It was a night full of incredible music at The Rapids Theatre in Niagara Falls on November 9th as Daughtry, Sevendust, Tremonti and Travis Bracht rocked the stage for the Dearly Beloved tour.
Daughtry tearing it up at The Rapids Theatre. Photo by Samantha Rychlicki
The first performance of the night was brought by Travis Bracht with a voice that could pierce right through your heart.
Following him was the band Tremonti. Their drummer was ill so the audience got to see a totally different side of the band as they performed a totally acoustic set for the first time ever.
Tremonti at The Rapids Theatre. Photo by Samantha Rychlicki
The rock show took off with Sevendust, and who has been around since about ’94 and they are still amazing. Their fans knew every single word to every single song.
Daughtry, lead by American Idol Season 5 contestant Chris Daughtry, nailed their set. Daughtry’s voice is as smooth as ever, plus, his talent and charisma are tough to match, yet the rest of the band was right at his level.
It was a night filled with refreshing, post-grunge rock that was just what this crowd needed.
Daughtry Setlist: Desperation, World on Fire, Changes Are Coming, No Surprise, Dearly Beloved, Evil, Home, Waiting for Superman, Break Into My Heart, It’s Not Over, Heavy Is the Crown, The Victim, Lioness, September, Over you, Asylum
Chris Daughtry at The Rapids Theatre. Photo by Samantha Rychlicki
Daughtry at The Rapids Theatre. Photo by Samantha Rychlicki
Chris Daughtry at The Rapids Theatre. Photo by Samantha Rychlicki
Chris Daughtry at The Rapids Theatre. Photo by Samantha Rychlicki
Sevendust at The Rapids Theatre. Photo by Samantha Rychlicki
John Connolly of Sevendust at The Rapids Theatre. Photo by Samantha Rychlicki
Clint Lowery and Lajon Witherspoon of Sevendust at The Rapids Theatre. Photo by Samantha Rychlicki
Lajon Witherspoon of Sevendust at The Rapids Theatre. Photo by Samantha Rychlicki
Mark Tremonti of Tremonti at The Rapids Theatre. Photo by Samantha Rychlicki
Tremonti at The Rapids Theatre. Photo by Samantha Rychlicki
Eric Friedman of Tremonti at The Rapids Theatre. Photo by Samantha Rychlicki
Travis Bracht at The Rapids Theatre. Photo by Samantha Rychlicki
Travis Bracht at The Rapids Theatre. Photo by Samantha Rychlicki
This fall, Ana Popovic celebrates 20 years on the road. The Serbian blues artist from Belgrade went from a careeer as a graphic designer to a world touring musician. Having just played Homer Center for the Arts on Sunday October 24, much like Eric Gales the week prior, she paid homage to the Jimi Hendrix “electric church” style energy of the Center.
And filled with energy she did, having been a performer and on the board of the Experience Hendrix European tour for the past 6 years.
Photo by Michael Roud
Needless to say, there is an immediate vibe when artists channel these blues sounds inside the 150 year old Baptist church turned music venue, especially on a Sunday. The band came in hot to Homer after a sold out two night run at Buffalo’s Tralf Music Hall. They call me the voodoo woman and I know the reason why…
Ana Popovic Band Homer Center for the Arts 10/24/21
Popovic’s band includes the brass section of Evan Knight on Saxophone and Pete Clagget on trumpet, plus Buthel Burns holding down backing vocals and bass. Special guest drummer for this tour was Christopher R Coleman of Beck’s band, who has been playing drums since he was 2 years old, sitting on his uncle’s knee in church. He traveled with his father and uncles who performed together in a gospel ensemble.
Coleman told NYS Music he felt right at home behind his kit at The Homer Center for the Arts. The two piece horn section & keyboards supplied the fuel to the bands groove on stage. The brass even made their way down the Homer Center aisles to join the crowd as part of the encore tune “Tribe.”
“Ana’s Shuffle” opened the performance, and the group plugged into the electric church spirits immediately for a cover of “Can’t You See What You’re Doing to Me?,” by legendary blues man Albert King. All musicians on stage were of high quality caliber, each carefully listening and letting everyone breathe properly during their solos. Chris Coleman had a full three minute drum crescendo blast off to the second floor.
Ana Popovic and company paid homage to The Rolling Stones, currently on a national tour of America. Ana stepped out front like Mick Jagger for a cover of “Rain Fall Down” off their Bigger Bang album. Chris Coleman really showed why he backs Beck, one of the funkiest front men currently on tour like Jagger.
Rolling Stones Cover
To keep the evening’s funk alive, they launched into Steely Dan’s “Night by Night.” The song title’s iconic lyrics mirrored off the stage: “Well I don’t really care, If it’s wrong or if it’s right, But until my ship comes in, I’ll live night by night.” Sunday night at the Center heated up during the 16-song set that had certain cuts off Ana’s 10 original studio albums.
Steely Dan Cover
“Lasting Kind of Love” and “I Like It on Top” from her 2018 album really set a fire to the setlist. Burns held down the bottom end on bass and soul backing vocals. Legendary producer Keb’ Mo’s funk driven influence was a stand out on these originals tracks live in concert. Ana jives on the tune “I like it on top every day of the week…I like it on top walking down the street.“
Photo by Out Loud Pictures
The band came full circle with the crowd by sending the brass to tune them up during the encore, a New Orleans style horn march back to the stage “When the Saints Go Marching In.” Popovic closed the night with a howling steel slide solo that sent the masses out wanting to change the world. ‘Funky Love’ is this band’s message, loud and clear. Following the show, Ana told NYS music as she enjoyed a glass of red wine after the gig “Yea the energy in here was incredible.” Watch the soulful finale in Homer below.
Ana Popovic – Center for the Arts, Homer, NY – Sunday, October 24, 2021
Setlist: Homer New York Intro Jam–>Anas Shuffle. Can you Stand the Heat, Object of Obsession, I’m Gonna Love You Tonight, Train, New Coat of Paint*, Can’t You See what You’re Doing To Me**, Rain Fell Down***, Last Thing I Do, Fencewalk****, Brand New Man, I Like It on Top, Lasting Kind of Love, You Can Count Me In Encore: Tribe
*Albert King Cover **Tom Waits Cover ***Rolling Stones Cover ***Steely Dan Cover ****Mandrill Cover
The Jauntee have announced a Fall Tour that brings the Colorado band back to the East Coast for the first time since 2019. They’ll make a stop in Albany on Thursday, November 18 and close the tour out in Buffalo on Sunday, November 21.
The band was poised to take the live scene by storm in 2020, with numerous support runs at some of the country’s most renowned venues along with a number of summer festival appearances. Then, complications arose from the virus which led the band to hunker down and provide their fans with a long series of full set live-streams with zero repeats they coined at “JaunTV.” Picking up where they left off, this tour will likely see many new fans introduced to the magic of their new-age improvisation.
This summer, the band was able to venture to Texas and the Midwest for appearances around Summer Camp Music Festival. This Fall tour will find The Jauntee heading back to the Southeast with shows at Smith’s Olde Bar in Atlanta and Charleston Pour House. They’ll venture into the DC and New Jersey region before heading up to their home turf in the Northeast, playing Albany, Boston, Burlington and Buffalo. The band heads back to Colorado where they will play the anniversary party for Beyond The Mountain Brewing in Boulder in December.
The Jauntee was recently added to the Nugs.net catalog, featuring 1000s of live performance recordings from dozens of bands. All shows from this Fall Tour will be posted on Nugs shortly after each show here.
11/5 – Smith’s Olde Bar – Atlanta, GA 11/6 – Charleston Pour House – Charleston, SC 11/10 – Pearl Street Warehouse – Washington, DC 11/11 – Elevation 27 – Virginia Beach, VA 11/12 – The Saint – Asbury Park, NJ 11/13 – Reading Distilling Guild – Reading, PA 11/18 – Parish Public House – Albany, NY 11/19 – Orlando’s – Burlington, VT 11/20 – Soundcheck Studios – Boston, MA 11/21 – Buffalo Iron Works – Buffalo, NY 12/11 – Beyond The Mountain Brewing – Boulder, CO
Following the release of “Baltimore Scrappledorf,” ElephantProof have announced tour dates for January 2022. Accompanying artists for the January dates include Annie in the Water, Pigeons Playing Ping Pong, and K.R.I.S.
The genre-bending group with powerhouse Goose drummer Ben Atkind was one of the most talked about performances at Fred the Festival after their late night set in Garcia’s Forest.
A very Ted set at Fred The Festival for ElephantProof.
“ElephantProof was a journey that took me everywhere I ever wanted to go with music. It got dark, it got deep into theory and wild chords that I never thought would work together, and the music was ALWAYS weird in the best way.”
-Chad
Heavily rotated since Fred, ElephantProof’s 2021 album EP EP displayed versatility for the drummer and showcased a variety of styles blended together to land somewhere between Lettuce and BoomBox with a jazzy twist.
“Baltimore Scrappledorf” gave an energetic surge to listeners, and left many feeling as though the best is yet to come at future shows.
“When surrealism meets the human ears and eyes, you know you’re at an ElephantProof show. Bringing sights and sounds together that make a recipe for an unforgettable experience.”
– Mandy
Expect no relaxation of the face when seeing ElephantProof
As the Goose tour shows no signs of slowing down, take every chance to see this band when possible.
For more on the mysteries that happened at Fred the Festival, check out our review below.
Hot off the heels of attending the 2021 Rock and Roll Hall of Fame Induction Ceremony, where he paid tribute to Charley Patton, Gary Clark Jr. headed back out on the road with a stop at The Capitol Theatre in Port Chester, NY on Wednesday, November 3.
Gary Clark Jr.
On night two of a three-night stand, Clark took the crowd on a musical journey traversing a soundscape from sojourns of simplicity through to explosions of sound. To support this pilgrimage, Gary enlisted King Zapata on guitar, Jon Deas on keyboards, Elijah Ford on bass, and J.J. Johnson on drums. Their prowess provided the infrastructure for Clark to explore the musical expanse.
The show opened with the potent “Bright Lights.” Clark is not afraid to update arrangements as “Fellin’ Like a Million” shifted to a beat-based groove while the falsettos in “I Walk Alone” articulated the emotional distress of the piece.
Gary Clark Jr.
Throughout the night the tall Texan would step forward and affix himself to a spot on the stage enabling the power and fury of his playing to radiate out to those in attendance. A well calibrated light show helped fine-tune the aura surrounding the stage which added an exponential element to the show.
Opening duties were delegated to hip hop rappers Blackillac. The duo, who had been taken under Clark’s wing years back, shared what they called “their version of the blues.” From the first beats you could sense the Austin musicians influence bestowed upon them. Moving from established tunes to freestyle and back, Blackillac achieved their goal to prepare everyone for the headliner.
Blackillac
To close out the two-hour show, Gary strapped on a Flying V guitar and launched into “Pearl Cadillac.” A lone spotlight illuminated the man and his guitar as the distinctive notes from the song extended to the rafters. Standing tall and proud, Clark thanked everyone and sent them off into the night as he faded into the darkness at the back of the stage.
On Thursday, November 11, pianist, composer and ensemble leader Michele Rosewoman will present “A Function at the Junction: Ancestral Bridge, Musical Streams” / “Una Función en el Cruce: Puente Ancestral, Corrientes Musicales,” a collaborative, multimedia event that will bring together Rosewoman’s New Yor-Uba ensemble, Francisco Mora Catlett’s Afro Horn and Román Díaz’s Rumba Ensemble in live performance with video documentation, a subsequent HotHouseGlobal broadcast and Habana/Harlem panels.
The program will take place at the Clemente Soto Velez Center, Flamboyan Theater in New York City at 107 Suffolk St, as part of Arts for Art’s three-day festival, Jazz Libre. Tickets are available here, with a cost of $15/set, $25/night in-erson, and $5 for a livestream. View the full schedule here.
On December 18, the event will be broadcast on Cuban national television (and beyond) as part of a 2-night event (Dec 18/19) through the HotHouseGlobal streaming platforms on Twitch, YouTube, HotHouse’swebsite, and Facebook Live. A recipient of the prestigious Southarts Jazz Road Creative Residency grant, Rosewoman has created a night that gives broader space and voice to the inspirations and traditions that have shaped and nurtured her.
With New Yor-Uba, we pay homage to the journey of centuries-old Yoruba traditions from Nigeria through Cuba to present-day New York, reflecting its contemporary manifestations.
Michele Rosewoman
The ensemble’s distinctive repertoire features Ms. Rosewoman’s original compositions and visionary arrangements that incorporate a large spectrum of Cuban spiritually-based musical traditions including, Yoruba (Nigeria), Arará (Dahomey), Abakuá (Calabar) and rumba/guaguanco, a uniquely Cuban musical form.
Rosewoman’s vision is that of a unique community of musicians in NYC with deep ties to both spiritually-based Cuban folkloric traditions and contemporary jazz, Rosewoman, Román Díaz and Francisco Mora Catlett share conceptual, artistic and spiritual intersections. Rosewoman sees this residency as an opportunity to “incorporate and stage the work of treasured co-creators who also highlight these traditions in unique contemporary contexts, while building bridges between artists and cultural voices based in NY and also those artificially separated by Cuba/U.S. policies.”
Master folklorist Román Díaz, a member of all three ensembles (leader of one), as well as a former member of Yoruba Andabo (Cuba) has been a featured and foundational member of her New Yor-Uba ensemble since 2008. Fulfilling a desire to further share her music (deeply informed by traditions born of Cuba) with Cuban audiences through her partnership with HotHouseGlobal, especially gratifying for Ms.Rosewoman is the fact that Mr. Diaz is featured in all 3 ensembles.
Michele Rosewoman | Credit: Chris Drukker
Michele Roswoman’s New Yor-Uba lineup includes: Michele Rosewoman– piano/vocals. Alex Norris–trumpet. Mike Thomas- alto & soprano saxophone, Isaiah Collier-tenor saxophone. Chris Washburne–trombone/bass trombone/tuba. Gregg August–bass. Robby Ameen–drums. Román Díaz – percussion/vocals. Rafael Monteagudo–percussion. Mauricio Herrera-percussion/vocals, Abraham Rodriguez- lead vocals.
This project enables us to share Mr. Díaz with the Cuban communities he is born of but separated from, as they experience his impact on the jazz community here in the U.S,” says Rosewoman. “And by ‘taking’ this music to Cuba, we all return to the source and pay homage to the roots of our inspiration, nurturing this junction.
Francisco Mora Catlett’s Afro Horn, an avant-garde ensemble that highlights the African presence in the Americas through an assemblage of prime musicians and a repertoire of written and improvised jazz expressions and Cuban folkloric influences, will also perform. Mora is especially known for his work with Motown, Sun Ra and Max Roach and as co-founder of the Oyu Oro Afro-Cuban Experimental Dance Company (2000) with his wife Danys Perez Prades, performing dance and music from the African Diaspora. Lineup: Francisco Mora Catlett–drums. Sam Newsome–soprano saxophone. Román Díaz –percussion. James Weidman–piano. Rashaan Carter–bass. Alex Harding–baritone saxophone.
Francisco Mora Catlett’s Afro Horn
Also performing is Román Díaz, a scholar of religious and folkloric music, composer & performer of folklore and contemporary jazz. Considered both a pillar of the New York City jazz avant-garde and one of Afro Cuban music’s great innovators, his Rumba Ensemble displays his vision of the confluence of New York City’s tradition of music of the African diaspora. He has performed and recorded with Merceditas Valdes, Raices Profundas, Paquito D’Rivera, Michele Rosewoman, Henry Threadgill, David Virelles, Jane Bunnett, Juan Carlos Formell, Orlando “Puntilla” Rios, Oriente Lopez, Afro Horn& Danilo Perez among many others.
Román Díaz ‘s Rumba Ensemble: Román Díaz -percussion/vocals. TBA-percussion. Clemente Medina-percussion. Rafael Monteagudo-percussion. Abraham Rodriguez-vocals, TBA- vocals. Onel Mulet-saxophone/flute.
Three years since their last trip to Port Chester, Ween will return to the Capitol Theatre for three nights to paint the town brown.
Tickets for the February 18, 19 and 20 shows will go on sale Friday, November 12 at 10am. Get tickets early via venue pre-sale on Thursday, November 11 from 10am-10pm using password TURNTHECAPBROWN. Get Ween at The Capitol Theatre tickets .
Indie music fans gathered in Brooklyn Steel Monday, November 1st, for a sold-out show featuring co-headliners Beach Fossils and Wild Nothing with support from Hannah Jadagu.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
New York City local Hannah Jadagu opened up the show with a number of her top tracks, including Think Too Much, Bleep Bloop, and he latest track release, “All My Time Is Wasted.” Having been signed to Sub Pop at 18, Hannah has already amassed more than 100,000 followers on Spotify and only continues to grow. During her set she took the time to thank Beach Fossils and Wild Nothing for bringing her along on the tour, and noted bittersweetly that this was her final show with them. You can listen to her music here.
Hannah Jadagu at Brooklyn Steel, Photographed by David Reichmann
Wild Nothing took the stage next, bringing an upbeat atmosphere and their signature synthwave indie-pop sound. Having last played Brooklyn Steel in 2019 to record their live album, Live From Brooklyn Steel, frontman Jack Tatum mentioned how special this venue is to him, thanking the crowd for coming out. The crowd danced and swayed throughout their set, and the setlist included some of their biggest hits, like Partners In Motion, Paradise, and Shadow (which closed out their set). You can listen to their catalog here.
Wild Nothing at Brooklyn Steel, Photographed by David Reichmann
Local Brooklyn legends Beach Fossils entered to an already-fired-up crowd, with Van Halen’s “Jump” playing over the speakers as they walked onstage. They wasted no time jumping into their extended 16-song setlist, playing numerous fan favorites from throughout their catalog. They opened with “This Year,” followed by their hit single “Sugar.” Some notable tracks include “Down The Line” (their most-streamed song to date, with nearly 2.4 million views on Youtube), “What A Pleasure,” “Sleep Apnea,” “Out In The Way” (performed with Wild Nothing), and “Daydream” as the closer.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
Beach Fossils have a new record coming out, “The Other Side of Life: Piano Ballads,” which you can pre-order on vinyl here and listen to here when it releases on November 19th.
The Flaming Lips returned to Brooklyn last night for the first of two shows at Bushwick’s Brooklyn Steel. Only the second stop on a world tour, the band returns to the live stage following the pandemic with dates across the US, Canada and the UK into next summer. Special guest and Flaming Lips collaborator Particle Kid provided opening support, featuring a guest appearance by Sean Ono Lennon.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tragedy of the Astroworld festival last week has not only shocked so many people, but has also changed the mindset of performers and venues alike. Flaming Lips frontman Wayne Coyne began the show with a long speech on the topic, urging fans to look out for everyone around them, promising that they would stop the show in the event someone needed help. He addressed the desire of so many to let their emotions run loose at shows, and he reminded us all that we can still “go crazy” in a good and positive way. This motif continued through the show, with breaks between songs and bright house lights to make sure everyone was safe.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The Flaming Lips released their debut record Here It Is in 1986, and have cultivated an extensive discography ever since. Back in 2020, the band released their sixteenth studio album, American Head via Warner Records. For Record Store Day 2021, the band released The Soft Bulletin Companion on vinyl for the first time ever. The rare recordings are B-sides and early mixes that accompany the band’s early breakthrough record The Soft Bulletin.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
One surprise nugget for the evening was the live debut of deep cut “Assassination of the Sun” off the band’s 2003 EP Ego Tripping At The Gates Of Hell. Afterwards, Wayne addressed the crowd, telling them about his ecstasy seeing a room full of fans enjoy a song they’ve never heard played live. Other essential tracks played included the epic “Yoshimi Battles The Pink Robots, Pt. 1,” “Do You Realize??,” and “She Don’t Use Jelly.”
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tour continues with another show tonight at Brooklyn Steel, plus two more New York shows. They’ll be playing on November 12th in Syracuse at Crouse-Hinds Concert Theater, and then in Albany on November 13th at The Palace Theatre. Check out the full run of dates on Song Kick and see our Brooklyn Steel night 1 photo gallery below. Wayne Coyne also has his own cannabis brand, Love Yer Brain, available now.
Gotham Early Music Scene also known as GEMS announced their Open Gates Project launching with three concerts featuring women of color. The concerts will take place November 12-14, 2021 across three boroughs of New York City.
Open Gates Project inaugural concert series is The Divine Feminine: Centering Women of Color in Early Music. This concert series is focusing on the 17th–century works celebrating the animating feminine spirit featuring an ensemble composed of women of color.
The 17th–century female composers it will be focusing on are Chiara Margarita Cozzolani, Barbara Strozzi, and Francesca Caccini. The concerts will be performed by outstanding rising and established American and international artists, with careers encompassing early, chamber, and Classical music, opera, jazz, and musical theater. The program is bookended with works devoted to the Virgin Mary. It opens with Madre, de los primores by New World visionary Sor Juana Inés de la Cruz who is considered the first great Latin American poet and recognized for her influential perspectives on women and scholarship. Pergolesi’s glorious and sublime Stabat Mater closes the program.
The Open Gates Project and GEMS as a bigger entity is committed to helping make significant efforts to make early music performance opportunities more equitable for artists of color and more accessible to historically excluded communities of color. Over the coming year, the Project will offer a rich variety of music performed by distinguished artists for diverse audiences throughout New York City.
The three performances will take place starting on Friday, November 12, 2021 at 7 PM at the Holy Trinity Lutheran Church in Manhattan. Then on Saturday, November 13, 2021 at 7 PM at the Jamaica Performing Arts Center in Queens. And will wrap up on Sunday, November 14, 2021 at 4 PM at the Pregones Theater in the Bronx. All audience members must have proof of vaccination and wear a mask. Check the GEMS website closer to the opening dates for full COVID-19 protocols and any updates.
The lineup includes Nicole Besa singing soprano, Aine Hakamatsuka singing soprano, Heather Hill singing soprano, Amaranta Viera singing soprano, Tanisha Anderson singing mezzo-soprano, Guadalupe Peraza singing mezzo-soprano, AnnMarie Sandy singing mezzo-soprano, Hai-Ting Chinn singing alto, Jessica Park on violin, Maria Romero Ramos on violin, Amelia Sie on violin, Patricia Ann Neely on viola da gamba, and Duangkamon “Wan” Wattanasak on harpsichord.
The program includes performances of: Sor Juana Inés de la Cruz: Madre, de los primores, Chiara Margarita Cozzolani: O dulcis Jesu, Barbara Strozzi: I baci, Francesca Caccini: O vive rose, Alessandro Stradella: Sinfonia No. 22 in D minor, and Giovanni Battista Pergolesi: Stabat Mater.
Tickets are available for $15–$30 ($5 for students, ID required at venue) are all General Admission seating and are available onlineby calling 212-866-0468, or at the door depending on availability..
For more information on the GEMS Open Gates Project and its upcoming events visit their website.
