The City of Albany announced a Virtual Tulip Festival celebration for 2021, which will occur throughout the entire month of May. The series will feature musical performances, tulip garden tours, prizes, and more.
While I join so many of you that are looking forward to getting back to celebrating the annual Tulip Fest the way we are accustom to, I am excited to participate in the month-long celebration of virtual Tulip Fest. I want to thank the Office of Cultural Affairs for their commitment to reinventing this and many other traditional Albany events in light of the COVID-19 outbreak and hope you and your family and friends will virtually join us for a full month of great programming.
In addition to the local musical performances, the Virtual Tulip Festival will present fun videos for kids to enjoy. Plus, the City of Albany Gardeners will provide a tour of the tulip beds and much more! Videos will premiere on the Albany Events YouTube page, on Facebook, and also on Public Access Channel Albany 1302. Make sure to stay tuned for schedule updates.
The 2021 Albany Tulip Queen, Court, and Mother of the Year will be presented later on with their own celebrations.
New York City synthpop trio January Jane excitedly stake their musical claims with their with their debut EP Your Drug. The band consists of lead vocalist Pat Via, guitarist Mitch C. Mitchell, and keyboard player Peter Scialla. The EP is planned to be released on June 18 via Whiskey Vinyl/BGM.
Your Drug borrows from a diverse array of influences ranging from modern day pop to 80’s pop rock in the style of songs like “Your Love” by The Outfield. The EP can be broadly categorized as pop but the band takes inspiration from several different decades and styles of pop. The soaring upbeat choruses that many of the songs offer can be directly tied to the styles of millennial pop of acts like Walk The Moon and Imagine Dragons. The band differs from many of its contemporaries by adding a 80’s rock edge to its songs. Via’s voice has a much more distinct gruffness to it which pairs nicely with the moody synth and guitar tones of the verses.
Songs like “Addicted to The Night” offers a deceptively simple but extremely sticky hooks that that refuses to leave your head hours after you’ve listened to it. Paired with a verses that build the tension of the song with its dueling electric guitar creating a song that would go off well at any party. The edge added by Via’s voice sets many of the songs of the songs off from their contemporaries. The versatility in Via’s vocal inflections allows him to pull of the clear shimmery pop hooks as well as the more 80’s-eque moody verses.
The infectious grooves on these tracks display their influences and love for ’80s rock and pop while sounding undeniably modern and perfect for the ’20s.
Matt Pinfield, DJ
The consistent infectious energy is certainly the strong suit of Your Drug. The band doesn’t miss a beat with any song, offering an EP that has a signature sound throughout but still switch up the style between each track. The 80’s throwback sound dose not come off as a gimmick, rather a new completely new direction for modern electro pop.
The EP is also an extremely easy listen, toping out at just under 17 minutes. The exciting mixture of sounds act as perfect soundtrack for the dancefloor and exciting midnight drive. Overall, Your Drug is extremely likeable and is suitable for just about any kind of pop fan – no matter the age.
Key Tracks: Addicted to The Night, Versions of You, NYC
Hometown horn funk favorite, Victory Soul Orchestra, features the dirty sounds of New Orleans’ driving brass, with influences including Galactic and The Dap Kings. You can find them fronted by Albany’s own JB aka Dirty Moses and singer Dali Soto. Their efforts combined help create a funk/rap show that brings the house down. In January 2019, they released their first album, Astrobeat, which is available on vinyl and all streaming platforms.
C.K. and the Rising Tide’s brand of music features poetic, nostalgic lyrics supported by music that is rockin’ and emotionally evocative. Curtis K. Flach (“C.K.”) appreciates how a film’s soundtrack enhances and cements the emotions portrayed on-screen. C.K. has a similar agenda for his tunes: “I write music as a soundtrack to daily life – a way to express things you might not be able to say otherwise…or may not want to say.”
Tickets are available via Eventbrite for Victory Soul Orchestra on April 17 and C.K. and the Rising Tide, with special guest Julia Alsarraf on April 24. Expect more live music announcements from Lark Hall in the coming weeks.
On Saturday, April 10, Lark Hall welcomed The Wheel and a crowd of 70 or so Deadheads who barely found time to take a break from dancing. It seemed like everyone was letting loose the pent up dance moves honed over the past year. With two sets packed with Grateful Dead classics, including a fiery “Help on the Way” > “Slipknot” > “Franklin’s Tower,” the crowd was elated and showed the band their love all throughout.
SummerStage free concerts return to Central Park, bringing socially distanced live music this summer. The first benefit concert of the series of free shows begins with Dawes on Friday, April 16 at 10AM ET.
The SummerStage
With new New York City announcements on limited-capacity concerts, live performances are scheduled for Central Park and Harlem’s Marcus Garvey Park/Richard Rodgers Amphitheater. Events will follow all regulations regarding large-scale outdoor events, included masks, socially distanced seating, and limited capacity. For admittance, a free ticket, proof of vaccine and/or a negative COVID test, and health screening (a questionnaire and temperature checks). All in-person performances will also be live-streamed on SummerStageAnywhere.org.
In addition to the musicial performances, ranging from hip-hop, indie rock, and jazz, there will also be outdoor, family-friendly marionette shows throughout the summer through CityParks PuppetMobile.
The City Parks Foundation will also soon launch a micro-grants program for grassroots arts organizations and individual artists to provide funding for free cultural programs in parks and neighborhood plazas in the city’s most under-resourced communities. These two organizations strive to provide free cultural programs across the city.
A Past SummerStage Show from 2019
Dawes will kick off the SummerStage free concerts season on April 16 as part of their 2021 tour to promote their new album, Good Luck With Whatever. Tickets go on sale begins at 10 AM, Friday April 16 on AXS.
The last year has been enormously difficult for our city. Live performance, with the energy that is generated by experiencing it with others, will be a balm for our collective soul. SummerStage has been an active member of the NYS Nonprofit Outdoor Performing Arts Coalition, working with fellow outdoor venues and the NYS Department of Health to ensure that we are well-prepared to provide a safe and comfortable concert-going experience that follows strict health protocols. SummerStage will help restore vibrancy to our city through free performances in parks, which have been such important public spaces for New Yorkers seeking safe respite during the pandemic.
Heather Lubov, Executive Director – City Parks Foundation
The City Parks Foundation, Summer Stage, and Capital One provide vibrant, culturally impactful, free events in New York City. Now that vaccines are rolling out at a wider, consistent pace, there is hope for more live concerts, beginning with these benefit outdoor shows.
Spring of 2021 marks a first time release from the unexpected duo of Mick Jagger and Dave Grohl. Like anyone waiting around at home for the world’s next move, Mick Jagger had the idea for a new song while sitting in limbo. The single “Easy Sleazy” was sent to Dave Grohl who says “It’s beyond a dream come true. Its the song of the Summer, with out a doubt”
The duo sent parts to each other back and forth over the past month, with Mick Jagger on vocals and guitar and Dave Grohl handling guitar, drums, and bass. Mick says of the duo “Dave likes it ’cause it rocks hard. I like to rock hard, too, so it feels good in that way.” The song covers almost all of the world’s hot topics from the view of someone who might still have Sympathy for the Devil.
“Shooting the vaccine, Bill Gates is in my bloodstream, It’s mind control… there’s Aliens in the deep State.” Jagger’s lyrics immediately suggest not wanting to fall in line with the masses right now. “I haven’t written loads of songs about it. ‘Eazy Sleazy’ is the only song I’ve written on this subject. I wrote it quickly a few weeks ago”
Jagger’s point of view on the experiences of the kind of general long lock down is relatable. “You see a pretty girl, but you can’t take any chances before the vaccine. And then all the silly things that you could try and do to pass the time because you feel you got to “better yourself.” Everyone tried to do something, didn’t they? Cooking and dancing and learning another language badly.” Jagger expresses this during the tune while singing, “I think I’ve put on weight, I’ll have another drink and clean the kitchen sink”
He addresses his own angle during this time on whether or not he actually tried to better himself. Mick Jagger is as open as we all should be to one another when loved ones are checking in “Not really, to be honest. No. It’d be so stupid if I said, [puts on sarcastic voice] “Oh yes. I did say that I bettered myself. It was an introspective time for me.” It’s a piss-take out of all these things; I mean, you try and learn another language and all this.”
Remembering when Mick first went solo outside of the Memory Motel of The Rolling Stones in 1970, he released “Memo From Turner” with lyrics all ready reflecting on previous times experience. 51 years later, Mick is still relevant to the times and the world around him. This single is his newest memo to all: “Please Me, It’ll be a Memory You’re Trying to Remember to Forget.”
Live music website JamBase has announced Cluster Flies, a cover album of the legendary Phish album Farmhouse, set for release on Friday, April 30th.
Performing artists on the album include William Tyler on the intro track “The Inlaw Josie Wales,” Club d’Elf on “Sand,” Ryley Walker on the monster 20 minute outro track “First Tube,”and many other talented artists.
I tasked the team to come up with an idea that we could rally around in place of live music and to raise lost revenues for JamBase. Rather than a standard fundraiser, the Cluster Flies project was conceived, and we soon reached out to an incredible group of musicians who graciously jumped at the opportunity to support JamBase.
David Onigman, CEO
Each song on Cluster Flies will premiere through a daily rollout on JamBase and a corresponding episode of The JamBase Podcast that will also feature interviews with each of the participating artists. A select number of Cluster Flies songs will debut on SiriusXM’s Phish Radio on episodes of Crowd Control and Headbands.
The limited-edition 3LP album was mastered by engineer Joe Lambert and features custom artwork created by longtime Phish collaborator Jim Pollock. The Cluster Flies Pollock poster will be available to bundle with the triple gatefold, 180-gram vinyl edition. A standalone triple gatefold, 180-gram vinyl edition without the poster can also be purchased. A high-res digital version can be downloaded as well.
The band Moon Kissed prides itself on joyful, high energy performances, and they certainly didn’t miss the mark when it came to their newest single. “Clubbing in Your Bedroom” embodies self-expression and creating your own fun in the midst of a pandemic, rather than the wallowing and unengaged attitude many express during this time.
Photo Credit: Sara Laufer
“’Clubbing In Your Bedroom,” is an invitation to get dressed up for no one and nothing and to move your body in order to heal. The song was written in an attempt for salvation and levity amidst pandemic despair. We miss playing live, we miss our friends, we miss touch. But, “Clubbing In Your Bedroom” celebrates the fact that we still have the power and ability to let it all go, even for just one song, and we can and should dance in our bedrooms and be free for a brief moment in time.”
Khaya, on the new single
Written and produced by Khaya Cohen and Emily Sgouros, “Clubbing in Your Bedroom” followed a dynamic late-night clubbing session in Emily’s bedroom. Mixed and mastered by Justin Dan Ver Volgen, the song encourages honest self-expression, encouraging “weirdness.”
Moon Kissed met each other at a party on New Year’s, 2019, and quickly connected, making their debut with I Met My Band at a New Year’s Eve Party. A catchy, synth-pop style was developed, taking influence from artists such as Charli XCX, Chairlift, and Grimes. Making a name for themselves through energetic, often sweat-inducing live performances, the group sets out to capture the moment between themselves and the audience, emphasizing the magic of being in the moment.
Albany-based artist Gavin Preller excitedly announced his debut album: There is Wonder. The project is being mastered by Kramer and is set to be released on May 21st via Shimmy-Disc/Joyful Noise Recordings.
There Is Wonder was written and recorded between the months of October 2020 and February 2021 in Preller’s home town of Bethlehem, New York. Preller wrote, arranged, and performed every song from a basic basement setup in his parent’s home – except for drums on two tracks, which were recorded by Leor Manelis. Initially, Preller wrote and recorded the first six tracks before sending it to his iconic producer Kramer for mastering, Preller was them unexpectedly signed to the Shimmy-Disc label and encouraged to expand the six songs into a full record.
It’s hard not to hear flares of the likes of Sufjan Stevens and Jeff Buckley, proof of just how much Preller’s vocals are truly captivating.
Variance
Gavin Preller began studying classical piano at the age of 3, later picking up guitar at ten years old. In 2019 he attended Berklee College of Music before dropping out after one year to live in an agricultural community in Southern France. Back in the States in February, 2020, Preller took his backpack and acoustic guitar on a cross-country train to Portland, OR. He was living by himself in a used van, without a job, using a nearby Planet Fitness for showers, when Covid hit. That March, he sold the van and returned to his parent’s home in Upstate New York where he has been working on new music ever since.
Troy Savings Bank Music Halland WEXT present the UpLift Commission Series, faeturing local artists to participate. In collaboration with Organ Colossal, the Lift was curated and invited a small audience to sit on stage with artists while they performed.
The pandemic caused the program to end forcing staff at the Music Hall to find creative ways to keep it going. The Hall reached out to the Organ Colossal to find local community talent in the Capital Region. Each artist selected has contributed to their community throughout the years and their participation is another contribution. Their creations for this project reflect the mood of current times and each performance is honest and speaks to the changes music has faced over the year.
Upcoming UpLift Commission Series performances begin later this month. Indie singer based Upstate and Brooklyn,Belle Skinner, performs on Friday, April 23 at 7 p.m. Mother and son duo, sitarist Veena and tabla drummer Devesh Chandra perform on Friday, May 7. New York-based Puerto Rican singer, Taína Asili and guitarist Gaetano Vaccaro perform on Friday, May 21. The events are free and open to the public and links to performance will be released closer to the performances.
Troy Savings Bank Music Hallwas created in 1870 built on the upper level to show the bank’s appreciation to the local citizens for their support. In the beginning, the hall hosted performances from musicians nationally and internationally even during the World War II era. In 1979 the Troy Savings Bank Music Hall Revitalization Committee after Troy’s declined and had problems supporting the arts.
The Troy Savings Bank Music Hall Corporation came about through funding from the bank and from the city and county. It is a non profit organization and it leases the Hall from the bank. The Hall has a reputation for orchestra and chamber music. However with sound as its main priority, it became a venue with classical and modern music performances.
Today marks the anniversary of the final show The Grateful Dead ever played in Binghamton, NY. The final three of these all took place at Broome County Arena, with the first show being at Harpur College in 1970. Shows at the Arena then followed in 1977 and 1979. After a short run of shows on the West Coast to open 1983, the Dead traveled east for their spring tour. With keyboardist Brent Mydland now comfortably established in the band’s dynamic for a few years now, this show offers a glimpse of vintage of early ’80s Dead and a taste of all their varied sounds and styles to date.
The show starts off in a somewhat disjointed fashion with Jerry Garcia mumbling a good portion of the lyrics to “Alabama Getaway.” Harmonizing vocals and the customary wailing Hammond B3 organ fills from Brent Mydland help to mitigate the early shortcomings. After a fairly tame Garcia solo, the band quickly shifts into “Greatest Story Ever Told.” Bob Weir leads the vocals on this quick one that features a much improved Garcia solo at the end. Jerry continues his first set ascent with the “Bird Song” that follows, nimbly maneuvering through the lyrics and delivering some ethereal guitar work. Mydland on electric keys now and Weir on rhythm guitar create a wonderful canvas of sound upon which Garcia paints effortlessly.
“New Minglewood Blues” is next on the docket with Weir once again taking lead and Garcia and Mydland each exchanging boisterous solos on this one as each song so far seems to get progressively more cohesive. This carries on right into a must-hear “Peggy-O” that features a truly heavenly tone from Mydland on keys that accompanies Garcia on vocals.
The emotions remain high and flow nicely into the “Cassidy” that comes next, with Mydland continuing to dazzle with an array of different tones emanating from his keyboard rig. This yields another short but ferocious Grateful Dead jam that the Binghamton fans applaud appropriately on this recording.
“Loser” brings the first set heat back down to a simmer before another few Garcia solos rile up Broome County Arena once more. Things continue to pick up with the cover of The Rolling Stones’ “It’s All Over Now” that follows and features more spectacular work from Mydland on the Hammond. Afterwards, the Dead throw it back a little with “Dupree’s Diamond Blues,” a recently revived classic that dates back to the late ’60s. A rousing “Let It Grow,” heavily fueled by the percussive tandem of Bill Kreutzmann and Mickey Hart, then ends the first set that seems to celebrate almost ever era of the band’s musical catalog to date.
The Grateful Dead‘s final set in Binghamton starts off in traditional fashion with a “Help On The Way” that unfortunately sees Jerry revert back to some fumbled lyrics. Its traditional tag-team partner “Slipknot!” gives Garcia a chance for redemption as he delivers a mesmerizing guitar solo atop another full bed of sound with constant accentuating flares thrown about by Mydland and Weir. A jazz-like jam evolves from this for a bit in a “Slipknot!” that gets stretched out nicely before rounding back into form. The abrupt segue into “Franklin’s Tower” then rounds out the second set’s triumphant opening trifecta. Garcia has no issues with the vocals here and throws in a few exuberant, rapid-fire guitar runs for good measure that surely enthralls the Broome County crowd.
A second set “breather” of sorts then ensues with another traditional Dead sequence. Bob Weir takes lead on “Lost Sailor,” a song the Dead would only continue to play for a few more years after this. Another abrupt segue then serves as the lead-in to “Saint Of Circumstance,” completing the longtime song pairing that had been a regular part of the band’s live repertoire since 1979. This paves the way nicely for “Terrapin Station” as the Grateful Dead delight Binghamton with yet another classic.
The song’s drum-heavy ending, as it had and would continue to do many times going forward, serves as a natural entrance ramp to the evening’s “Drums” > “Space” sequence. To little surprise, after the band reemerges on stage, so too does “The Other One.” At several points moments earlier, drummers Kreutzmann and Hart seemed to be fashioning a similar-sounding drumbeat to the iconic one that begins this song.
In vintage Dead fashion, the intensity of “The Other One” is juxtaposed nicely by the fairly mellow, in comparison, “Wharf Rat” that follows. This gives Garcia one last chance to deliver a couple of choice solos with a nice, jazzy backdrop of sound provided by the rest of the group. As “Rat” dwindles out, the opening chords of “Not Fade Away” start up as the Dead begin to close their final Binghamton gig. At its conclusion, the crowd shows its appreciation and continues singing “Not Fade Away’ all the way through the encore break, something that would become commonplace for this song throughout the rest of the band’s career.
As a result, the encore begins with the Dead reciprocating and playing an NFA-reprise in response back to the crowd. Fittingly, the show then ends with a cover of Bob Dylan’s “It’s All Over Now, Baby Blue.” With a setlist featuring two songs with the words “It’s All Over Now” in it, it’s almost as if the Dead knew this is the las time they would ever grace the Parlor City.
Grateful Dead – Broome County Arena – Binghamton, NY 4/12/83
Set 1: Alabama Getaway-> Greatest Story Ever Told, Bird Song, New Minglewood Blues, Peggy-O, Cassidy, Loser, It’s All Over Now, Dupree’s Diamond Blues, Let It Grow
Set 2: Help On The Way-> Slipknot!-> Franklin’s Tower-> Lost Sailor-> Saint Of Circumstance-> Terrapin Station-> Drums-> The Other One-> Wharf Rat-> Not Fade Away
