Billy Joel performed at Highmark Stadium in Orchard Park on Saturday, August 14 for his rescheduled 2020 date, with thousands of fans packing the Buffalo Bills stadium in a highly anticipated event that marked the return of concerts at the venue since the pandemic began.
This was the first full capacity event to happen at Highmark Stadium, and the fans were really enjoying it. From tailgating out in the lots, to everyone together in the stadium the atmosphere was nothing short of electrifying.
The rules in place were well respected to give the best and safe experience as possible. Masks were required by all fans and staff when inside of the stadium concourses or in the bathroom.
Shortly after 8:30pm the stadium filled in as eager fans waited for the Piano Man to take the stage. The piano sat front and center in plain sight looking immaculate as anticipation grew for the performance to start. Fans were up front holding an assortment of different signs expressing their love and gratitude to Billy Joel, one woman even holding a sign saying how she named her child after him.
With an eruption of applause and cheers Billy Joel took the stage, giving a brief wave and smile to the crowd before taking his seat at the piano. Immediately he opened up with “Movin’ Out’ setting the crowd off into cheers. Billy Joel transitioned his songs flawlessly as one would expect from the lifetime of experience of performing music. Billy Joel performed “Miami 2017” and then “Pressure” before addressing the crowd with a “Hello Buffalo!”
While being considered one of the greatest musicians of all time, Billy Joel also brings with him a fun and witty sense of humor. This was showcased when he informed the crowd of the origins of Buffalo’s name, stating it was too difficult of a French word to pronounce, so it ended up being “Buffalo”
Billy Joel went on to perform an electrifying 24 song set that seemed to go way too quickly. Joel is known for bringing other musicians on stage with him, and it was no different for Buffalo. Introducing John Rzeznik of the Goo Goo Dolls, a Buffalo native, they performed the bands hit “Iris” This was very well received by fans as everyone in the stadium was singing along, as Rzeznik looked like he was having the time of his life.
The set consisted of many of Billy Joels top hits including “New York State of Mind”, “Allentown”, “She’s Always a Woman”, “Scenes From an Italian Restaurant” and of course to end the set was “Piano Man”. But Billy Joel wasn’t finished yet – coming back for a five song encore of “We Didn’t Start the Fire”, “Uptown Girl”, “It’s Still Rock and Roll to me”, “Big Shot”, and “You May Be Right” to finish the night off.
Billy Joel gave a masterclass in live performance in Buffalo, and he shows no sign of slowing down. He truly is one of the greatest performers of all time, and demonstrated that with the combination of a beautiful production and his ability to command the crowd with his presence.
Setlist: Movin’ Out(Anthony’s Song), Miami 2017(Seen the Lights Go out on Broadway), Pressure, Summer, Highland Falls, The Entertainer, Vienna, Zanzibar, New York State of Mind, Don’t Ask Me Why, Iris(Goo Goo Dolls cover with John Rzeznik), Allentown, My Life, She’s Always a Woman, Sometimes a Fantasy, The River of Dreams (With “Tush” by ZZ Top interlude), Only the Good Die Yound, Nessun dorma (Giacomo Puccini cover with Mike DelGuidice) Scenes From an Italian Restaurant, Piano Man
Encore:We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, You May Be Right
Modest Mouse wrapped up a four night stay at Bushwick’s Brooklyn Steel on Saturday, August 14th in celebration of their seventh LP The Golden Casket. Providing a different setlist each night, Modest Mouse played a significant portion of the new record along with songs from their entire catalog.
Modest Mouse at Brooklyn Steel, 8/13/2021. Photo by Buscar Photo
The Golden Casket was released this past June, six years since the band’s previous record Strangers to Ourselves came out back in 2015. For nearly a quarter century, Modest Mouse have been making pop-infused indie rock and amassing a devout following. That was on clear display at Brooklyn Steel last week; arguably a smaller venue for the group, but four nights quickly sold out and the audience would have stayed there all night had they kept playing. Even after a 2 hour show with a 6-song encore, barely anyone left the floor until security began ushering the crowd out.
Isaac Brock of Modest Mouse. Photo by Buscar Photo
The new record draws on Modest Mouse’s signature sound, with a more psychedelic edge. Songs like “Leave a Light On” and “We’re Lucky” showcase shimmering guitar and horn loops while “Wooden Soldiers” and “The Sun Hasn’t Left” are reminiscent of Magical Mystery Tour era Beatles. These songs combined with quintessential Modest Mouse indie rock tunes and an artistic theme filled with rainbows and bright colors give The Golden Casket it’s own distinct place in the band’s discography.
Modest Mouse at Brooklyn Steel, 8/13/2021. Photo by Buscar Photo
The lengthy ‘MMXXI’ tour continues with a dense schedule all the way through the end of October. You can find the full list of dates and ticket links on the band’s website HERE. Check out the music video for The Golden Casket lead single, “We Are Between” as well as the full photo gallery from night 3 at Brooklyn Steel below.
As of Monday, August 16th, New York City is requiring proof of vaccination for most indoor activities including concerts, indoor dining and gyms. Depending on the show in question, negative COVID tests may be required in addition to vaccination. Make sure to check the policy of the show and venue in question. You can find Bowery Presents policies HERE.
Imagine if you will, the Zac Brown Band’s “The Come Back Tour” as a Phoenix rising from the depths of musical silence. The 2021 tour, running from August to October, incorporates a host of rotating special guests to help reinvigorate those who had fallen into the abyss of the last year. The stop at Bethel Woods Center for the Arts in Upstate New York featured Ashland Craft opening and Teddy Swims in the middle spot with Zac Brown Band headlining
Ashland, inducted into CMT’s Next Women of Country Class of 2021, took to the stage with an “it’s time to party and let’s get it going” demeanor. In shorts and knee-high boots, Craft and band reinforced the vibe with “I Smoke Weed” and the classic rocker “American Woman.”
Teddy Swims opened his set strutting from one end of the stage to the other, deviating from a pure country sound to one with rap induce lyrics. He is a performer who can traverse many musical paths. At mid set, Karl Michael joined Swims on stage. The two performed their just released single “Liar.” From this point on, Swims’ vocal power became apparent. Closing with the powerful and emotional anthem “Bed on Fire,” Teddy solidified why he is part of the tour.
The Zac Brown Band
The Zac Brown Band offered the packed house a two-hour night of music that reached well beyond country. Throughout the night, Brown introduced tunes from his upcoming album release The Owl, most notably “Same Boat.” Classics such as “As She’s Walking Away” and “Whatever It Is” were standouts to his extensive catalog and not left by the wayside.
Zac appears like a warrior onstage: big, bold, and defiant with his guitar strapped to his barrel chest, ready to take on anyone who would challenge him. Mid-way through the night, he stripped down to a microphone for “Colder Weather.” That song found Brown opening himself up to the audience as if to expose his vulnerabilities. The sold-out crowd reciprocated back with big love for this genuine gesture that found Brown tapping his hand over his heart in humble appreciation.
To be clear, this is The Zac Brown Band and not Zac Brown supported by a group of musicians. Members of the band, affectionally called (musical) ninjas by Zac, stepped up front and center throughout the night sharing their musical abilities.
This was not a night devoted solely to country. Not at all. The set included the Beatles “Blackbird,” Adele’s “Rolling in the Deep” (performed with Teddy Swims), Metallica’s “Enter Sandman” to name a few, offering something for everyone and acknowledging the bands apperception for good music, no matter the groove. The encore proved entertaining starting with an eight-song medley (Black Betty / I Want You to Want Me / Two Tickets to Paradise / La Bamba / Come Together/ Jump Around / Love in an Elevator / What’s Up), followed by Elton John’s “Rocket Man.” Of course, no Zac Brown Band show could end without “Chicken Fried” filling the hall to take everyone home. At the end of a hot night on the hollowed grounds of Bethel Woods, the musical horizon was once again ablaze with music, sweet music.
Lespecial, the heavy future groove trio from Kent, CT, is hitting the road for repeaTOUR an extensive run of shows this Fall. Including a show in Niagara Falls, NY and one in East Durham, NY for the Flyday Music Festival.
Dubbed “2021 Fall RepeaTOUR,” the jaunt is named after “Repeater,” a track on the band’s 2020 release, Ancient Homies. Starting on 10/1, the band will travel to upstate NY for a pair of shows, before heading to Portland, ME to support Pigeons Playing Ping Pong at the State Theatre on 10/8. Mid-October will see lespecial host “Le Getaway Part Deux,” a curated overnight music and camping experience at the beautiful Club Getaway in Kent, CT, with support from West End Blend and Cosmic Dust Bunnies. After a 10/28 play at Suwannee Hulaween in Live Oak, FL, lespecial will spend its’ favorite holiday in Asheville, NC for a Halloween throw-down at Asheville Music Hall.
November will see a handful of shows in the mid-Atlantic region, followed by a return to colorful Colorado on 12/2, where the band will headline Cervantes Masterpiece Ballroom in Denver for the first time. After a visit to Fort Collins (12/3), the band will hole up at Old Town Pub in Steamboat Springs for two nights. Subsequent shows include a string of appearances in the Midwest with special guest Mike Dillon Band, including much-anticipated returns to Chicago, Indianapolis and Columbus. The tour concludes in Ferndale, MI on 12/18 at Otus Supply
Lespecial repeaTOUR Fall 2021
10/1 – Niagara Falls, NY – Rapids Theatre
10/2 – East Durham, NY – Flyday Music Festival
10/8 – Portland, ME – State Theatre (supporting PPPP)
10/16 – Kent, CT – Le Getaway – Club Getaway
10/28 – Live Oak, FL – Hulaween
10/31 – Asheville, NC – Asheville Music Hall
11/3 – Charlotte, NC – Heist Brewery & Barrel Arts
11/4 – Roanoke, VA – 5 Points Music Sanctuary
11/5 – Baltimore, MD – The 8×10 (w/ Kick The Cat)
11/6 – Asbury Park, NJ – Wonder Bar
11/12 – Ardmore, PA – Ardmore Music Hall (w/ Space Bacon)
12/2 – Denver, CO – Cervantes Masterpiece Ballroom
12/3 – Fort Collins, CO – Aggie Theatre
12/4-12/5 – Steamboat Springs, CO – Old Town Pub
12/8 – Kansas City, MO – recordBar (w/s/g Mike Dillon Band)
12/10 – Chicago, IL – The Point (w/s/g Mike Dillon Band)
12/11 – Madison, WI – High Noon Saloon (w/s/g Mike Dillon Band)
12/12 – Milwaukee, WI – Colectivo (w/s/g Mike Dillon Band)
12/15 – Indianapolis, IN – The HiFi
12/16 – Grand Rapids, MI – The Stache
12/17 – Columbus, OH – The Summit
12/18 – Ferndale, MI – Otus Supply
For more information, and to purchase tickets for the Lespecial ReapeaTOUR visit: lespecial.net.
Starting shortly after 9/11, Musicians For Harmony has confirmed its 20th Anniversary planned for September 11 2021, with an online and in-person concert at Merkin Hall in Kaufman Music Center in New York City. The special event aims to ‘elevate musical voices in the service of peace, health and equity to commemorate the victims of 9/11, Covid-19 and social injustice.”
Musicians For Harmony is an organization dedicated to advancing peace and cross-cultural dialogue through music. The aftermath of 9/11 has greatly changed our nation. It is important to remember and honor those who lost tragically lost their lives. There are many memorials to pay your respects, as the 9/11 memorial and museum are both free to explore.
The two-hour concert will be one of the first in-person music events of the fall season post-Covid. Access to the online concert will be free, and the in-person show have tickets for sale.
The show will feature the music of Juilliard String Quartet, ETHEL, Musique Sans Frontières, and more. Composers include Ladysmith Black Mambazo, Ulysses Owens, Jr, James “Kimo” Williams, Robert Mirabal, Pat Irwin and John King. Learn more about the artists here.
The Districts wrapped up a four night run at Brooklyn Steel Saturday August 14th in support of Modest Mouse’s MMXXI Tour. We were there for night three; you can see the full photo gallery below.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
For so many bands today, these tours mark the return to the stage after nearly a year and a half pause due to the pandemic. Vaccine and testing requirements are constantly changing, but while this remains in flux, these early concerts have shown that both the fans and artists are eager to get back on tour. Brooklyn Steel was nearly at capacity for The Districts’ opening sets, drawing their own fans out early who were more than ready to get back to live music.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The Districts released their fourth LP ‘You Know I’m Not Going Anywhere’ back in March 2020, right before COVID-19 would cause mass lockdowns around the world and in the US. These shows, more than 500 days later, are the first time the band has been able to perform the new songs live since their 2020 tour was cut short. Even with the hiatus, the band performed a tight set and did not show any sign of rust.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The band’s last pre-COVID show ironically was a hometown gig at Union Transfer in Philadelphia. The tour has the band making their return to Philadelphia in December for a show at The Fillmore with Dr. Dog. Check out all of their upcoming tour dates HERE.
As of this week in NYC, proof of vaccination will be required for most shows, including all of Bowery Presents’ venues. Visit their site for more information on acceptable proof of vaccination and individual venue policies.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Kimberly Hawkey, Canella and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Kimberly Hawkey
Kimberly Hawkey’s album We the Nighthawks is begging to be adapted as a musical. Combining jazz, folk and Broadway influences, each of its 13 tracks tells a stage-ready story ripped from the Great American Songbook. The album’s title track, a melancholy piano ballad, is a love letter to the insomniacs and night owls staying up while the rest of the world sleeps. Hawkey is also the lead singer of NYC swing sextet, The Swingaroos. This Tuesday, August 17, you can catch her performing at The Linda, WAMC’s performing arts studio.
Canella is a new project from former members of Albany band Waitress. On “Quiet Love,” lead singer Juliana Castrillon shares her experience with homelessness and finding her way back: “I won’t miss the times before, I was locked right out the door.” The video, directed by El Modernist lead singer Will Fredette, showcases Castrillon’s journey, from waiting at a bus stop with a suitcase to experiencing happiness and safety again.
Bathrobe Robots
Bathrobe Robots is a sibling duo made up of Devon and Linnea Seegers. Their Facebook bio reads “Sibling robots crash landed in the desolate countryside of upstate New York, and decided to make some music.” Their glitchy, politically-charged, Grimes-channeling single “Speak Now” encourages listeners to make a difference by using their voices.
In the music industry, it isn’t uncommon for an artist and their label to differ on the former’s contractual obligations. We’ve seen many successful artist-label partnerships go awry as a result of contractual misinterpretations and overall lack of wherewithal. To put it frankly, many artists know about music, but far less know about the business of music.
Some may want to blame them for their lack of awareness, and yes, every artist should be knowledgeable about their paperwork but first, let’s ponder this; In most professions, one must go to school or get firsthand experience learning the ins-and-outs of a career before they practice it. Artists aren’t afforded that luxury. Once lightning catches the bottle they mustn’t hesitate, or they risk losing a once-in-a-lifetime opportunity. As such, these unions usually see those making front-end decisions have years of industry experience, and in turn, the same is expected of (mostly) novice young adults.
The disparity in experience between the parties creates an unbalanced work relationship. The label has all the expertise, while the incoming creative is left to figure out the true nature of the partnership. The point of contention is also not strictly an educational one. Label executives and creatives operate on completely different wavelengths. For the former, decisions are usually made based on the bottom line, while the latter’s instincts — and for many, the key to their artistry — is synced with their emotions, which does not always make for good business.
Ironically, business was Frank Demilt’s planned major in college, before epiphanizing a different life for himself. Upon hearing a professor echo a message regarding students being passionate about their academic careers, he realized it was time for a change.
I don’t know if I can sit in these business classes for another four years and go to work every day with a suit-and-tie.
a young Demilt thought to himself
So, a life-altering decision was made. He left his school in Kentucky and transferred to Ithaca college in Upstate New York, where he could major in their audio engineering program as well as continue his football career.
In 2015, Frank Demilt graduated with a bachelor’s degree in audio production. The six years since have seen the youthful label exec make his mark within the industry.
After graduating, Demilt began his career at Soul Asylum Studios (whose clients included Justin Bieber, T.I., and Waka Flocka) in Atlanta, GA, immersing himself into the music business. He honed his engineering skills under the guidance of Grammy-winning mastering engineer Mark Christensenand becameknown for production work with Grammy-awardwinners Trackmasters, Sean Paul, and Elle Varner, which enabled him to expand his portfolio, before working other roles that increased his overall knowledge.
Now serving as head of artist development at Sloppy Vinyl, Demilt, 27, currently occupies several positions. Aside from studio engineering, he is also a personal manager for specific artists and producers, while also holding the tittle of A&R at Water Music Publishing, the publishing company under the Sloppy Vinyl umbrella.
https://youtu.be/CTHt1ujIwoo
His ascendence in the industry was relatively fast, yet the well-traveled A&R doesn’t want his youth to deter from the vast amount of knowledge he’s garnered. He’s dedicated himself to helping the artist in more ways than one. His latest contribution, an instructional guide for intending recording artists, has the potential to be monumental in the way artists approach the business side of their music.
I want this book to serve as the guide for artists. I wanted this to show the artist the insight of an insider from the industry. I want the artist, no matter where they are in their career, to learn and get the knowledge from this book to better themselves as artists and business-people. I want this book to serve them as their blueprint on how to navigate the music industry.
The Blueprint: The Bible For Becoming a Successful Performing Artist in the Digital Age, walks the artist through their potential journey in the music industry. Beginning with the proper equipment they should use to record their music (comparing his own techniques with the standardized industry versions) and venturing on to scouring for a label, contractual obligations once signed, what is expected of an artist and other forms of income one can make as a signed artist.
Explaining the thoroughness of his work, Demilt emphasizes,
Everybody only hears either the crazy success stories of Drake, Wayne, Kanye and Jay – Z, or the crazy horror stories of that artist that got that first deal and is just mad at the world because nothing worked and they got taken advantage of. I wanted to help the artist realize that there is such a discrepancy between the two that you need to know all this information that you’re not going to know until it happens.
Apart from helping the artist begin their foray in the music business, The Blueprint might also prevent friction between artists and labels. Miscommunication is a major cause of conflict between any relationship, never mind ones that at-times have millions of dollars at stake. For instance, when an artist receives his advance check from a label and begins to spend frivolously, not realizing that it is a loan that must be paid back. A simple gander into The Blueprint can prevent an artist from getting off on the wrong foot.
I’ve noticed that the younger kids really just want to do the music and [focus] on the creative aspect. The kids that are maybe in their early twenties have some background knowledge of it and then the kids that are maybe in their mid-twenties or older are the ones that really know what to get out of it.
Overall, any artist who wishes to take that leap of faith and devote themselves to becoming a successful recording artist should know what they’re getting themselves into. Labels won’t openly share their business tactics, while scouring an artist’s social media page or interviews for tidbits is most likely another dead-end, as their public personas are usually meant to portray a more glamorous image than to shed truth. The Blueprint is the first of its kind, and going into a business-relationship that is designed to be disadvantageous on an even playing field is something any artist should exploit.
If I’m an artist and I come to the table and can speak with the label and representatives in a more intelligent manner when it comes to the business, I think the labels will respect that more, because now they can have a more open conversation. And some of the things that might be an obstacle in the future get taken care of upfront and everybody’s on the same page with the same understanding.
Phish began its three-night siege of Atlantic City last night with a concert on the beach that was a year in the making. Like most of this summer tour, this was the rescheduled date after being postponed last year due to the pandemic. With plenty of fans still masked up and partying safely, Phish more than made up for lost time with a show that surely stood out among the other customary bright lights along the iconic Jersey boardwalk.
photo: Dave DeCrescente
In a fitting nod to the locale, “Cars, Trucks, Buses,” the notable New Jersey Turnpike driving lane designation, was tapped to open the show. This gave way to an “AC/DC Bag” that followed, with Trey Anastasio ad-libbing a “put ’em on the beach” lyric much to the crowd’s delight. The ensuing jam bled nicely into “Blaze On” and Phish was off and running. The first set later featured an appearance from drummer Jon Fishman and his trusty vacuum for “I Didn’t Know” and an explosive “Funky Bitch” contained the first of two distinct “Fire” (Ohio Players) teases from Anastasio this evening. In an all too fitting selection, an exploratory “Sand” later closed out the opening set in grandiose fashion as fans danced and kicked it around on the beach.
In a move that surprised no one, the second set continues to be a warehouse of monstrous, type-II jamming from Phish and the first night of Atlantic City would prove no different. The intensity on the beach reached a new level once the opening notes of “Tweezer” rang loud and true. True to form, “Tweezer” could have been jammed out for the entire second set and there would have been few complaints. Instead, after an extended visit, the music slowly veered into the opening notes of another classic jam vehicle “Bathtub Gin.”
At one point, it seemed like the set could very well be just a few songs, all jammed extensively. Instead, Phish threw in a couple more songs, starting with the upbeat and uplifting “Everything’s Right.” A rambunctious “Possum” popped up later in the set, only to be steered directly into an intense “2001” that set off the entire beach into a synchronized frenzy. The late second set “Harry Hood” was perfectly placed and performed to perfection. However, fans will have to wait (at least) one more night for the anticipated “Tweezer Reprise” as the lone encore this evening was a cover of The Rolling Stones’ “Loving Cup,” leaving plenty on the table for nights two and three to follow.
photo: Dave DeCrescente
Setlists via Phish.net
Friday, August 13, 2021
Soundcheck: Theme From the Bottom, My Soul, We Are Come To Outlive Our Brains, Lonely Trip
Set 1: Cars Trucks Buses, AC/DC Bag > Blaze On, Wolfman’s Brother, I Didn’t Know, Funky Bitch, Rift, Sand
Set 2: Tweezer > Bathtub Gin > Everything’s Right > Possum > Also Sprach Zarathustra > Rise/Come Together > Harry Hood > More
Encore: Loving Cup
On Saturday, slow Llamas got Drowned as Phish took stage for night two of their three night run in Atlantic City. The Vermont quartet immediately set the tone with a slow “Llama” to get the funk going. Page McConnell immediately got scratching on his clavinet and stayed atop of the clav for more funk on “Tube” with Trey’s Wah pedal still in effect.
Any first set “Reba” that unfolds naturally like it did on Saturday immediately set the crowd off into a frenzy. A nod to beach side reggae ensues with Bob Marley’s “Soul Shakedown Party” The first set ended with Page’s solo over the quiet ocean for “Squirming Coil.”
photo: Dave DeCrescente
“I Never Needed You Like This Before” a new tune that breathes rock and roll while including Phishy tension. Roger Daltery’s words “Let me get back to the ocean, let me get back to the sea” carried across the Atlantic on a raucous cover of The Who’s “Drowned.” Trey and Page reunited on the wah funk pedals and clavinet during a second set “Ghost” that came full circle with Chris Kuroda’s lights and”No Quarter” by Led Zeppelin brought in another chilling cover for the night.
During the encore Phish sublimated the crowd with the “Life Beyond a Dream” before revisiting the “Tweezer” that started Set 2 Friday night, with “Tweezer Reprise” certainly sending everyone back to the dunes with a smile.
Saturday, August 14, 2021
Set 1: Llama[1], Tube, Destiny Unbound > Ya Mar, 46 Days, Reba[2], Soul Shakedown Party, Split Open and Melt, The Squirming Coil
Set 2: I Never Needed You Like This Before, Drowned > Ghost -> Scents and Subtle Sounds[3] > Chalk Dust Torture[4] > No Quarter > Slave to the Traffic Light > Suzy Greenberg
Encore: A Life Beyond The Dream, Tweezer Reprise
[1] Performed in slow, funk style
[2] No whistling
[3] Did not contain the intro
[4] Unfinished
Never miss a Sunday show. It’s been a mantra for Phish fans since the 1990s, and once again the band delivered an excellent closing to what could easily become a regular stop for the band.
Opening up with the rare “The Landlady” caught everyone’s attention shortly before 8pm. The band dipped into the intro section of “Scents and Subtle Sounds,” which clocks in at under two minutes, but the final line “the moment never ends” segued perfectly, and lyrically, into “The Moma Dance.” Fans who caught this subtle connection were elated, but who couldn’t be when a 16 minute “Moma” was in store for the beach. A well placed “Mike’s Groove” filled the middle of the set, while an energetic 20-minute “You Enjoy Myself” closed the set.
A fiery “Carini” lit up the beach to start the final hurrah of the weekend, leading into “Set Your Soul Free,” giving a release of energy for the thousands elated to be dancing to live music once again. The most perfect placement for the weekend goes to “Beneath a Sea of Stars Part 1” which followed. The timing of this serene and at times ambient number from Ghosts of the Forest has found a home in the exhaust of jams, breathing new life for the crowd here together.
A top notch “Piper” followed, a highlight of the weekend for some, with the requisite “Waves” following and sending fans into the ocean, if they hadn’t been already. The set closed with “First Tube,” as energetic as ever, and setting the stage for a double encore of “Fluffhead” and “Backwards Down the Number Line.”
For a weekend on the shore, amid concerns of large gatherings, Phish pulled off a memorable as ever run of shows in Atlantic City, ones that stand free of time as their best in America’s Playground.
Set 1: The Landlady, Scents and Subtle Sounds[1] > The Moma Dance[2] > The Final Hurrah > Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Sloth, Roggae > Back on the Train, You Enjoy Myself
Set 2: Carini > Set Your Soul Free > Beneath a Sea of Stars Part 1 > Piper -> Carini > Waves > Simple > About to Run, First Tube
Encore: Fluffhead > Backwards Down the Number Line
[1] Intro only[2] Unfinished Scents and Subtle Sounds was only the intro. The Moma Dance had a Scents and Subtle Sounds tease and was unfinished. Mike’s Song had a Strawberry Letter 23 tease from Trey. Set Your Soul Free had teases of I’m a Man, Carini, and Linus and Lucy. The soundcheck’s jam contained Soul Planet quotes from Trey.
Brooklyn’s Creek and Kills will put out their new EP “Unstitching” on Friday, August 20, 2021. Recorded in their homes from May 2020 to April 2021, with mixing and mastering from Danielle DePalma, “Unstitching” includes remixed, rerecorded, and/or remastered versions of the band’s pandemic singles plus three new tracks. These are wild siren songs from far reaches of an urban estuary. Creek and Kills rock out like a mermaid party in a Superfund site…a little dirty, a little dangerous, a little sexy, luring you to sink in the dark water.
The band’s first full-length eponymous album (released 2019) was praised for its “unadulterated filthy Rock rhythms,” “artful alchemy,” and the “striking strength” of vocals from singer-bassist, Kate Bell (A&R Factory). Bell comes from a background in jazz. Her octet, the Poma-swank, was hailed as “one of the best offerings from the New York jazz underground” by music writer Mark Kirby, and All About Jazz described Bell as “oozing sass . . . her instrument is not only her voice, but her total self . . . and the person who is singing is someone you’d most definitely want to meet.” Since Bell’s switch to rock, she’s worked on projects with members of the Julie Ruin, Bush Tetras, and Groovy Ghoulies. Guitarist Marc Montgomery began collaborating with Bell in late 2017, and “Unstitching” features his heartbreaking song, “Sunshine Hotel.” Drummer and vocalist Erin Harney joined Creek in Kills in late 2019, previously of the bands The Shook Ones and Femmepire.
Creek and Kills’s music has been heard on the “I Art NY” podcast, in the short film Skin the Wire (NY Shorts Festival), on WPRB (Princeton, NJ), BVEW (Brattleboro, VT), and on the greatest freeform radio station in the world, Jersey City’s WFMU. Creek and Kills will celebrate the release of the “Unstitching” EP with special guests, Groupie and Rest Ashore, at 18th Ward in Brooklyn on Friday, August 20, 2021, open to all, music starting at 8 p.m.
