Albany’s The Late Shift have announced “The Last Shift,” a farewell concert celebrating the band’s 15th anniversary, to be held at The Hollow Bar + Kitchen on Saturday, November 27.
The celebration will occur in place of the bands annual Thanksgiving Eve performance at the same venue. 2020 excluded, this year’s concert will mark the group’s seventh consecutive Thanksgiving show at The Hollow Bar + Kitchen. The Late Shift will be performing two sets of music, with the first set a celebration of the group’s 15-year catalog, a greatest hits set, including songs like “Sweetness,” “Drink and Stone” and “Through It All.” This will be followed by a power packed second set, loaded with everyone’s favorite LateShift style covers to usher patrons into the evening. Both sets are sure to be full of surprises and special guests.
In addition to celebrating 15 years of The LateShift, this event will also serve as the official launch of Wooden Duck Entertainment, a brand-new Capital Region based music and events company owned by members of The Late Shift.
Tickets are on-sale now. Presale tickets are available for $12.50 until November 1. After that General Admission tickets will be available for $15. A limited number of VIP Packages are currently available for $30. For updates and additional information RSVP on Facebook.
For the Halloween episode of Saturday Night Live, former cast member and Ted Lasso star Jason Sudeikis returned to Studio 8H for his first time as host. Joining Sudeikis was country rock superstar Brandi Carlile, who played two songs off her new album, In These Silent Days.
Following a cold open that featured multiple versions of Joe Biden, including Sudeikis’ finger-gun shooting, aviator shade wearing rendition from Biden’s time as Vice President, Sudeikis launched into a reflective, funny and heartfelt look back at the stage and studio that SNL has been filmed in for 47 years. Sudeikis tugged heartstrings in the way only Coach Lasso can do, reminiscing on how SNL changed his life.
This room, here. To be here. This place is historic. For a second, just look around, for real. Even all you amazing people who work in the crew, just look around for a second. Think about all the brilliance that’s happened here. All your favorite sketches: Wild and Crazy Guys, Gilly, Cowbell, Wayne’s World, all happened in right here, in here, where you are.
This place changed my life, twice. Once as a castmember and a writer here. But most importantly as a kid watching from home. And there’s a good chance that if you’re watching tonight, there’s probably something from this place probably changed your life too.
Following three sketches perfect for Sudeikis – a frustrated host of a kids science show, Mellen (a male version of Ellen) and a hilarious open house sketch with Ego Nwodim and Kyle Mooney, Carlile performed her first song of the night, “Broken Horses.”
Wearing a gold tuxedo and singing into a golden mic with an orange electric guitar, Carlile was joined by collaborators Phil and Tim Hanseroth, who also backed her on harmonies, as well as Shooter Jennings on piano, who produced her 2018 album By the Way, I Forgive You. “Broken Horses” also doubles as the title of her recently released memoir.
https://www.youtube.com/watch?v=VDjeuXAME-A
After a lively Weekend Update that saw the return of Sudeikis’ turn as The Devil, the classic “What up With That?” appeared for the first time since 2012 (if you don’t count the remote April 2020 version from SNL at Home) with Kenan Thompson and surprise guests Oscar Isaac, Emily Ratajkowski, Nicholas Braun.
Brandi Carlile began her second song of the night, “Right on Time,” the lead single off her new album. Playing solo piano in a sequin-covered black and white tux, Carlile allowed the impressive tune a slow burn on the ivories, before picking up her guitar to join the band for the song about two embattled lovers, bursting forth with vocals that set the bar high for musical guests this season, only four episodes in.
https://www.youtube.com/watch?v=hWnVjSD6xzY
Saturday Night Live is off next week, and returns on November 6 with Succession actor Kieran Culkin and musical guest, Ed Sheeren.
This weekend marks the anniversary of some of the greatest music ever performed by Derek and the Dominos, which happened to take place at the iconic Fillmore East in New York City. Although the band does have one studio album to their credit, Live At The FIllmore East may be their crowning achievement in terms of audio recordings.
This is an incredibly easy to listen to album, one that combines original Dominos songs and Eric Clapton tunes with a splash of cover songs mixed throughout. Derek and the Dominos was a band that, essentially, came together during the recording of George Harrison’s first solo album All Things Must Pass. And while their shelf life may have been short, thanks to this album their legacy will live on forever in a very positive way.
The band wastes no time getting into an immediate early groove for the album-opening “Got To Get Better In A Little While.” A song that was planned for the band’s second studio album that never came to fruition, it features Clapton and Bobby Whitlock going riff for riff on guitar and piano, respectively, in a tasteful jam that stretches out to nearly 14 minutes in length. Whitlock adds some nice vocal harmonies as well as the chorus rounds back into place with the music picking up a collective head of steam.
This first track was pulled from the opening night of music on October 23. Here’s a taste of the October 24 version that didn’t make the album cut.
For the next number, this time drummer Jim Gordon and Whitlock kick things off on “Why Does Love Got To Be So Sad?” Eventually, Clapton gets his guitar’s wah pedal going in full force and a crisp little jam ensues before the first word is ever sung. This is the first of many songs pulled from the group’s epic Layla And Other Assorted Love Songs album that would be released just weeks later. Co-written by Clapton and Whitlock, who again adds some impeccable backup vocals, it’s another one of the longer tracks on the album thanks to a whirlwind jam that never lets off the gas pedal, ably fueled by Carl Radle on bass. After coming a to head, the band shifts the tone into a much quieter, bluesy one for several minutes before the chorus comes back around one last time. The Fillmore crowd demonstrably shows their appreciation to the Dominos after this one.
This helps set the tone for “Key To The Highway,” a cover of an old blues standard that dates back to the 1940s. Clapton takes center stage and shows why he’s considered one of the great blues players of this generation, delivering one stinging guitar lick after another. Another Layla song, this one made it onto the album by pure happenstance. Allegedly Clapton and Duane Allman, who was prominently involved with the album’s studio recording – playing on 11 of the 14 tracks, heard the song being played in a neighboring studio and decided to play along to it. “Blues Power” slides in perfectly behind this, a song that appears on Clapton’s first solo album that Leon Russell helped write. These last two blues-heavy numbers are both taken from the October 24 recording.
The first of this two-disc releases out first with “Have You Ever Loved A Woman,” another blues cover that found its way onto Layla. This one is even slower and “bluesier,” if that’s possible, with the tempo never going past a slow shuffle. Clapton lets both his vocals and guitar do all the singing on this one while Whitlock adds some delicate piano fills throughout. Then “Bottle Of Red Wine” wraps up the first part of the album, another rollicking, blues-infused song that Clapton navigates with ease, with Whitlock jumping on the organ for assistance now.
The second half of this iconic albums begins with “Tell The Truth,” another Clapton-Whitlock collaboration pulled from Layla. The two essentially share lead vocals on this fun little number that ebbs and flows with emotion and soul. Once the vocals are out of the way, Clapton reverts back to rock legend mode and lays down a tremendous solo, spearheading one of the longer jams of the album. Up next is another sterling cover of a blues standard. This time it’s “Nobody Knows You When You’re Down And Out,” originally written by pianist Jimmie Cox in 1923. Clapton’s bluesy drawl is backed perfectly by Whitlock and Gordon on piano and drums, respectively.
The Dominos then return to their own catalog with “Roll It Over.” While it wasn’t on the original Layla release, it did make its way on to the 40th Anniversary Deluxe reissue. It’s a classic rock number the sees Clapton explore a few different tones in his guitar play during a steadily progressive jam. The Fillmore crowd immediately recognizes the next song as “Presence Of The Lord,” made famous by one of Clapton’s former bands, Traffic. It’s the only Traffic tune on the album, but the Dominos do it justice as a mellow, laid back composed section gives way to a rapid, intense sequence of music before reverting back.
The final three tracks of Derek and the Dominos: Live At The Fillmore may be one of the best three-song sequences of the album, and, naturally it contains a pair of incredible covers. The first of these is Jimi Hendrix’s “Little Wing.” Whitlock’s organ fills give this cover more than a soulful feel as both he and Clapton take care of the vocals with ease. Not one to be outdone, Clapton then delivers a few bars of a psychedelic guitar solo that serves a truly fitting homage to the great Hendrix who passed away barely a month before this performance in 1970.
This jaw dropping cover is followed by what very well may be the best track on the album, a scintillating and exploratory “Let It Rain.” It’s the last of three singles from Clapton’s solo album and the Dominos stretch this one out and then some. Clapton and Whitlock go tit-for-tat with each screaming out, “Let It Rain” in succession towards the end of the composed section. Afterwards, all hell breaks lose starting with one more mesmerizing run by Clapton on the fretboard as the rhythm section just tries to keep up. Eventually, Clapton switches from wailing guitar mode to a heavy, funked out “wah” effect, taking the jam to another level. This eventually gives way to a Jim Gordon drum solo that goes on for well more than four minutes before the guitar finally reenters the mix. After a few more minutes of some fun Gordon and Clapton call and response interplay, the band explodes back in the chorus emphatically. It’s by far the longest track on the album, and arguably the most enjoyable as the “beautiful” Fillmore crowd (so labeled by Clapton at song’s end) would surely attest.
The album then closes with the last cover song of the evening made famous by another one of Slowhand’s former bands. This time it’s the great Robert Johnson’s “Crossroads,” although, in fitting with the tone of the album, it’s a much slower and soulful take than the version Cream made famous. It allows for one last great Clapton guitar solo which ends the album in grand fashion and serves as the last reminder of one memorable two-night run by Derek and the Dominos at the Fillmore that took place, truly, at the height of their powers.
This album is available to listen in its entirety on Youtube here. Also, be sure to check out the video below of all the great songs and outtakes that didn’t quite make the final cut.
Derek and the Dominos Live at the Fillmore East – New York, NY October 23 & 24
The Fillmore East was called “The Church of Rock and Roll” for good reason; between 1968 and 1971, promoter Bill Graham made music history as he brought the cream of rock royalty to New York audiences in astounding triple-artist bills with ticket prices ranging from $3.50 – $5.50. Jimi Hendrix, Janis Joplin, The Who, Cream, Led Zeppelin, Jefferson Airplane, The Doors, Sly and the Family Stone, Santana and The Allman Brothers were just some of the stars that graced the stage, with several recording classic live albums at the Lower East Side venue.
Interestingly, Graham also served as a catalyst for expanding the tastes of impressionable young music lovers in New York and abroad. He accomplished this by using the popular rock headliners to introduce audiences to the more eclectic artists he loved and booked as show openers. These were the cutting-edge names in jazz, soul, R&B and folk music, from Miles Davis, Buddy Rich and Mongo Santamaria to B.B. and Albert King and The Staple Singers. It all ended when rock became a big business, when concerts and Graham himself moved onto larger stages.
New light is now being cast on this institution’s brief run and lasting impact in an in-depth and soulful new book by veteran journalist Frank Mastropolo, Fillmore East: The Venue That Changed Rock History.
Like Legs McNeil’s punk history classic, Please Kill Me, Mastropolo’s new work is an oral history told by 90 of the musicians and crewmembers who lived through the fast times at this pioneering concert hall. Roger McGuinn, Jack Casady, Jorma Kaukonen, Robert Lamm, Dave Davies, John Lodge, Nils Lofgren, Dave Mason and Steve Miller are among the 19 Rock and Roll Hall of Fame inductees who contributed to the book, along with Fillmore crew like lightshow pioneer Joshua White and East Village scenesters like media prankster/artist Joey Skaggs. The book also boasts dozens of remarkable performance photos (many taken by the author himself), along with posters, letters, buttons, contracts and memorabilia, many never before published.
Mastropolo begins with backstory and history of the theater that would become The Fillmore East, The Commodore, and its place as a centerpiece of Yiddish Theater and vaudeville beginning in the 1920s. Rock enters the picture in 1967, when it becomes The Village Theater and hosts a handful of rock concerts by Cream, Procol Harum, The Yardbirds and The Grateful Dead. With the success of his San Francisco-based Fillmore West, Graham decides to buy and re-open it as The Fillmore East. The debut show comes on March 8, 1968, with a triple-bill featuring Big Brother and the Holding Company with Janis Joplin, blues great Albert King and folk rocker Tim Buckley.
The heart of Mastropolo’s book are the remarkable first-person reminiscences of the artists who played there and their contrasting memories of the mercurial empresario who ran it.
Janis Joplin: Photo by Frank Mastropolo
Creedence Clearwater Revival drummer Doug Clifford recalls a night where the audience demanded a remarkable 17 encores. It was an unprecedented occasion, one that Graham commemorated by gifting each member of the band an inscribed gold watch. Sly and the Family Stone drummer Greg Errico recalls Graham’s initial reticence about booking his band, saying of the Fillmore audience: “My people don’t dance!” Then teenaged Television guitarist Richard Lloyd recalls how easy it was to get past the virtually non-existent security to visit Jimi Hendrix, in his dressing room. Chicago’s keyboardist Robert Lamm is one of many artists in the book who think the Fillmore East’s position as the first-choice venue of rockers was a product of its first-rate sound, lighting and staff.
Jorma Kaukonen credits the birth of his and bass player Jack Casady’s Jefferson Airplane offshoot, the acoustic Delta blues based Hot Tuna, to the Fillmore East. “I think the Hot Tuna as a band that the public saw was certainly born at the Fillmore East,” relates Kaukonen. “Jack and I had been messing around in hotels for years, with him playing his bass through a tiny amp and me playing acoustic guitar. My recollection about this is that Paul (Kanter) just out of the blue said – ‘Why don’t you guys go out and play an acoustic song?’ That’s how we were given the opportunity to play and display it in front of other people for the first time.”
John Lennon and Yoko Ono with Frank Zappa and the Mothers: Photo by Dr. Arlene Q. Allen and Ben Haller
Steve Miller recalls the tumult of one of his performances, when his band followed British novelty act Mungo Jerry of “In the Summertime” fame. The fun-loving show openers made the not-so-wise decision of giving 500 kazoos to the boisterous NYC audience, who then jammed along uninvited during Miller’s set. Also recalled is the May 1969 concert where The Who performed their rock opera Tommy in its entirety. The performance was briefly interrupted when a fire broke out at a neighboring supermarket and Pete Townsend attacked a police officer who was attempting to get on stage to command the audience to exit.
Jimi Hendrix: Photo by Frank Mastropolo
Many of the musicians featured remark on the epic lengths of the shows, ones that would often culminate in jams that would go on until 6 a.m. and beyond. Also remembered were the post-show meals at Ratner’s, the adjacent 24-hour restaurant manned by surly waiters made even more so by the paltry tips given by Fillmore staff and its cash-strapped young audience. Also are the first-person memories of the many live recordings made at the venue. This just begins with classic sets by The Allman Brothers, Jimi Hendrix and his Band of Gypsys, Johnny Winter, Taj Mahal, Jefferson Airplane, The Byrds and New York’s own mighty Mountain.
The backstage crew who cut their teeth at the Fillmore East, including managing directors John Morris and Kip Cohen and stage manager Chip Monck, would go on to play important roles at various record labels, radio stations and, especially, with other huge concert tours and festivals including Woodstock.
Graham and the above were at Woodstock. There they witnessed how rock was turning into a very big business, where he couldn’t compete with a 2,700-seat theater.
Pete Townsend of The Who: Photo by Frank Mastropolo
In the book, Mastropolo relates the math. Where an artist could command $75,000 for a single show at Madison Square Garden, Graham could only provide $25,000, for four performances over two days. According to the book, Graham also didn’t care for the new generation of bands like Kiss and Alice Cooper and their cocaine-fueled attitudes and demands and their “stockbroker” greed. He and his staff were also tired of “cleaning up vomit,” something produced by the Fillmore audience’s switch from weed and psychedelics to red wine and downs. There was also sadness that Graham could not replicate the 1968 opening lineup for the June 1971 closing weekend, as both Janis Joplin and Tim Buckley were both gone.
Allman Brothers Band: Photo by Ben Haller
The book concludes with a tour of the afterlife of the Fillmore East site. This included a brief attempt to resurrect the name as NFE (The New Fillmore East) and The Village East. There was also its eight-year stint as the site of the gay disco, The Saint, followed by its life as an Emigrant Bank and, finally, the condo of today.
Frank Mastropolo in Greenwich Village, 1968: Photo by Tony Gulisano
Mastropolo’s book will provide a boatload of memories for those lucky enough to have been there and a motherload of info for those too young to enjoy rock’s most classic temple of sound.
The London-bred experimental rock band Black Midi came through Webster Hall on Tuesday night in support of their excellent 2021 LP Cavalcade. The show was their first stop in the city, one night before playing the smaller, niche performance space Pioneer Works in Brooklyn. The band last played in New York back in July of 2019 with a headlining show at Bowery Ballroom. That show was fresh off the heels of their breakout debut LP Schlagenheim.
Black Midi at Webster Hall, 10/19/21. Photo by BuscarPhoto
As the lights went down inside Webster Hall, Black Midi was introduced over the PA as if we were about to witness an old school boxing match. The band took the stage as Sinatra’s always tasteful “New York, New York” played over the speakers. The song would not only be an intro, but the band would recall the chorus of the song several times during the first couple songs of the show.
Black Midi at Webster Hall, 10/19/21. Photo by BuscarPhoto
Black Midi have two studio LPs under their belt (via Rough Trade) and both feature free jazz, math rock, punk and indie all blended together in an experimental guise. The records go through various movements with long, psychedelic passages surrounded by ferocious bits of jazzy punk rock. Even though the music is chaotic and noisy on the surface, it all comes together in a cohesive and well performed live show. Songs from both records were seamlessly stitched together with jams and improvs blending one into the other.
Black Midi at Webster Hall, 10/19/21. Photo by BuscarPhoto
Black Midi have a lengthy tour schedule ahead. The US shows continue until the end of October, with another US leg happening in March and April 2022. In between, the band tour the UK and Europe throughout November and December. Check out the full list of tour dates HERE and the setlist from the Webster Hall show is below.
Setlist: 953, Speedway, Welcome To Hell, Dethroned, Sugar/Tzu, The Defence, Hogwash and Balderdash, Still, Flamenco, Lumps, Chondro, John L, 27 Questions, Slow
Indie rock sensation Japanese Breakfast played four sold out shows at Brooklyn Steel last week (October 14-17, 2021), continuing their North American Fall 2021 Tour.
Japanese Breakfast at Brooklyn Steel, photography by David Reichmann
Luna Li opened for Japanese Breakfast the first three nights, her last involvement after having also opened for them throughout the first leg of the tour. Bringing a lot of warmth and enthusiasm, Li performed several of her biggest hits including “Alone But Not Lonely“, “Cherry Pit“, and a few energizing instrumentals from her Jams EP.
Luna Li remarked on how deeply thankful she was for the fans and for the huge opportunity to go on tour. She also mentioned how seeing Japanese Breakfast in concert several years ago had inspired her, stating,
as a Korean . . . seeing Michelle, another Korean, on stage meant so much to me.
Luna Li
Japanese Breakfast started their set with “Paprika,” the opening track from their latest album, Jubilee. Each time Michelle smashed the gong, the crowd screamed and cheered. They went immediately into the second track of the album “Be Sweet,” which lifted the crowd to an even louder chorus of cheers.
Apart from their successful run of performances, Japanese Breakfast front-woman and songwriter, Michelle Zauner, not only released an all-new soundtrack to accompany the video-game,Sable, last month, but had also launched her memoir Crying in H-Mart earlier this year as well.
You can listen to their music and follow the rest of their North American Tour here.
Pop duo BLVCKBOW released their first self-written and produced song Memorize U. BLVCKBOW quickly found out how electric their creative connection was, and easily wrote ten songs in less than a month. The pair’s charisma can be heard in their new single with effortless adlibs mixed with electro-synth groove and sentimental lyrics. The duo will be coming to Piano’s on October 20th with Yarn starting at 8 pm.
Memorize U draws in listeners with their eerie intro filled with shrieking violins and distortion to a headbanging chorus with Jasmine’s and Brittni’s effortless vocals. Hawaiian natives Jasmine Crowe and Brittni Paiva created Memorize U to draw attention to the unforgettable feeling and connection we feel with someone that we can’t help but be present in these moments. “The song is about realizing there is so much in life we can’t predict, so being present is sometimes all we really feel like we have to hold on to… The lyrics to ‘Memorize U’ are inspired by feeling physically and emotionally bonded with someone,” says Crowe.
The second verse and pre-chorus amplify the song’s energy as Paiva and Crowe riff together creating a symmetry that fuels the sleek production. Stunning high vocal riffs and harmonies from the duo stand out as unforgettable moments in the track. The sonic exploration concludes with a mesmerizing, complex solo, helping close the track on a high note.
After Brittni Paiva brilliant performance as a featured guest on Jasmine Crowe’s latest single, “LOVE IS LOVE” they soon realized the true amount of potential they held as a duo. Once the pair teamed up again as BLVCKBOW, they wrote ten songs in just over a month with ease.
Thanks to Crowe’s songwriting talent established in 2018 as the winner of the John Lennon Songwriting Contest and Paiva’s three-time NA Hoku Hanohano Awards, we can be sure to hear more music very soon. To download on stream platforms, click here.
Show-stopping, astounding, and phenomenal are just a handful of words you can use to describe The Struts, whose ‘Strange Days Are Over’ tour hit Rochester at the Main Street Armory on October 15th and the glam rock band brought the house down.
Luke Spiller of The Struts. Photo by Samantha Rychlicki
Lead singer, Luke Spiller, is an electrifying showman. Luke nailed every single note of every single song as the energy kept up. He ran back and forth and eventually had to remove his shirt, which naturally sent the fans into a frenzy. Accompanying Spiller was Adam Slack on the Jed Elliott on the bass, and Gethin Davies on the drums.
Fans of The Struts packed the Main Street Armory. Photo by Samantha Rychlicki
Each musician brought their own personality. This mixed with a killer performance and the die-hard fans that knew every word created an atmosphere that was intoxicating in the best way possible.
If you ever have the chance to see this band, don’t walk, strut.
Setlist: Primadonna Like Me, Body Talks, Kiss This, I Hate How Much I Love You, Fire, One Night Only, Dirty Sexy Money, Low Key In Love, Mary Go Round, Medley, Am I Talking To The Champagne (Or Am I Talking To You), Wild Child, I Do It So Well.
Encore: Strange Days, It Could’ve Been Me
Luke Spiller of The Struts. Photo by Samantha Rychlicki
Adam Slack of The Struts. Photo by Samantha Rychlicki
Jed Elliott of The Struts. Photo by Samantha Rychlicki
Gethin Davies of The Struts. Photo by Samantha Rychlicki
Luke Spiller of The Struts. Photo by Samantha Rychlicki
Adam Slack of The Struts. Photo by Samantha Rychlicki
Jed Elliott of The Struts. Photo by Samantha Rychlicki
Luke Spiller of The Struts. Photo by Samantha Rychlicki
Adam Slack of The Struts. Photo by Samantha Rychlicki
Luke Spiller of The Struts. Photo by Samantha Rychlicki
Todd Rundgren has quietly returned to Woodstock’s Utopia Studios Soundstage to begin rehearsals for his “The Individual, the Star” U.S. tour. The legendary multi-instrumentalist received a reported “quiet hero’s welcome” as he returned to the area ahead of his induction into the Rock ‘N Roll Hall of Fame at the end of October.
Rundgren’s Woodstock Roots
Todd Rundgren with Bearsville Theater owner Lizzie Vann
Rundgren, also known for his work with the band Utopia, created the soundstage at Bearsville Theater Complex himself. He commissioned the project for an “innovative video studio” back in 1979, and filmed the video for his single “Time Heals” there. The video would go on to be the second video ever broadcast on MTV. Over the years, the studio has served as a home for many music-related businesses, including Radio Woodstock.
Rundgren made sure to take breaks from rehearsal during his week-long visit. While in town, Rundgren also attended the Woodstock Film Festival for a screening of the documentary Fanny: The Right To Rock. Rundgren himself appears in the documentary, which was screened at the Bearsville Theater.
A Wizard, A True Star
Rundgren’s current tour celebrates his monumental 1973 album, A Wizard, A True Star. Rundgren found inspiration for the project, and a changing point of view, in experimentation with psychedelic drugs in his mid-20s. “I became more aware,” Rundgren once said of making the album, “Of what music and sounds were like in my internal environment, and how different that was from the music I had been making.” Rundgren described the 19-track LP as a hallucinogenic “flight plan.”
Though at the time A Wizard, A True Star isolated much of Rundgren’s audience, it received widespread critical acclaim, and has been recognized in later years for its influence on lo-fi bedroom musicians. Even Frank Ocean sampled synths from the project on his own historic contribution to lo-fi, 2016s Blonde.
Rundgren kicked off his The Individual, The Star Tour on October 1st in Boston. He played three dates at the beginning of October in New York, all at the Gramercy Theater in NYC. The tour will continue through the beginning of November, heading West and closing out November 7th in San Francisco.
Todd Rundgren, The Individualist, a True Star 2021 Tour
Oct. 01 – Boston, MA @ Big Night Live
Oct. 02 – Boston, MA @ Big Night Live
Oct. 04 – Ridgefield, CT @ Ridgefield Playhouse
Oct. 05 – Ridgefield, CT @ Ridgefield Playhouse
Oct. 07 – New York, NY @ Gramercy Theatre
Oct. 08 – New York, NY @ Gramercy Theatre
Oct. 09 – New York, NY @ Gramercy Theatre
Oct. 11 – Philadelphia, PA @ The Fillmore
Oct. 12 – Philadelphia, PA @ The Fillmore
Oct. 14 – Huntington, NY @ The Paramount
Oct. 17 – Washington DC @ Capital Turnaround
Oct. 18 – Washington DC @ Capital Turnaround
Oct. 20 – Atlanta, GA @ Tabernacle
Oct. 23 – Miami, FL @ The Fillmore
Oct. 24 – Clearwater, FL @ Capitol Theatre
Oct. 25 – Clearwater, FL @ Capitol Theatre
Oct. 29 – Canton, OH @ Canton Palace
Oct. 30 – Cincinnati, OH @ The Andrew J Brady ICON Music Center
The Struts played Irving Plaza on Friday, October 8, part of a huge U.S. tour that started in August and takes them across the U.S. until mid-November. They were as tight as you’d expect from a band that’s been on tour for months, rocking thru a long set that included many new songs from their last record, Strange Days. It was written and recorded during the pandemic lockdown, and the title song’s chorus is an apt description of that time…
Oh these are strange days, In many strange ways, Science fiction I believe, Has become reality, Oh these are strange times, Lost in our minds, We don’t know, it’s unclear, Where we’ll be this time next year
the Struts
Thankfully the next year finds them onstage, where they belong. Their recorded music is made for packed shows with the crowd singing along, and Friday night was exactly that. From the second singer Luke Spiller swaggered onstage, the audience was singing and cheering at his command. Spiller is a natural performer, constantly moving and thriving on the audience’s feedback, never letting their set’s energy decrease.
the Struts
From the opening notes of “Primadonna Like Me” he controlled the entire show, engaging the crowd between every song by demanding more applause or encouraging them to do complicated sing alongs, reminiscent of Rob Halford of Judas Priest. He introduced every track with a description like ‘the next song is about my favorite thing’ before “Dirty Sexy Money” or ‘the last song was the foreplay and now we’re gonna turn down the lights, so get out your phones’ before the venue went dark and they played “Mary Go Round” by the light of the crowd’s phones.
the Struts
“Body Talks,” “One Night Only” and “Kiss This” are hit songs so it’s expected people joined in, but it was impressive how well the audience knew all the words to their new songs, including “I Hate How Much I Want You,” where they took over the part of the backing vocals sung on the album by Def Leppard’s Joe Elliott and Phil Collen. Other new songs played were “Wild Child,” (written with Tom Morello) that started with guitar player Adam Slack alone onstage in a spotlight for an extended introductory solo, and the sultry “Am I talking to the Champagne” that had Spiller singing at the piano.
the Struts
The last song was a long version of “I Do It So Well,” and Spiller introduced Slack, bass player Jed Elliott and drummer Gethin Davies, and then split the audience down the middle into Slack and Elliott’s sides, and pitted them against each other in a spirited cheering contest. After going back and forth for awhile Spiller said ‘fucking hell New York that was all right’ and then kept the song going, directing everyone to crouch down as they decreased the tempo and volume, and the place got hushed until Spiller told everyone to leap up and scream as loud as they could and the place went crazy. The song volumed soared and the crowd jumped up and down in unison, shaking the whole place. At the end they walked offstage leaving the audience chanting ‘one more song’ at the end of the set (which was selling the encore short because there were two songs left on the setlist.)
the Struts
Spiller came out alone and began “Strange Days” at the piano and the place went silent, appreciating his playing and impressive vocal range. They ended their show, unsurprisingly, with their smash hit “Could Have Been Me,” leading the crowd in one last sing along before taking a sweaty bow. It’s pretty common to find the Struts opening for the world’s biggest rock acts or playing festivals, so it was special to see them in a smaller venue like Irving Plaza.
the Struts
The Starbenders, from Atlanta, were the opening band. The crowd was mostly full and enjoyed their set, their moody stage lighting and sound were reminiscent of My Bloody Valentine or The Jesus and Mary Chain. They are playing several other dates on this Struts tour.
The Struts – Irving Plaza – October 8, 2021
Setlist: Primadonna Like Me, Body Talks, Kiss This, Hate How Much I Want You, Fire, One Night Only, Dirty Sexy Money, Low Key in Love, Mary Go Round (acoustic), Put Your Money on Me, Medley, Champagne, Wild Child, I Did it so Well Encore: Strange Days, Could Have Been Me
