International role model AJA (they/them) has broken down barriers in their new single titled “21 Roads,” featuring Katie Jobes. The revered artist and performer has brought non-binary visibility into the music industry, while also building a safe community among their fanbase. AJA is of an ecletic Puerto Rican, Nigerian and Egyptian background. Being an adopted Afro-Latino from Brooklyn has also had a lot of influence over their music and this new single.
Photo Credit: Tanner Abel
“21 Roads” is the first single off of AJA’s upcoming sophomore album CROWN. The song delves into being stuck at a crossroad, re-evaluating and learning to prioritize yourself. Protecting your happiness and being at the forefront of your own destiny is what AJA preaches.
The artist used three tracks on the single: an interlude, the actual song, and recorded drumming. AJA shares that “the beat of the song, the interlude sample of the drums as well as the instruments, singing, and chants that are on the drumming — these are traditional songs for Esú Elegba, who is the gatekeeper, and opener of all roads in the Lukumi Faith; which stems from Nigeria.”
Watch the Lyric Video for “21 Roads” Here
Later this spring, AJA will release CROWN. The album incorporates themes of back spirituality, fame, race, class, gender, and sexuality. CROWN deals with AJA’s hardships and their adjustment to vulnerability. Following their critically acclaimed debut album, Box Office (2019), CROWN has high anticipation.
Photo Credit for CROWN Album Cover: Tanner Abel
AJA constantly uplifts their fans through inspiring perspective, fashion, and activism. They have taken their positive outlook to over 180 live shows and even sold out venues worldwide. The new single is nothing short of AJA’s empowering insight.
“21 Roads” (featuring Katie Jobes) is available on major platforms. Listen to the single below.
Few buildings have as storied a relationship with the Grateful Dead that Madison Square Garden does. The World’s Most Famous Arena quickly became the band’s “home” arena on the East Coast beginning with their first run here in January of 1979. Their welcomed stay would last until their final shows played there in 1994. Today, we celebrate the anniversary of the Grateful Dead’s third run at the Garden and only their sixth show ever here. This would be the first of only two Dead shows here this year. But its musical impact, thanks to an incredibly well preserved AUD recording, will last forever.
The opening tones of “Feel Like A Stranger” ring throughout the Garden to kickstart things this evening. The electricity immediately comes through the pristine recording on this one as the bands “get’s on with the show.” Guitarist Bob Weir’s voice is in fine form for the opener and throughout the rest of this show. Some typical brief, scat-like improv singing from him gives way to a short but tight little opening number. “Althea” then follows, with fellow guitarist Jerry Garcia getting his turn to serenade the New York faithful. A fierce early guitar lick sets just the right tone early as Garcia nimbly moves from singing to soloing and then back.
This is followed by a super-bluesy “C.C. Rider” that’s fueled by some great interplay between Garcia, Weir and Mydland on keys. A raucous Garden crowd makes their feelings well known afterwards. An extended tuning break might disrupt the rhythm for any other concert, but it’s not long before the arena is back in full sway and singing along with Garcia to “Ramble On Rose.” As expected, the “Just like New York City” line is met with resounding approval. Weir seems to begin “El Paso” by himself at first, but the band soon catches up and nails the rest of this first set staple. This one sees more impressively delicate guitar fills thrown in by Garcia who sounds clean and inspired from the onset this evening.
A return to the blues then follows, this one of the “Deep Elem” variety. After being taken off the shelf late last year in October, the vocal sections still sound a little unsure on the Dead’s take of this blues standard but the continual passionate guitar stylings from Garcia more than makes up for it. There’s nothing unsure about Weir’s vocal delivery on “Beat It On Down The Line” as the band rips through another first set staple.
Jerry’s vocals seem to run out of steam somewhat in the “Bird Song” that comes next. But the initial lackluster vocal section quickly gives way to some dazzling improv in the jam that follows with Garcia’s guitar leading the way. This seems to infuse some life into the band and the song’s dismount is much cleaner. Weir then re-assumes command and “New Minglewood Blues” closes out a rollicking opening stanza. Whether it was planned or not, the two guitarists wind up going tit-for-tat and alternate lead vocal duties between each song in the opening set.
But like any Dead show, the real “meat and potatoes” of the show are generally found in the second set. Tonight’s show at the Garden would be no different. After some clearly audible teases while tuning, the band takes their sweet time before launching into a majestic set-opening “China Cat Sunflower.” Garcia’s meandering guitar solos play perfectly atop a bed of fresh bass rhythms supplied by Phil Lesh. The slowly building jam eventually makes its seamless transition into “I Know You Rider” where both Weir and Garcia throw a little extra mustard on their respective parts. The second “China Cat” > “Rider” sequence ever played at MSG is certainly one to behold.
Out of the ashes of this blistering start comes “Samson and Delilah” with drummers Bill Kreutzmann and Mickey Hart wasting no time at all before launching into the percussive into. The accompanying jam is played at a near-frenetic pace that seems to have carried right over from the start of the set. Things finally cool down for a bit with “Ship Of Fools” that Garcia ably leads the group through with no issues. Even a slower number like this one seems to have the Grateful Dead Garden crowd enraptured.
Things perk back up in a big way in the second set with the two heavy hitters that follow. “Estimated Prophet” sees a fired up Weir complemented beautifully by Mydland and the signature tone of his electric keys on this number. A typically patient and slow-building jam then ensues with Jerry soon beginning to take the helm musically. When this reaches its conclusion, he switches tones and starts the opening chords to “Uncle John’s Band.” The Garden is again enthralled by these proceedings, with many clapping along in time.
Towards the end of the second’s set traditional “Drums” > “Space” section, some familiar chording can be heard. And before long, Lesh’s bellowing bass roars once again, signaling the high-intensity start of “The Other One.” The rest of the band follows Weir’s lead on vocals with this passionate take on a classic Dead number.
After this powerful, but fairly short “Other One,” begins to peter out, Garcia slows things down once more and the beginning of “Stella Blue” ensues. A large crowd that was in full rock mode, clapping along wildly just more than an hour ago, is now in near total silence listening to Jerry’s deliberate and soulful vocals – a testament to the emotional power of a Grateful Dead Garden show.
It sounds like Jerry wants to revisit and possibly finish “Uncle John’s Band” at the end of “Blue,” but they instead shift towards a “Good Lovin’” closer, the second set’s only cover song. The Garden crowd, once more, shows their love and appreciation afterwards before a “U.S. Blues” finishes things out, a proper call after so much blues-inspired songs and playing this evening. The Dead would go on to play one more show at MSG the following night. And thanks to the impeccable recording by Barry Glassberg below, we’ll be able to enjoy this one forever.
Grateful Dead – Madison Square Garden – New York City, NY 3/9/81
Set 1: Feel Like A Stranger, Althea-> CC Rider, Ramble On Rose-> El Paso, Deep Elem Blues, Beat It On Down The Line, Bird Song, Minglewood Blues
Set 2: China Cat Sunflower-> I Know You Rider-> Samson & Delilah, Ship of Fools, Estimated Prophet-> Uncle John’s Band-> Drums-> The Other One-> Stella Blue-> Good Lovin’,
On March 10, tickets for The Supper Club at the Hollow Bar + Kitchen in Downtown Albany go on sale, ahead of the series’ return in April.
Michael and Dora Philip opened The Hollow Bar + Kitchen in 2013 and its unique setup and great location caused it to gain notoriety. The establishment received four stars for its restaurant and has gained notoriety for live music held throughout the week.
When the pandemic hit, The Hollow faced a shift in business and was shut down for five months. It reopened in August 2020 with indoor and outdoor dining at reduced capacity. While the restaurant was able to open, its other half, live music, was still missing and it took a toll.
The Supper Club shows were originally launched in October 2020 by Guthrie/Bell Productions The shows gave local artists an opportunity to perform and it also gave a boost to the establishment. The first performance was from local musician Girl Blue on Oct 9, 2020, and continued for four more Fridays. The audience is socially distanced and the Hollow abided by guidelines to ensure safety for every show. However, they took a break in November after coronavirus infections increased.
Following the winter hiatus from the surge, the Supper Club at the Hollow Bar + Kitchen resumes this April and May. The tickets go on sale on Wednesday, March 10 with a full lineup for April. The shows begin on April 2 with Justin Henricks, Beau Sausser and Bill Carbone. The rest of the performances for the month consist of local artists. The performers for May will be announced soon.
Tickets are sold for tables of two or four guests. For a table for two the price is $30 and a table of four is $60. The price for the tickets is for the performance only, guests are able to order food and drinks from the menu. However, according to NYS regulations, attendees must order food if they order alcohol. Every show consists of seatings from 6-6:30pm, a short first set at 6:30pm, a time to eat from 7-8pm and a longer set at the end from 8-9:30pm. The tickets are sold through Eventbrite and serve as the reservations because no tables will be sold at the door.
Attendees must adhere to all social distancing guidelines and masks are required when not seated at your table. Reservations are required through a ticket purchase; no tables will be sold at the door the night of the show so staff can properly plan for the number of guests.
The Supper Club at The Hollow schedule
April 2: Justin Henricks, Beau Sasser and Bill Carbone – Tickets
April 9: Murky Currents feat. Tom and Max of the Ominous Seapods – Tickets
April 16: Laura Paigo with Nick Ferrandino & Jeff Sohn – Tickets
In episode 113, Ben chats with Ben Rossi from Friday In America, a Rochester band mixing rock, Americana, folk and hip-hop. As the band says, “If Abraham Lincoln was a band he’d be Friday In America.”
Friday in America has a range of influences spanning from The Band to The Roots, with the result a menagerie of music styles – from the heavy rock and funk arrangements of songs like “Hitman” to the stripped-down folk of “Water.”
In 2011, the band released their first full length album Cut the Brakes, and had the track “Water” featured in the closing scene of the AFI-Fest award-winning film The Hammer, which told the true story of deaf UFC fighter Matt Hamill.
The album’s rock and folk arrangements have garnered comparisons to artists like Jack Johnson and Bruce Springsteen, and have received regular rotation on shows like Scott Regan’s “Open Tunings” (NPR). The band’s love of all music and their ability to write and play across numerous mediums makes for a unique concert experience. They have opened for acts like Max Creek, Ekoostik Hookah, and the Ryan Montbleau Band, and are constantly fusing their disparate influences in a groove-oriented framework.
Timestamp:
00:31: “Hitman” by Friday In America
06:04: Conversation with Ben Albert and Ben Rossi
37:00: ” Renaissance” by Friday In America
41:29: Conversation Continued
1:00:19: “Six And Counting” by Friday In America
1:06:22: Conversation Conclusion
1:37:44: “Driftin” by Friday In America featuring Amanda Lee Peers
At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.
In the early part of the decade Alan Evans had been playing with his band Soulive and every other big name in music. In 2004 he had the notion to collaborate with some of his closest friends to put out his first solo album. Let It Ride was only released on CD in Japan, but now 17 years later Alan Evans’ 2005 album has been released to all on February 26, 2021 by Vintage League Music. The record features bonus tracks and a snippet of Alan live in Upstate New York from 2005 with some of the cast.
He recruited some of the best names of the modern funk soul scene to help him record it. Neal Evans, Sam Kininger, Aaron Bellamy, Nikki Glaspie, Mike Feingold, Ruslan Sirota, Cochemea Gastelum, Atticus Cole, Amee Jana and Skip Jennings. The music was recorded, mixed, and mastered by Evans at his Iron Wax Studios.
The album features Alan locked in with bass player Aaron Bellamy for every track to hold down the bottom end. All the right personnel start the groove on “Do It Again” where Evans channels his inner James Brown shot calling “ Only Way to Do It, Is to Do it, So hit me Sam!!” that drops an iconic Kininger saxophone solo to get your head wrapped on the familiar funk these cats bring. “Can you feel this sound?” Evans vocals ask the same question “Auhhhh, are you with me?” for the appropriately named track “Are You With Me?” that also features Sam K on Saxophone. Answer most given, “Right on, Right on, Right On!”
Sam Kininger, Alan Evans, Aaron Bellamy at Electric Company in Utica
To exit with the heavy funk, Evans gets his brushes out on ‘Welcome To The World’ where his vocals on this tune sound as soft as Hendrix on 1983… (a Merman I Should Turn to Be). Saxophonist Cochemea Gastelum helps set a worldly tone through the orbits on “Low Down Low.” To help come full circle on the recording Nikki Glaspie, Amee Jana and Skip Jennings lend their profound voices over the backing groove that kicks the record off on the “Do It Again Outro.”
In light of his Upstate New York roots, Alan chose to release along with Let it Ride, the second half of a live album from Saratoga Springs on February 5, 2005 at Skidmore College. Saratoga native and former band mate Peter Prince encouraged this particular set, which encapsulates the whole mood of this release – Alan leading the improvisational pack with Aaron Bellamy on bass, Mike Feingold and Jeffery Lockhart on guitar. They stretch out on the live bonus tracks in front of the crowd many Februaries ago that even features a Jimi Hendrix mash up of “Purple Haze” and “Third Stone from the Sun” on the final track. We should be glad Alan Evans and company decided to “Do It Again” this year for the release of this funked up record.
Key Tracks: Do It Again, Are You with Me?, Welcome to the World
Purchase the Album here and look for our interview with Alan later this week.
The lives and times of the Wu Tang Clan has been chronicled heavily (deservedly so) throughout their existence. Beginning with their own personal accounts in their music, to feature interviews, documentaries, tv series and now, an exclusive Wu Tang Clan photobook will share rare and never seen before images of the rap phenoms. With photography from the likes of; Danny Hastings, PROTIM PHOTO, Kyle Christie and Andy Cantillon, as well as friends and family of the Clan.
Titled Wu Tang Clan: LEGACY, this large format photography book features more than 300 pages of images and comes encased in a 400-pound sculpted chamber.
“From conception to the present day, this is the story of the undisputed greatest hip-hop group of all time being unveiled through rare and never before seen photos,” said John “Mook” Gibbons, CEO of Wu-Tang Clan Management, in an official statement.
According to the book’s official website, only 36 editions will be made available for purchase, and each comes signed, dated and numbered and with a certificate of authenticity.
Each book will be printed and bound in Italian leather and will come encased in a bronze-encrusted black steel chamber individually designed by sculptor Gethin Jones. The design was inspired by the bronze ritual bowls from the Zhou Dynasty, an ancient period considered the pinnacle of Chinese bronzeware crafting, and its first ruler was King Wu-Wang. This comes as no surprise as the Clan’s music — specifically RZA’s production – was heavily influenced by Asian martial arts, beliefs and overall culture. Even the 36 copies being produced serves as an ode to their first album tittle (36 Chambers) and the numerological significance of there being 36 chambers in a Shaolin Temple.
For more information on how to purchase and own what is sure to be a rare collector’s item, click here.
Albany has many venues, but for more than a decade, there has not been a mid-sized music venue for bands to ‘graduate’ to once they prove themselves capable of filling clubs, including The Hollow, Parish Public House, Pauly’s Hotel and various area clubs and bars. If your band can sell out any of these rooms, the next logical stop is either Putnam Place in Saratoga Springs, or wait until you’ve built yourself up enough to return to The Egg, Upstate Concert Hall or open up at The Palace for a larger act. This has created a gap for artists from and playing in the Capital District, one that is bridged by the arrival of Lark Hall.
Lark Hall, Albany, NY – photo by Zach Culver
With a room for shows, weddings, events and gatherings, Lark Hall will be more than just a music venue holding events on the side.
Using pieces of history from across the Capital Region, Lark Hall draws on local heritage as they prepare to bring a 300-450 capacity multi-purpose venue to Albany’s Center Square neighborhood.
NYS Music got an exclusive first look at Lark Hall, Albany newest music venue, right in the heart of town.
History in the heart of Albany
Lark Hall has a long history of being operated and owned by women, including the current iteration of the venue with Lark Street Yoga on the ground floor. In 1916, the corner of Lark and Hudson Ave was the starting location for the 48th Annual Suffrage Convention, where 600 delegates were expected. From across the state, supporters including Margaret Hinchey, Jane Olcott, Vira Whitehouse and Leonora O’Reilly were in attendance.
Constructed by women, for women, it initially served as a chapter house for the Daughters of the Eastern Star, the female equivalent to Free Masons. A building that took less than six months to build hosted the 1916 state suffrage convention as one of its first events – a year later the 19th amendment, guaranteeing women the right to vote, would be passed by the Albany legislature, located a short 12 minute walk away.
The hall would serve as a community asset in Center Square, with Red Cross bandage packets assembled by volunteers during World War I, providing food for neighbors during the Great Depression, or holding vigils for husbands, brothers and sons during World War II. USO events were held, as well as cotillions and school dances heading into post-war America; at one of these events, TV and radio personality and Albany native Andy Rooney met his wife here at a dance. The father of Rock n Roll, Chuck Berry, traveled to Albany and played Lark Hall, along with many others over the years.
photo courtesy of Lark Hall
Purchased by eba Center for Dance & Fitness in 1977, the Hall shifted to be a focal point for the arts, dance and performance for over 40 years, until closing in 2017. Justin and Jenn Miller saw the history of the location and outbid others to take over ownership of the historic venue.
We bought it with a vision to both restore the building’s natural beauty and maintain it as a community and performing arts venue. We’re also fortunate to be home to Lark Street Yoga and Lark Street Mercantile, both of which contribute to Lark Street’s vibrancy and sense of place.
Jenn Miller, owner, Lark Street Yoga
Locally sourced materials found a second life in the century-plus old building, including the original curtain bunting behind the stage that matches the age of the building.
Part of the decor added over summer 2020 includes church pews from First Presbyterian on 15th street in Watervliet. The pews serve as seating that will eventually ring the room, and for now serve as ways to socially distance limited audiences in the room. Additional pews were repurposed and made into the bar.
The Millers upcycled the fence from their first home for a kitchen island in the residency upstairs, and framed concert prints from their personal collection pepper the venue on all available wall space. The decor in the bathrooms features brass fixtures and Moroccan tile, and a fully furnished Green Room / Apartment on the third floor will allow bands ample room to stretch out before a show, or a place to stay during an extended residency. Views of the Empire State Plaza from the third floor bring a sense of proximity to a town affectionately known as ‘Smallbany.’
Looking East towards the Empire State Plaza
There are of course some changes that were made to the building. Plenty of fresh paint on the walls and wood stain on the bar and trim, as well as art deco wallpaper reminiscent of HBO’s Boardwalk Empire. 22 foot long/46 foot wide heavy gray curtains opposite the stage double as a buffer to allow limited sound to Lark Street and cover the windows, making the room intimate upon arrival. A VIP booth upstairs stage left is designed for 5-6 people, offering a direct view of the stage as well as a private bar. Add in a long overdue elevator and the building is ready for 21st Century crowds in 2021.
Having purchased the building in March 2018 and opening Lark Street Yoga in September that year, the Millers bring business experience and their fervent music fandom to Lark Hall. A venue run by fans, for fans has immense potential, and has already welcomed audiences virtually with Window Sessions in summer 2020, and the new Practice Sessions, which kicked off on March 4 with Glass Pony.
Music has always been a shared bond and connection since the first time we met and started dating. Traveling to see live music together has always been our favorite pursuit and escape – and over the years we’ve been fortunate to check off a long bucket list of seeing shows at legendary venues big and small – from Red Rocks in Morrison, Colorado to Preservation Hall in New Orleans.
Early in our relationship, and while moving into a new home, we both found our old boxes of concert tickets and memorabilia, and as we went through the piles of mementos, we realized we had been at dozens of the same shows and festivals before we’d met. Our musical paths had eventually connected at the right time and we’re now incredibly blessed to pour this passion into our shared vision for Lark Hall.
Justin Miller
More than just a music venue
Yet with all the history within the walls, Lark Hall will not just be a music venue. The Millers plan to utilize the ample space for meetings, weddings, private shows and birthday parties. The venue’s cabaret license will allow for music and events to start as early as Noon, 7 days a week, with shows going as late as 11pm Sunday-Wednesday, and until 2am Thursday – Saturday.
Any event, music or otherwise, will have the benefit of Lark Hall’s state of the art sound, lighting and projection system.
Lark Hall, Albany, NY – photo by Zach Culver
Lighting in the hall features the original fixtures, including five original chandeliers with Edison light bulbs hanging in the room, providing an array of colors to illuminate the room. Kirk Lyons of Lyons Den Entertainment serves as sound and light engineer for Lark Hall, and set up the room so the light rig blends into the ceiling and offers an unobstructed view of the concert. State of the art sound is set up throughout the room, making any event – music or otherwise – capable of having sound on par with the best music venues in the area.
We wanted to make Lark Hall a world class sounding room so I called in a favor from my friend Stan Denis, a Danley Sound Labs dealer. The type of speaker used in the mid-high cabinets is a point-source system that makes it so the sound is almost exactly the same in every seat. Ken Mark of Adirondack Scenic helped us with the giant curtains against the back wall. They are designed to help dampen the audio reflections in the room.
As far as the lighting design goes, I wanted something simple yet effective. I didn’t want to change the intimacy of the small theater feel, but needed to add that bright LED ‘wow.’
Kirk Lyons, Lark Hall sound and lighting director
Stan Denis of Denis Entertainment Group advised the Millers on their labor of love, and speaks to their commitment to making Lark Hall a success.
So many people who get into this business get hardened very quickly because they are trying to survive as they are growing their company. and they start to lean on artists and support crews and people in a way that is counterintuitive to getting creative art. Justin and Jenn are so passionate about music and the music scene, as well as the quality of the shows they want to produce. They’ve been asking the right questions since the beginning, with regard to creating the best experience for bands and audiences alike.
Stan Denis
For the full scope of what Lark Hall offers, take a walkthrough tour from Mirth Films.
Neighborhood
Center Square, the neighborhood surrounding Lark Street, is the heart of Albany, a mini Greenwich Village to call our own. Bars, restaurants, small independent businesses, tattoo shops, and bodegas are found in between brownstones and apartments that date back to the late 19th Century.
Local businesses are on board with Lark Hall’s arrival, knowing that patrons will be making an evening of a show or event at the new venue. Early arrivals can dine at any number of restaurants on Lark or Madison Avenue, and those wishing to extend the night have plenty of bars to choose from.
Historically music has been a huge part of the fabric of our historic and fabled Lark Street. The opening of Lark Hall heralds the return of the street’s heartbeat and will no doubt bring countless new generations to the street.
Savoy Taproom first brought live music back to Lark Street in early 2016. Lark Hall builds on the foundation we laid by bringing a concert venue to the street, which will bring people – people who will shop, drink and dine on Lark Street.
Jason Pierce, owner, Savoy Taproom
One thing that Lark Street may seem to lack but has quite a bit of, is parking. For those driving to a show, there is the 60-space Trinity Church lot only 50 feet away, and a 200 car lot next to 204 Washington Ave. And of course, there is Washington Park, with ample spaces to park at anytime of day. Considering the distance to walk for shows at The Egg, or at Crossgates Mall, the setting and available parking for Lark Hall is comparable, if not better.
With more parking available than you may realize, the arrival of Lark Hall means local restaurants and bars will benefit from early arrivals and late revelers, tying the community together and giving the neighborhood a centerpiece. Carpooling and ride share are of course options for getting there, as well as the CDTA #13, which stops right outside Lark Hall and runs until late in the evening.
A handy map for parking near Lark Hall (and all of Lark Street)
Since taking over the property at the corner of Lark and Hudson (also the name of their two cats), The Millers and their team worked hard throughout the COVID-19 pandemic, making all needed renovations, and officially opening up in May 2021. Now, with the addition of The Eleven, the venue expands to welcome music lovers on two floors to a fresh vibe on Lark Street.
The Syracuse Area Music Awards or more commonly known as the SAMMYS announced the winners of their 2021 season on March 5, 2021 at the virtual awards ceremony.
The 2021 SAMMYS streamed for free LIVE from SubCat Music Studios at 7PM and hosted performances from Byron Cage, Cam Caruso, Sophistafunk, Stephen Phillips, and the Vaporeyes. The show was hosted by Dave Frisina from the RebelRocks.com and was free and open to the public with donations being accepted.
There were 60 nominees for the SAMMYS in 14 Categories this year. In addition, to winners of the Jack O Bocchino Award, Community Spirit Award, Brian Bourke Award for Best New Artist there was also the People’s Choice Winners in 4 Categories awarded for Best Artist/Band, Academic Organization, Venue and Live-stream Series or Event.
The winners are as listed. Best Alternative went to The Exploding Flowers for Strangers. Best Americana went to Harmonic Dirt for Live At The Ridge. Best Blues went to Tas Cru for DRIVE ON. Best Country went to Tink Bennett & Tailor Made for Hate The Game. Best Electronic went to Asael for We Believed. Best Hard Rock went to Junexa for Lifeless. Best Hip-Hop or Rap went to Big Nate MG for The Story of MG. Best Jam Band went to the Vaporeyes for Cantrips. Best Jazz went to London McDaniel for Anatural Aphrodisiaca. Best Other Style went to DiCosimo/Pagán for Con Moto. Best Pop went to Jess Novak Band for Standing Now. Best R&B went to Jaquiel for Summer Nights in the Southward. Best Rock went to Atkins Riot for Couch Potato. Best Singer-Songwriter went to Amanda Rogers for The Hallow. People’s Choice for Local Artist or Band went to Gary Johnson, Livestream Event or Series for Disruption Network Local Music Monday, Academic or Musical Organization for Baldwinsville Marching Band, and Local Venue for Rise N Shine Diner. Jack O Bocchino Spirit of the Sammys Award went to Bill Baldwin. Brian Burke Award for Best New Artist went to Trauma Cat. Community Spirit Award went to Corey Paige.
SAMMY awards were given out based on the judgement of submissions sent to the SAMMYS Board by musicians in Syracuse and the surrounding area. 166 artists submitted 194 recordings in total for this year’s season. An independent panel of music industry professionals and educators from around the country, led by James Abbott, reviewed the submissions and made their selections based on their merit within their genre.
For more information on the 2021 SAMMYS winners visit the SAMMAYS website.
No Showers On Vacation sounds about right. Now, wouldn’t that make you stink? Well, yeah of course. It is fitting then that this Burlington group’s funk is so strong it can kill a hippo. And jokes aside, this Phish-inspired group really does know how to bring their A-game while keeping things fun and exploratory.
Processed with VSCO with l6 preset
This second pandemic release, AQUABAND, is true to the group’s sound and intentions. The album is terrifically produced and the compositions are very well organized considering this is a group that releases material at a good rate. Sam Lyons (drums), Emmett Lurssen (guitar), Alden Nichols (keyboards), and Pat Maley (sax) form a very good jam group. It is worth noting that this is only their second release, after debut EPBath Time: Miami. Spoiler alert: this album is well worth your time.
The first track, “Chestnut” features a rambling but consistent piano riff that leaves room for a ton of various solos. The eccentric beat forms itself into a Santana type jam, while a dirty guitar solo paves the way back to the piano riff. There is nothing missing here, aside from more sax (and even then, you better hold onto your hats cause this album just started). Throughout the beginning, the listener sees the piano taking center stage.
The keys introduce a lot of the themes of the song and bring in the rest of the band. The bass divides the chord structure, navigating its way around the low end with a steady groove. The guitar sits back when it should and finds its way into the spotlight only when called upon. In a band of this style, it is often the case that one instrument will win a power struggle for being the most heard- that is not the case at all with No Showers On Vacation. Here we have a group that meshes really well and leaves space for every aspect of their music to shine.
One that will get listeners up and active is “Sinkko.” Really, the only thing listeners might want more here is…literally more! The song hooks you in and then sets you free. It is easy to listen to this one a few times to soak in the vibes and the bouncy rhythm. “Amtrakk” features a beautifully organized instrumental that harkens back to a lot of 70’s jams. This is something you likely do not hear a lot of, coming from a band writing music today. The song has a progression that feels like you are actually traveling on a train (minus sitting next to someone who did not shower on their vacation). The charging, locomotive piano and beat drop off to a grand, empowering progression that can be likened to driving out of a tunnel onto a mountainside road.
The beauty of what the band puts together here compared to the dirty funk in something like “Chonk” gives this album a whole of re-listening value. Highly recommend, and keep an eye out for when No Showers On Vacation are able to get back out to their live element! Find them on Instagram to keep up to date.
Kitsuné Musique, shesaid.so and Bandsintown announces a 24-hour mix in celebration of the International Women’s Day on March 8, 2021 starting at 7AM EST until 5AM EST on March 9, 2021. The performances will stream live on Bandsintown’s Twitch channel and will be available the next day on Kitsuné Musique’s Soundcloud channel.
The 24-hour audio mix compilation is an attempt by the companies Kitsuné Musique, shesaid.so and Bandsintown to help empower women all around the world through music for international women’s day. Not only will they provide this platform for artists to perform for the celebration but also the shesaid.so x Kitsuné Women’s Day Fund was created.
shesaid.so x Kitsuné Women’s Day Fund will provide hardship payments of up to €250 each to freelancers, contractors and artists in the independent music industry whose income has been severely affected due to the coronavirus (COVID-19) crisis. The fund will support creators and executives from the shesaid.so community that have lost committed income or have not been able to secure novel paid work in 2021 due to the ongoing pandemic.
The performance will include appearances from, YonYon, DJ KADE, Banga, stephseeks, Whitney AbstraKt Shacia Päyne Marley, Sahar Habibi, Sujin, Butta B, ShioriyBradshaw, and JI NA. Bandsintown’s Twitch channel where the live performances will be appearing can be found here on international women’s day. The 24-hour audio mix compilation will also be available on Kitsuné Musique’s Soundcloud channel at 7AM EST the next day which can be found here.
Andreea Magdalina, Founder shesaid.so. spoke on the event in the press release saying, “We are very excited to partner with Bandsintown who, via their Twitch channel, will enable us to reach an even wider audience at a time when physical gatherings & supporting touring artists is still not possible. With the pandemic disproportionately affecting women and gender minorities in our business, we hope that the funds we raise with our partnership will provide much needed support to the shesaid.so community worldwide.”
Kitsuné Musique is a music label who looks for up-and-coming talents who the label believes are about to break through in music. Over the years, Kitsuné Musique has become first home of now unmissable artists such as Parcels, Two Door Cinema Club, Digitalism, and more.
Shesaid.so is known as being a global community of women and gender minorities in the music industry. It was built up in London by Andreea Magdalina back in 2014. Since then the company has grown into 12,000+ members around the world across 15+ chapters including New York, Los Angeles, France, Germany, South Africa, and India.
The Bandsintown is the global hub of live streaming and live music discovery. They have a reach of 220 million monthly active fans globally, 60 million registered users and 540,000 registered artists, Bandsintown has listed and marketed 69,000 live streams since March of 2020. In January 2021 Bandsintown PLUS was launched, a first-of-its-kind live music subscription service offering fans an “All Access Pass” to over 25 exclusively produced live shows per month.
