covered for tickets. The presale lottery was reported to move slowly which is usually an indicator of a quick sell out.

Click to read what happened to Trevor the last time Goose played under the full moon.

August 28, 2021

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