Chrissie Hynde has announced a new album of original Bob Dylan covers. Standing In The Doorway: Chrissie Hynde Sings Bob Dylan arrives via BMG at all DSPs and streaming services on May 21.
During lockdown, the artist recorded remotely nine Dylan interpretations with her Pretenders bandmate James Walbourne. The album includes interpretations of Dylan’s songs “You’re a Big Girl Now.” “Love Minus Zero / No Limit,” Don’t Fall Apart on Me Tonight,” and “Every Grain of Sand.” All of which were recorded last year.
The nine-track collection was nearly made exclusively via back and forth text messages. Additionally, Walbourne would record an initial idea on his phone and send it off to Hynde to add her vocals. Grammy Award-winning producer/engineer/mixer Tchad Blake (The Black Keys, Fiona Apple) mixed the new versions. After all the collaboration, the works premiered on the Pretenders’ YouTube channel.
This process began a few weeks into lockdown when Walbourne sent Hynde the new Dylan track, “Murder Most Foul.” The impact of the song changed everything for Hynde. She connected to every reference that track had and after listening, her mood was also lifted.
Chrissie Hynde Shares her Inspiration:
Whatever Bob does, he still manages somewhere in there to make you laugh because as much as anything, he’s a comedian. He’s always funny and always has something to say. I called James and said, ‘Let’s do some Dylan covers,’ and that’s what started this whole thing.
The process behind Standing In The Doorway: Chrissie Hynde Sings Bob Dylan is featured in the new documentary, Tomorrow Is A Long Time. This documentary premieres exclusively via the UK’s Sky Arts channel on May 24. This work by International Emmy Award-winning filmmakers Michael Nunn and Billy Trevitt will commence the celebration of Dylan’s 80th birthday.
CD and vinyl LP release will take place on August 20. The pre-order is available here.
With the COVID-19 pandemic starting to dissipate, what’s a better way to celebrate than to attend live music at a historic venue (Smith Opera House) with a bold-sounding electric rock band Maddy Walsh & the Blind Spots, a fixture to the Finger Lakes music scene.
Photo: Whitney Nichols Photography
This performance on June 26th will be in high demand with only 100 tickets on sale (following NYS mandate). Maddy Walsh & the Blind Spots have a rhythm that can’t be beat carried by the classic sounds of an electric guitar that pair perfectly with an upbeat electric keyboard. But the lead vocals, Maddy Walsh, perfectly co-exist with the band’s sounds as her fun lyrics and upbeat voice will have you singing along before you know it.
The Smith Center for Arts has been going strong for over 125 years and has no plan on slowing down. They constantly bring in great artists, such as Maddy Walsh & the Blind Spots, year-round in their historically rich amphitheater.
It is important to note that The Smith will not be filling orders over the phone or in-person at the Box Office. There will be no sales available at the door day of the show. Tickets can be purchased at thesmith.org.
When terms like the Grateful Dead and Barton Hall come up in conversation, there’s a good chance the show being discussed is the band’s venerable May 9, 1977 performance. But there were two other shows played at this field house on the campus of Cornell University in Ithaca, NY. The final one occurred 40 years ago today. Pound for pound, it can certainly hold its own with the legendary ’77 show. And it’s certainly one of finer shows from 1981. So much so that the band recently included it on their massive 30 Trips Around The Sun box set that was released in 2015, 80 CDs worth of previously archived Dead shows celebrating the band’s lifespan. One listen shows why this was an easy choice for inclusion.
This year, the Dead take off from the starting blocks with “Feel Like A Stranger,” and Brent Mydland making his presence felt early with his electronic keyboards that are turned up way high in the mix. As the opener progresses, Jerry Garcia and the effects his guitar bring to the table rise to the top, giving it an injection of funk. For a song that had only been debuted weeks earlier at the Capitol Theater in Passaic, NJ, the groove is easy and seamless already, serving as the perfect opening salvo for this powerhouse show. Almost surprisingly, they decide to ease up immediately afterwards with a slowed down and soulful take of “Friend Of The Devil.” Mydland’s keyboard tone takes a turn for the heavens, lacing the Dead classic with an ethereal tone throughout. His efforts are rewarded with a spot for a solo and he produces a phenomenal one before handing the reigns back to Garcia.
The “Me And My Uncle” that follows finally gives Bob Weir a chance to take center stage and he navigates through the longtime Dead staple effortlessly. Mydland, still turned up plenty high in the mix, and Garcia go back and forth supplying the instrumental harmony for a band that sounds completely locked in. As was now Grateful Dead custom, once “Uncle” wraps up the drumbeat doesn’t stop and carries right over into a smoking “Big River,” highlighted by a jaw dropping run on the fretboard from Garcia. For gigs going as far back as 1978 and until 1982, these two songs would be joined at the hip just like this.
One of the real high points of the first set is the “Althea” that follows. It’s Garcia at his peak, delivering both soulful lyrics and another poignant guitar solo. Bassist Phil Lesh adds some nice extra layering on a somewhat slower but certainly potent version.
Weir then takes over again for “C.C. Rider.” But the Dead’s take on this blues standard is really fueled by another Garcia solo and the wailing rhythms emanating from Mydland’s Hammond organ. The two go back and forth once again, building the onstage chemistry that would be a mainstay of the ’80s.
The first extend inter-song break gives the Barton Hall crowd a chance to catch their breath and then it’s back to business with “Brown Eyed Women.” Garcia’s mid-song solo seems to go on a little longer than usual, only serving to ramp up the emotions even more. The band then shifts gears from old school to new with “Passenger,” with Mydland filling in the vocal part vacated by Donna Jean Godchaux. His raspy overtones don’t quite carry the same effect and, sadly, this song would be shelved for good at the end of the year. Though certainly not due to lack of effort.
A slow shuffle beat then signifies the start of “High Time,” and it never lets up. Garcia and company nail the harmonized vocals and delightfully toy around with this crowd favorite. The Dead then shift gears in the blink of an eye, with Weir quickly strumming and Garcia moving in rapid fire up and down the fretboard as they launch into “Let It Grow.” This one means business from the get-go as the rest band follows in pursuit, led in earnest by Lesh on bass. There’s a four-minute span before the song’s breakdown that’s a pure whirlwind, with each band member almost chasing one another, creating a rich texture of sound. It’s another one of the true first set highlights. A quick run through “Don’t Ease Me In” then caps off another stellar first set of Dead at Barton Hall.
The second set starts off with a “Shakedown Street” that seems to live up to its title early with some shaky lyrics from Garcia. As it progresses though, the kinks get ironed out and the funk increases, albeit at a somewhat slower pace. Weir’s rhythm guitar and Mydland’s keyboard fills mesh perfectly, and before long, a bluesy three-part vocal harmony is in full gear. But the real action takes place once this breaks down, with Garcia and Mydland soon engaging in a call and response-type jam. In keeping with tradition, “Shakedown” is immediately answered with “Bertha,” just like the Dead opened last year’s second set at Barton Hall.
https://www.youtube.com/watch?v=1IDpVffVSY4
Afterwards it’s another vintage Dead 1-2 tandem with “Lost Sailor” once again spearheaded by Weir. It proves as a more than worthy respite until the familiar chimes of “Saint Of Circumstance” kicks in. Weir navigates seamlessly between the two, with emotions respectively aligned with the respective moods of each. Almost abruptly, “Saint” comes to a halt and another immersive jam begins to develop. This one manages to work itself into a full fledged “Spanish Jam,” with influences from Miles Davis and his Sketches Of Spain album in full bloom.
As the “Spanish” element of the jam recedes, “Drums” begin to kick in and takes its usual assignment in the latter portion of the second set. The last Dead show at Barton Hall show has a lot to offer still , and the drumming tandem of Kreutzmann and Hart plays a major part. A particularly rowdy last movement of percussion soon finds its way into the familiar overtones of the beginning of “Truckin’.” As to be expected, the State that’s got the “ways and means” gets an appropriate response in Ithaca,
The ensuing jam soon sparks another one of the show’s highlights, as it devolves into a bluesy, funky ” Nobody’s Fault But Mine” jam that would make Led Zeppelin proud. Although no lyrics are sung, the sentiment is made clear and creates one of the better, off-the-cuff moments that make this last show at Barton Hall a special one.
https://www.youtube.com/watch?v=PrGmm6fEsXc
“Stella Blue” then emerges from this, winding things down and allowing one last chance to get sentimental. Garcia delivers the lyrics, and another staggering guitar solo, with raw emotion and just a bit of flare. The music slows a near crawl at one point, with the Cornell crowd so rapt and quiet one can hear a pin drop. Before long, the energy skyrockets back, with “Blue” turning into more of a rocker, a true testament to the Dead’s versatility.
This gives “Going Down The Road Feeling Bad” an opportunity to make an appearance and the Dead run with it. Afterwards, Bob Weir gets the last laugh, closing out the second set by leading the band through a peppy and near raucous “One More Saturday Night.” Barton Hall rings out in a roar of applause at its completion, leaving no doubt about their feelings on this one. The Dead then grace the crowd with a bit of an atypical encore selection. Instead of a cover or a quick song, it’s an “Uncle John’s Band” that produces one last patient and inspired jam – more than a fitting choice for the final song they would ever play at Barton Hall.
Grateful Dead Barton Hall – Ithaca, NY 5/16/81
Set 1: Feel Like A Stranger-> Friend Of The Devil-> Me & My Uncle-> Big River, Althea-> CC Rider, Brown Eyed Women, Passenger, High Time-> Let It Grow-> Don’t Ease Me In
Set 2: Shakedown Street-> Bertha-> Lost Sailor-> Saint Of Circumstance-> Spanish Jam-> Drums-> Truckin’-> Nobody’s Fault But Mine-> Stella Blue-> Goin’ Down The Road Feelin’ Bad-> One More Saturday Night
From the post-industrial hellscape of Syracuse, New York comes Trauma Cat, who have delivered to the world their first full length LP entitled Prepare to Apologize which was released in April 2021. This irreverent and ecclectic gem that was co-produced by the band and the elusive St. Julian P. Dingusand, sports 15 tracks (3 tracks including “Joshua,” “Fire in the Jail,” and “Freaks with Wings” are re-issued singles) that span rock genres that include pop, alternative, electronica, and prog rock.
The band has cheekily branded their special brand of musicial gumbo on their website, “Though critics speculate on the band’s true origin and the meaning of their existence, Trauma Cat are widely credited as the founders of “cuck rock,” an indeterminate school of music indebted to incessant apology and shameless cross-genre appropriation. Others have described Trauma Cat’s sound as “uncomfortable art rock,” and their politics as “alt-wrong.”
The Trauma Cat roster is comprised of the musically talented and fashion forward Ralph Kojig (guitar and vocals), Roman Pando (bass and vocals), and Rutger DiBoyere (drums). Together they comprise a wonderfully creative power trio that has been successful in creating a personau that is reminicent of a combination of punk pioneers Devo and Saturday morning cartoon favorites Josie and the Pussycats. The glorious result of this concoction is the band’s demonstrable irreverance and hilarious comedic take on the music biz, and yet despite this silliness, they have created an enjoyable record and that is fun, fresh and creative.
Trauma Cat has released the following “documentary” to introduce listener’s to their own distinct brand of “Cuck Rock” and to “apologize for their new LP.”
https://www.youtube.com/watch?v=y7DSttG7mx8
The record starts off with title track “Prepare to Apologize,” which is initially a short verbal rant between members Kojig and Pando, that leads into a short but sonically pleasing acapella number. The track seamlessly transitions into the second song on the LP “Indivisible,” reminiscent in musical style to a mash up of Rage Against the Machine and Tool. Heavy on bass and sporting great vocals that are both provided by Kojig, “Indivisible” illustrates why Trauma Cat won the 2021 Syracuse Area Music Award for Best New Artist.
Prepare to Apologize’s third track is “Trauma Cat.” This is a fun and upbeat tune that has all the makings of the band’s offical theme song if they ever decide to create their own must see reality TV series (look out Kardashians). Kojig provides just the right amount of heavy guitar and along with DiBoyere percussion this track will get the listener’s blood pumping.
Another highlight on the record is fourth track “Joshua”, which was originally released as a single by the band back in November of 2020. Trauma Cat deftly released a remarkably professional music video for “Joshua” that was animated and directed by El Salvadorian sensation Lincktendo back in January 2021. Lyrically the song describes a daliance into bisexuality that ends up in a bad breakup which then ultimately ruins a friendship. “Joshua” is a strong tune with loads of pop sensibility which makes it ideal for radio play. It features songwriter Kojig’s hypnotic chorus, “It came over me like a wave”, which is a catchy and memorable hook that will stay with listeners.
“Fire In The Jail” is the eleventh song on Prepare To Apologize. This anti-social anthem promtoes dissent against the world’s demanding vapid conformity. Breaking out of the prision of these imposed expectations. Kojig sings, “I just can’t believe that these people…content to live like sheep following the crowd.” Living on your own terms without worrying about other people’s perceptions an expectations is the core message of this rebellious song, which utilizes a good amount of vibrato on guitar and reverb on Pando’s vocal to evoke a distopian landscape.
Although this trio of self-depricating muscians does not take itself too seriously, the musical craftsmanship and production value of Trauma Cat’s debute LP shows passion and commitment that these Jester’s of “Cuck Rock” have for their craft. Prepare To Apologize is a great album that hopefully will be the first of many that these denzians of musicial mayhem produce for an ever increasingly bleak world that is crying out for more mirth and humor.
Key Tracks: Joshua, Trauma Cat, Lob A Grenade, Fire In The Jail
Creative Concerts has announced yet another concert at Apple Valley Park in Lafayette, just south of Syracuse. Get the Led Out will perform on Friday, June 18th, bringing the sounds of Led Zeppelin with them.
Get The Led Out (GTLO) has captured the essence of the recorded music of Led Zeppelin and brought it to the concert stage. The Philadelphia-based group consists of six veteran musicians, intent on delivering Led Zeppelin live, like you’ve never heard before! Utilizing the multi-instrumentalists at their disposal, GTLO re-creates songs, in all their depth and glory, with the studio overdubs that Zeppelin themselves never performed. When you hear three guitars on the album, GTLO delivers three guitarists on stage. No wigs or fake English accents, GTLO brings what the audience wants, a high energy Zeppelin concert with honest, heart-thumping intensity.
Like previous events announced in this outdoor series, events will be socially distanced, with fans being able to purchase tickets in roped-off PODS for parties of 2, 4 or 6. In an effort to create a safe experience for guests, a carefully throughout site plan has been developed allowing for temperature screenings and surveys to be conducted upon entering the event grounds. To adhere to social distancing guidelines, all PODS are spaced a minimum of six feet apart. A variety of food and beverage options will be available for purchase. Site map and FAQ for the venue can be found at applevalleypark.com/faq
ABOUT APPLE VALLEY PARK: Apple Valley Park is located in beautiful LaFayette, NY. With its rural atmosphere, rolling hills, and expansive fall foliage, it has proven to be a wonderful home to the annual LaFayette Apple Festival since 1973. More recently it has expanded to host other live entertainment events, including a few successful drive-in concerts in the fall of 2020.
Tickets go on sale to the general public this Friday, May 14th at 10am at applevalleypark.com
The Rock & Roll Hall of Fame has announced the 2021 inductees, including big names like Jay-Z, Foo Fighters and Tina Turner. This year’s inductees are one of the most diverse groups in the history of the Rock & Roll Hall of Fame with three different women artists being inducted into the performers category for the first time ever.
The Rock & Roll Hall of Fame Foundation decided back in 1985 where to open its physical museum and ultimately decided on Cleveland, Ohio. In 1986, the Rock & Roll Hall of Fame announced its first group of inductees which consisted of Buddy Holly, Chuck Berry, Elvis Presley, Fats Domino, James Brown, Jerry Lee Lewis, Little Richard, Ray Charles, Sam Cooke and the Everly Brothers.
JAY-Z, Dave Grohl, Tina Turner (Getty Images)
This year’s inductees includes Jay-Z and the Foo Fighters who only just became eligible this year. It also includes Carole King, Tina Turner, and The Go-Go’s, which is the first time three different women artists were inducted into the performers category in the same year. Dave Grohl (previously with Nirvana), Turner (previously with Ike Turner), and King (previously with Gerry Goffin) have all been inducted before. Turner and King follow Stevie Nicks as the only women to be inducted multiple times before.
This is the most diverse class of inductees in the history of the Rock & Roll Hall of Fame.
John Sykes, Chairman of the Rock & Roll Hall of Fame Foundation, to Pitchfork.
Outside the “Performers” induction category, several iconic artists received recognition from the Rock Hall. Early Influence Awards went to Kraftwerk, Gil Scott-Heron, and Charley Patton this year. The Musical Excellence Award went to LL Cool J, Billy Preston, and Randy Rhoads. Music executive Clarence Avant is this year’s Ahmet Ertegun Award honoree.
For more information on the 2021 inductees visit the RRHOF website.
2021 Rock and Roll Hall of Fame inductees
Performer Category Foo Fighters The Go-Go’s JAY-Z Carole King Todd Rundgren Tina Turner
Ahmet Ertegun Award Clarence Avant
Musical Excellence Award LL Cool J Billy Preston Randy Rhoads
Early Influence Award Kraftwerk Gil Scott-Heron Charley Patton
Firefly festival is back. The unparalleled East Coast music festival, nestled in Delaware’s picturesque Woodlands, has announced its return over September 23-26, 2021. The 2021 Firefly Festival, in conjunction with AEG Presents, will features a lineup that includes headlining sets from Billie Eilish, The Killers, Tame Impala, and Lizzo.
As the largest East Coast camping festival, Firefly has earned its reputation as one of the country’s rite-of-passage destinations for music lovers across the U.S. With a similar approach to bringing fans the larger than life experiences that helped establish the likes of Glastonbury and Reading/Leeds as must-attend events, Firefly has grown into one of the biggest, most-beloved music weekends in America.
Firefly’s return in 2021 will be exactly what fans needed from the live setting they’ve been missing for over a year — incredible sets from iconic artists; the best food and beverage offerings within the Delaware Valley; unique, festival-exclusive moments that only Firefly could provide; and so much more.
Sign up for exclusive presale access at fireflyfestival.com for your chance to secure weekend passes at the lowest price possible. Presale begins Friday, May 14th at 10 am ET. Pass Prices Start At $299 for Weekend GA and $699 for Weekend VIP.
With many camping packages and amenities to choose from, there is something for every fan. Camping packages include access to daily yoga, a beach club, silent discos, intramural sports, and permanent showers as well as a farmers’ market and general store. Ranger Stations throughout the campgrounds act as a community resource where festival-goers can access information, find support, and engage in other activities throughout the weekend. Camping Rangers are thoughtful, friendly, caring and informed staff whose sole focus is to ensure a positive festival experience for everyone.
Firefly Music Festival is conveniently located within driving distance from major metropolitan areas on the East Coast, including Philadelphia (under two hours), Baltimore (under two hours), Washington D.C (under two hours) and New York City (three hours). Fans can also take advantage of Amtrak service to Wilmington, Delaware as well as SEPTA and Greyhound bus line service.
Visit FireflyFestival.com for more information.
The 2021 Firefly Festival line up (in ABC order):
Almost Monday Aluna Anna of the North Arlo Parks Atlas Genius Badflower Band of Horses Big Wild Billie Eilish Binki Blackbear Blossom Cage The Elephant Cannons Caribou Carolesdaughter Cassy Chris Lake Claud Clever Clozee Deep Sea Diver Denzel Curry Des Rocs Diplo Dominic Fike Duckwrth Duke Dumont Elohim Flo Milli GG Magree and Mija girl in red Glass Animals Gracie Abrams Grandson iann dior Jordy Judah and the Lion JXDN Kenny Mason Kennyhoopla Khruangbin The Killers Kim Petras Laundry Day Lizzo Lost Frequencies Lovelytheband LP Giobbi Machine Gun Kelly Madds Madeon Marc Rebillet Maria Isabel Megan Thee Stallion Michigander Middle Kids Missio Mt. joy Nelly Noga Erez Oliver Tree ONR Orion Sun Peach Pit Phoebe Bridgers Portugal. the Man Positive Movement Drumline redveil Remi Wolf REZZ Ritt Momney Roddy Ricch Role Model Royal & The Serpent Rossy Rozet Serena Isioma Slander $NOT Sofi Tukker St. Panther Still Woozy Sub Urban Surf Mesa Sylvan Esso Taking Back Sunday Tame Impala Tate McRae Trevor Daniel Turnstile White Reaper Wiz Khalifa
The Grateful Dead have always been able to find shelter in Syracuse. Much like the band’s much lauded previous year, 1978 would feature an extensive spring tour up and down the East Coast. 43 years ago, two nights after playing a show at RPI in Troy, NY, the Dead returned back to Syracuse and the Onondaga War Memorial. This would be the fourth of six times they would ever grace this venue, before moving on to a bigger room..er..Dome.
The Syracuse show starts off in interesting fashion with a “Franklin’s Tower” opener. The crowd is instantly engaged, clapping along in unison at the outset. Jerry Garcia’s lead vocals are backed up nicely by fellow guitarist Bob Weir and Donna Jean Godchaux. For an opener, it develops a surprisingly intense little jam that peaks nicely, setting a wonderful tone for the rest of the night. The set then proceeds in a little more customary fashion with Weir next belting out “New Minglewood Blues.” He even throws in a “And I’ll do it again” when singing about stealing women from their men. “Row Jimmy” then slows things down a bit and features a few delicate Garcia guitar solos and more Gochaux-supplied harmonies. Donna Jean and Weir then team up for a beautiful “Looks Like Rain” that has the Syracuse crowd enraptured.
With the exception of the rousing finish to “Looks Like Rain,” the generally relaxed, current vibes carry right over into “Friend Of The Devil,” played ever so slowly and deliberately around another dazzling Garcia guitar run. After some deliberation, “El Paso” is selected, with Weir regaining lead on the classic country-western first set staple. Then it’s Jerry’s turn to sing about “pretty women” as he leads the band through “Candyman.” The Dead finally rev it up a little for the ending of this Syracuse first set, starting with “Passenger.” The harmonies from Weir and Godchaux drive this one as Garcia delivers run after run of pedal steel-sounding guitar licks behind them. This gets a well deserved roar of applause from the War Memorial crowd that soon transitions to the beginning of “Deal,” with more audience clapping in tow. The ending peaks with some absurd harmonies from all singers on stage and a flurry of guitar notes, ending the first set in grandiose fashion while setting hopes high for the second one.
The second set begins with everyone’s favorite crowd management game, “Take A Step Back,” directed, as usual, by Bob Weir, in an effort to keep the people at the front of the stage from getting squished entirely. After some requisite tuning, the percussive intro of “Samson And Delilah” starts up, soon followed by some melodic riffs from Garcia on guitar. This produces a mild jam, with Garcia continuing to riff over the drumming tandem of Bill Kreutzmann and Mickey Hart.
“Ship Of Fools” fills in the two-spot in the second set, much to the Syracuse crowd’s delight. This allows Garcia another chance to drop a poignant guitar solo in the midway through a version that’s rife with energy and emotion. But the highlight of the set may be the extended “Dancin’ In The Street” that comes next, the Dead’s own take on this Martha & The Vandellas number. It’s a funk-laden version, with Garcia relying heavily on his favored Mu-Tron guitar effect early, that later evolves into a full group effort that escalates nicely. It winds up producing one of the longer stretches of pure improvisation and jamming this evening before rounding back into form
This energy carries right over into the “Drums” portion of the evening. And what a portion it is – well more than 15 minutes worth of pure percussive madness. At multiple points, at least one Caribbean-esque steel drum can be heard. After the requisite “Space” chaser, the latter part of this Syracuse show begins to wrap up with another vintage Dead cover selection, “Not Fade Away.” This seems to reenergize the crowd as they once again begin clapping along in time earnestly. A surprisingly intense jam develops between verses, giving this NFA a little extra kick.
Instead of taking things even further, the Dead then slow things down one last time and turn left into “Black Peter.” Another soulful Garcia solo serves as the foundation for this one, with each note, both sung and played, piercing through the sound with ease. Yet another cover closes out the second set, with Weir leading the charge on a wild romp through Chuck Berry’s “Around & Around.” They do a fun little vocal breakdown on this one, with Donna Jean getting in on the act. They bring the volume to near whisper-level, with the Syracuse crowd and their applause overpowering them towards the end. For an encore, the Dead donned Halloween masks and treated everyone to “Werewolves of London,” wrapping up just another ho-hum Syracuse gig.
Bob Weir wearing a wolf mask – shared by Bob Weir’s Facebook page
Grateful Dead Onondaga County War Memorial Syracuse, NY 5/9/78
Set 1: Franklin’s Tower, New Minglewood Blues, Row Jimmy, Looks Like Rain, Friend Of The Devil, El Paso, Candyman, Passenger, Deal
Set 2: Samson & Delilah, Ship of Fools, Dancin’ In The Streets-> Drums-> Not Fade Away-> Black Peter-> Around & Around
South of Eden rolled into a steaming hot Jacksonville, FL aboard their school bus, “Bluebird,” only minutes before storms hit the town. The band has ventured far south from their Columbus, OH residence to share new music with a growing fan base before an album release. Their EP, The Talk, was released August 2020 (Lava Records) and received positive reviews in the press, including a videoreview in Rolling Stone. They plan to tour the entire country as soon as possible.
Reminding of rock and roll cowboys, the band stepped on stage and was immediately welcomed at the 1904 Music Hall, where they played on May 2. The small but supportive Sunday-night audience cheered them on from their first song to their last. One person remarked: “Now, that is rock and roll!” The venue felt welcoming, unfancy, beloved by locals, and had excellent lights and sound.
The band’s performance rose true to their declared dream: “We aren’t looking to bring anything back, but instead to remind people what rock n roll means.” They transmitted exactly this impression as they blasted off with “The Talk” and maintained a fast pace throughout their set. The very first catchy guitar riffs, along with Tom McCullough’s drums, pulled the audience into a world that was equally nostalgic and current.
The band, in their present line-up, formed only in 2018, but their sound gives the feeling that they had played all the larger stages for a decade. Their remarkable stage presence, confident sound, and Ehab Omran’s soaring voice, are reminding of early Sabbath, blousy southern vibes, and gritty garage rock.
South of Eden also put on a party! They interacted with the audience, taunting them to guess how many guitar solos Justin Young would insert into any one of the songs, or if Nick Frantianne (bass) would play the correct intro to “Hurricane.” The melodies were catchy and the rhythms fast paced, perfect for dancing and signing along. Their setlist was much longer than the music already released. Seeing this band live is by far a more entertaining experience than just listening online.
Setlist: The Talk, Monica, Hurricane, Mr. Brownstone (Guns N’Roses), Solo, Touch the Ground, Thunder, Lone Riders, Stranglehold, Loaded Bong, Pindrop, Sister, Dancing With Fire
Creative Concerts has announced yet another show at Apple Valley Park in Lafayette, NY, with Southern rock on tap on June 19, 2021 with The Allman Betts Band performing and special guest, St. Louis based duo River Kittens opening the show.
Like previous events announced in this outdoor series, events will be socially distanced, with fans being able to purchase tickets in roped-off PODS for parties of 2, 4 or 6. In an effort to create a safe experience for guests, a carefully throughout site plan has been developed allowing for temperature screenings and surveys to be conducted upon entering the event grounds. To adhere to social distancing guidelines, all PODS are spaced a minimum of six feet apart. A variety of food and beverage options will be available for purchase. Site map and FAQ for the venue can be found at applevalleypark.com/faq
Tickets go on sale to the general public this Friday, May 7th at 10am at applevalleypark.com
The Allman Betts Band includes Devon Allman & Duane Betts on guitars and vocals, Berry Oakley Jr. on bass, Johnny Stachela on slide guitar, John Ginty on Hammond B3 (Robert Randolph/Dixie Chicks) and Devon Allman Project percussionists R. Scott Bryan (Sheryl Crow) and John Lum. The show features original music from their two recent BMG albums, songs from their solo projects as well as classic songs by The Allman Brothers Band, the legendary group founded by Devon and Duane’s fathers, Gregg Allman & Dickey Betts.
Their sophomore album, Bless Your Heart, was released on August 28, 2020. Like their debut album, Bless Your Heart was recorded at the legendary Muscle Shoals Sound Studios and produced by Matt Ross-Spang (Jason Isbell, Margo Price, John Prine and Elvis Presley).
Apple Valley Park is located in beautiful LaFayette, NY. With its rural atmosphere, rolling hills, and expansive fall foliage, it has proven to be a wonderful home to the annual LaFayette Apple Festival since 1973. More recently it has expanded to host other live entertainment events, including a few successful drive-in concerts in the fall of 2020.
