On the Saturday after Thanksgiving, Marco Benevento, Karina Rykman and David Butler took the Brooklyn Bowl stage for an upbeat celebration honoring induvidual self expression. The charistmatic smiles beaming from the stage reflected the jovial comradery happening down in the crowd. While the ever present bowling alley was running simultaneously to the performance, it became apparent that Marco’s gathering was happening in what some Lebowski fans might consider The Dude’s Temple.
Colorful crowd in the temple of The Dude. Photo by Em Walis
Many parallels between mindset masters Marco Benevento and The Dude existed that night. There was an overarching reminder to the revitalization that occurs whenever time has been carved to show up for something with the power to ignite minds and hearts alike. The social connection, dancing, individual expression and unexpected favorite cover all contributed towards an emotional elixer helpful in priming the system for the upcoming holiday season.
Karina Rykman, her bass, sparkle outfit, and hand made t shirt. Nothing else. Photo by Em Wals
The Dude Abides | Let It Slide
The opening tune of the night “Let It Slide” set tone for the night to be upbeat, full of personality and constantly shifting. The catchy tune and “rhythmic chordy bass” drew a lasting attention to the stage to the point where time seemed like it began to fly by. The metaphysical shift that happened with a song like this allowed for the outside world to fall away because senses were being flooded with every happy neurotransmitter imaginable. It was impactful enough to carry through the rest of the night. By letting it slide, fans were able to abide which resulted in the ability to be taken on a journey without having to think too deeply in the moment.
Photo by Em Walis
That Rug Really Tied The Room Together | The Royal Potato Family
That Rug Really Tied The Room Together | The Royal Potato Family From upstate to down south, the atmosphere was positively unified. Attendees, colorful and diverse, all shared a familial bond that clearly valued making a conscious effort in being attentive to one another. One woman from Knoxville made sure to ask everyone at the table if they would like a beverage or needed anything before she departed on her own beer run. A potato cannon firing distance away from the Fred Short Recording Studio, family and friends close to the artists stacked up to show support as if it were their kid at little leauge. Notably, Melt guitarist and vocalist Marlo and Veronica made time during the bands headlining national tour in order to show some love for their bud Karina. The collection of people both new and familiar with the music wove together in order to create a beautiful, robust rug that provided a sense of safety and joyful company. To add a little bit of adorable fringe to the experience, Marco’s wife screen printed custom t shirts in their basement specifically for the Brooklyn Bowl event. Each band member wore the shirt and Marco could be seen making funny faces at her throughout the night.
Photo By Em Walis
New Shit Has Come To Light | Heartbeats
Never once did the joy become irritating or overdone. The pure honestly in the fun being had by all in the room and gratitude felt had its roots deeply in the concept of “all things considered”. The music never commanded listeners to think or feel differently, rather, an offering of an alternative mindset to live in the moment was presented. The wildcard cover of “Heartbeats” by The Knife speaks of submission to moments of forbidden love and while beautiful, provided a nice balance of darkness to the mood. The reminder evoked inspiration to never ignore those precious moments when desire has sparked and opportunity has presenteditself.
Photo by Em Walis
The Dude Is Not In | Here To Percieve
Anyone that walked down the alley and into Brooklyn Bowl for Marco Benevento’s performance likely assumed that they would experience upbeat, genre-nomadic music. Not everyone knew the level of rejeuvination they were about to experience through music, community and an opportunity to look at the world differently. Attendees probably wore some of their most coveted and unique articles of clothing after very carefully taking into account how the material might look on the dancefloor. Little did some know, the fur vests, tie dye, geometric glasses and bold lipstick were symbollic to the loving embrace Marco’s music gives to individuality and self expression. During the recent tumultuoius times, it has become increasingly important to find out what The Dude was feeling when he laid on the rug with his headphones in.
Keeping the innter light bright. Photo By: Em Walis
You’re Out Of Your Element, Donny | At The End Or The Beginning?
For some, the start of holiday season in New York City could mean a dreamy illumination of the city, Rockefeller center and time with loved ones. For others, it could be the most difficult dark season they have experienced yet. Covid tests are flying off shelves so families can be reunited for traditions to resume. Conversely, many are faced with the tidal wave of grief pulsing with each gathering that might not include that favorite person no longer with us. Invitations have not been passed along to certain people because they have been rejected by their families opposing fiercly to welcoming LGBTQIA+ members into their household.
Social media feeds filled with family photos are a constant reminder of what we do not have or what we used to have but recently lost. The last two years on their own have contributed to an influx of loneliness and depression especially during the time of year when the sun shines least. Financial pressure to show love by spending non existant money contributes to levels of anxiety that only can be reached by a threatened sense of ability to meet societal expecations. The entire night felt like it provided family and support for anyone disheartened by the world. Hope sparked all thoughtout the night.
Photo by Em Walis
Let’s Go Bowling | Random Note
Marco Benevento’s Brooklyn Bowl performance provided a dream-like, restorative experience where the aforementioned conditions need not be the single identifier to one’s experience. It is not to encourage denial of such things but to instead focus on the things that emote joy. In Marco’s Interview over the summer, he mentioned often starting his creative process with drum machines or randomly generated notes. There was rarely an intention to use these starter tracks in the final project, but it got the ball rolling and his head in the creative space. The sounds were often silly and the instruments not particularly coveted. The lack in seriousness seemed to also help in the process and stay at minimum net netural, which for many of us could be a whole lot better compared to their current mindset. For music fans, it is important to buy the ticket and go to the show. Bringing along a friend that might have it rough this time of year would not be a bad idea. The point being, once in the environment alongside appealing sounds, sights and people, the emotional and mindful shift will automatically follow.
Photo By: Em Walis
This time of year, it is important that we take after Marco’s fans and check in with each other whether we are at a show or not. Think twice before making family brag posts and consider other ways to show your appreciation more privately in order to respect those experiencing a more fragile season. Most importantly, if you need help, not matter how embarrassing, please tell someone or call the New York Emotional Support Hotline CALL: 1-844-863-9314
Marco Benevento – Brooklyn Bowl, Williamsburg, NY – November 27, 2021
Setlist: Let It Slide, Dropkick, If I Get To See You At All, Coyote Hearing, Greenpoint, Heartbeats (The Knife), Bus Ride, The Story Of Fred Short, At The End Or The Beginning?
To learn more, check out our exclusive interview and a review of Let It Slide.
“At The End Or The Beginning” was released by Marco Benevento October 27, 2021 just before playing a two night run at Levon Helm Studio in Woodstock. The track opens with a satisfying bass hook and at first listen felt anthemic, yet atmospheric; much like stepping into the sun after a week of rain.
Single cover for Marco Benevento’s “At The End Or The Beginning”
It was only natural to want to listen to the song again and again. Repeatability is where the magic happened somewhere between the end or the beginning. After a few listens, the depth of the song began to present itself. While it would have been easy to write about all of the pain and suffering human kind has endured together, Marco chose a path less travelled.
Link to In Depth Interview below
“At The End Or The Beginning” presented an optimistic mindset for how to approach the world we are in today without ever touching a level of toxicity. It could be asserted that listening to a song like this could have real benefits to the mindset for anyone struggling to see tomorrow. The catchy groove that does not bombard could easily be on for quite a few cycles without noticing.
Marco Benevento has continuously demonstrated what it means to be an artist, not just a musician. His music, though seemingly fun, and out there, has never consisted of one layer in meaning. Zen master? Could be…
Does a photograph mark the end or the begining?
For more on Marco Benevento’s creative process, studio tour and thoughts on the Hudson Valley, check out NYSMusic exclusive in-depth interview by clicking here!
Marco Benevento Upcoming Tour Dates
November 11 – Portsmouth, NH – The Press Room (Sold Out) November 12 – Portsmouth, NH – The Press Room (Sold Out) November 13 – Portsmouth, NH – The Press Room (Sold Out) November 27 – Brooklyn, NY – Brooklyn Bowl December 11 – Miami, FL – North Beach Music Festival February 25 – Ardmore, PA – Ardmore Music Hall February 26 – Washington, DC – Union Stage April 7 – Cambridge, MA – The Sinclair April 8 – Burlington, VT – Higher Ground April 9 – Fairfield, CT – Stage One
For two nights in early August, moe. played to a faithful crowd, much as they always do this time of year in Central New York. Whether at Saranac Brewery in Utica, Snow Ridge Ski Resort in Turin, or Apple Valley in Lafayette, moe. is a summer staple, and a perfect time to shake off the dust and get down with fellow moe.rons.
Saturday night was highlighted by an always stellar “Recreational Chemistry” to start Set 2, and a trio of “Big World” > “Ricky Marten” > “Mar De Ma” to follow. A cover of Pink Floyd’s “Comfortably Numb” stole the show, and worked its way into “Opium” and “Plane Crash” to close the night.
Marco Benevento opened Sunday night with a rousing set, accompanied by Karina Rykman on bass and Andy Borger on drums. moe. came out for their first set at 6:30pm for an ideal set to watch the sun set behind the stage. A unique take on “St. Augustine” featured “Tubing the River Styx” and “The Pit” being sandwiched in between sections of “St. Augustine.” A nod to Jerry Garcia, who passed away 26 years ago this day, came in the form of “West L.A. Fadeaway,” which was accompanied by a rainbow in the distance.
Set 2 found moe. getting dark, starting out with “Meat” that moved into “Kyle’s Song” and smoothly into “Bearsong,” which gave birth to “Timmy Tucker.” A jazz bass breakdown from Rob Derhak was met with Chuck Garvey’s furious guitar work, leading to the jam of the night. Al Schnier took charge later in “Timmy”, leading the band unexpectedly into “Moth”, and again jumping back into “Meat” (on a dime) to lead to the end of a triumphant set. “Spine of a Dog” and a jam on “Franklin’s Tower” closed the night at Apple Valley.
moe. – Apple Valley Park, LaFayette, NY – Saturday, August 7, 2021
Set 1: Captain America > Bullet > Hector’s Pillow, Bring You Down, Where Does the Time Go?, LL3 Set 2: Recreational Chemistry, Bring it Back Home, Big World > Ricky Marten > Mar De Ma, Along for the Ride > Comfortably Numb > Opium, Plane Crash Encore: Wind It Up
moe. – Apple Valley Park, LaFayette, NY – Sunday, August 8, 2021
Set 1: Understand > St. Augustine > The Pit > St. Augustine, The Pines and the Apple Trees, Mexico* > West LA Fadeaway Set 2: Meat > Kyle’s Song > Bearsong > Timmy Tucker > Moth > Meat Encore: Spine of a Dog* Franklin’s Tower jam
Marco Benevento tended to his muster of peacocks near a seemingly innocuous building in Saugerties that serves as a porthole into the inspirational playground of Fred Short Recording. Later that week, he’d play at Westville Bowl for the third time this summer with Joe Russo’s Almost Dead before prepping for his upcoming 2021 solo shows, including one at Roots Rock Revival, and opening for moe. at Apple Valley. Amidst a wall of keys, eight-track players and plastic microphones, Marco discussed his creative process, upcoming tour, new music, tools of the trade, and life after shutdown.
Marco Benevento
A show and tell concluded the hour long chat. Marco shared some of his favorite devices that helped him access the mind that created his genre bending and catchy latest album Let It Slide. The whole experience felt like a movie filmed in the past, that took place in the future.
Upcoming Tour
Em Walis: How’s it going here with your tour about to start?
Marco Benevento: I was looking at my calendar and I just swipe to the right and I saw August and I was like, “Oh no, I’ve got lots of gigs.” Yeah. Which is great because, you know, gigs are back baby.
EW: I was thinking it might be a cool thing to talk about would be the idea of wearing different hats, shifting from home hat to tour hat. What does shifting from the creative process hat to, “Okay, business time. Let’s get it out there,” hat look like?
MB: I wear a bunch of hats in that regard. Because you’re like, weird musician guy. And then you’re like, also booking hotels and flights. So then we’re here, you record and how, how, you know, when that you comes out, and yeah.
Octagon Discs
Fred Short Recording
EW: Do you find for your flows, because I see you have almost different zones here, that if you’re working you have one place that’s your business zone and separately have an “I’m making stuff now” zone?
MB: I basically do it all in this one zone. I mean, here’s the headquarters right here sit behind the piano move and the piano tape machine all the gear here recording, but then here’s the laptop for music and stuff. Also dealing with manager emails. This is the office in studio basically. Yeah, this is the always curious, just how to change literally. Luckily, I have a booking agent and a manager. So there’s a lot of behind the scenes, those guys are making my days easier. That’s really so I can just focus on the music and that’s cool. And everything and even just being around the kids. Yeah, hanging out.
EW: So how many you have kids? Two kiddos?
MB: 14 and 11. One just went to a friend’s house. My other is inside just playing Legos. She’s like, “Okay, when you’re done with your interview…,” Daddy comes and goes. So it’s nice that people like helped me out. You know, making my life easier. So I enjoy being a dad.
MB: Yeah. It’s cool place. I did it last year. I just did a day workshop there. It’s just like, music camp. They have a lot of artists come in. People talk about music and improvisation. And, you know, everybody needs camp. I mean, I went to like, some heavy jazz camps growing up and learned a lot from cool clinics, you know, sleepover camps, or music all day. It’s immersion. And then you’re picking each other’s brains about stuff. On a loose level. You don’t get a lesson from a guy and you have an hour and that’s it. You’re at a camp that lasted for a week and, maybe later at night when you’re hanging out. You know? Yeah, just sort of shoot the shit about some questions you might have. Yeah, totally.
Outdoor Live Performance Experience
EW: How do you feel about like being in the “cool outdoor environment” places? I imagine with the electricity and things like that, it might be hard to like play the kind of music you want to play, or run into difficulties with like sound and light conflicts, or is it worth it when you’re in out in the middle of the woods playing at a place like Full Moon?
MB: I love that. I’m all about it. The outdoor stuff is cool. I always prefer playing outside because you’re not fighting the venue and the walls are the collection of all that stuff. Sometimes you get into a room and you’re like, “Oh, just sounds weird in here at soundcheck,” and they’re like, “Oh, when people come in, it sounds better.”
EW: The bodies right?
MB: Yeah, that does help. But for the most part, the trees in the open air, no walls by us, it’s so nice. That’s better. I’ve always wondered whether it’s preferred or not. For me, I like outside better. I’m curious to see what other musicians would say, but yeah, there’s nothing like playing an outdoor stage.
EW: What would the word be for it? If it’s not a room for us? It’d be really great woods out there. You know, the trees really just sounded great.
MB: We played this festival called Pickathon in Oregon. And they had this tree branch stage. It was just made out of branches, it was so cool, a little stage in the middle of nowhere. Yeah, it was just all these tree-like branches are all over you and around they make a dome that has branches and it’s really cool.
Marco Benevento’s Fred Short Recording
Creative Process: Starting
EW: Let’s talk creative process.
MB: I mean, creatively, I’m just in here writing and recording all the time. Yeah. It’s kind of funny, because most people, when they do their job during the day, and they come home, they want nothing to do with their job. When I do my job, and I come home, I want everything to do with my job again. Yeah, put the kids to bed and then hang out with my wife, and then she goes to bed. And then I’m in here writing and recording.
EW: The best hours?
MB: Yeah. The creative process for me is writing with playing along to a drum machine. Recording keyboards to a drum machine and then adding drums and then adding fade and then figuring out the lyrics after, if there are lyrics. Yeah, figure those out sort of, after the fact. But basically writing. Writing groups.
The creative process for me is writing with playing along to a drum machine. Recording keyboards to a drum machine and then adding drums and then adding fade and then figuring out the lyrics afterwards, if there are lyrics.
marco benevento
Marco Benevento finding inspiration in the Octagon
EW: Writing groups, that comes first. The late night is just the best creative time it seems like. Is it something about inhibitions that are just lessened at that time?
MB: Yeah. And talk about immersion. You’re just like, in here, and you almost spend too much time on one little particular thing. But then you get to the next morning, and you listen back and you’re like, “Oh, I’m glad I spent time dialing in. Yeah, that weird drum machine sound or there’s a mission.”
EW: Yeah, exactly an hour for the paper focus. Lasering in on something instead of having to have that bigger picture that seems like we feel so much pressure.
MB: Yeah, the bigger picture sort of comes after. I’ll get the groups baseline, I’ll figure out the arrangement, and then the bigger picture starts coming in.
Creative Process: Finishing
EW: How do you know when it’s time to like, start wrapping something up?
MB: It’s a good question. I find that like a lot of musicians. I guess it maybe it’s like, almost 50/50 I feel like there’s musicians that are just like, putting shit out, no problem., and not getting too hung up on certain things. Then I feel like there’s another side of musicians that says, “How long do you work on this record?” Two, three years in some cases, that’s a long time. You put that out, or even like longer, like 10 years, right?
EW: At what point does it start to deconstruct?
MB: I’m the kind of person that’s almost to the point where I should maybe be spending more time with it. But I’m like, “You know what? This is done.” And the good thing about being “This is done” is that you’re like, OK, you get excited for the for the next thing. So yeah, keep things fresh. that’s why. Recognizing when the freshness is starting to fade. I made this COVID record basically, over the last year. Now it’s starting to, fade, I’m like, I gotta put this out, because it’s just time for this to be out. I’m excited to be done with it. It’ll be done very soon.
Creative Process: Prioritizing
EW: How do you prioritize?
MB: I like deadlines. Especially when you’re planning your whole touring schedule and everything like that. If you want to know the music, you want to know the music’s ready and you want to time it. So when you do that tour, you have a new record. So by saying, “August 15, it needs to be done,” the signal will come out. Maybe the whole record comes out in the winter, but then you want to do a tour in the spring. So you time it all out. If you hold it up and the records are done, then you mess up everything down the line. So that makes so much sense, like planning a baby. Yeah, exactly. Keeping the ball rolling, that’s really it. I’m working like with all sorts of other folks, which is fun, on side projects. Specifically one with my friend Leon Michels, who lives across the river, and Ryan Cliff. He has his own thing called El Michael’s Affair. Check it out. He moved up from the city, we made my last record together and he’s just doing so many things with different folks, so he’s always having me over to like record on something that’ll eventually be used. He’s producing, having songwriting sessions at his house, it’s super fun and brings us to the Hudson Valley, it is nice to be up here. There are so many people with studios around here.
The Hudson Valley
EW: It’s the place where the real stuff is happening. This is where the people that have done well enough for themselves to make a home and be outside. And a lot of really, really amazing artwork.
MB: And there’s a lot of home studios, there’s a lot of people that are recording themselves in their side house studio, or their room or their garage or their basement and they’re really tasteful. They make great music. There’s so many folks around here and then even just professional studios. Applehead is nearby, and on the other side of the river where Leon lives, actually not far from him, it’s called The Clubhouse, which is another great studio.
Marco talks home studios and shutdown
EW: Especially after this year. It’s the home setup, for sure, and be glad if you have already had a place in the Hudson Valley.
MB: Absolutely. I know. I couldn’t have quarantined at a better place. It was ridiculous. Some of my musician friends were going through a really hard time. I couldn’t even imagine… I was like, “Okay, I’ll be stuck here for how long?Actually don’t even tell me, I’ll just do this.” I was so productive. Anytime anybody would like call me or FaceTime me. I’d be like, “Yo, what’s up?”
Live Streaming
EW: My family did a fake music festival with live streams. So when we were done texting we would be like, “Alright, I’m going back to camp and my sister would be like, get me a flannel and beer!”
MB: Online streaming things from festival stages, that was a kind of cool platform, and there’s a really successful tipping system where it’s really easy for people. You can scroll by all these comments, sitting here playing in my house, feeling like I’m playing and people just rolling through, so I liked it. Not a live show, it’s just something else, right? People are watching you on their computer, and we all know what that is. So it does feel somewhat rewarding, but it has its limitations, obviously.
EW: Well, if the home is interesting now, do you see an evolution happening with home fans that still will follow musicians around but not actually physically? Like, seen/listened to every show?
MB: I think that those platforms are hoping that artists don’t stop doing their online streams. It was funny, because I did a bunch of shows with StageIt and then things started opening up and my schedule got pretty busy again. I was playing shows and they were like, “Do you still want to do a StageIt show?” I thought, “I don’t know. Should I? Everyone’s going to shows, do people still watch stuff on their computers?” And they were basically like, “You know, that’s how we make our living.” So yes, of course, it’s still happening. I did one the other month, it was kind of fun. It’s still fun to do, because this room just looks cool with keyboards.
EW: They see where you hang out every day, and it can be funny when your cat knocks something over.
MB: It’s definitely more connected. Yeah, people want to go out to live but yeah, it’s more personal. It seems cool. It seems like at least I know for myself, like the gates opened a little bit more. It’s kind of cool to still feel like part of something. It’s definitely interesting.
Making memories
Return to Touring
EW: Have you found you’ve played a lot since reopening?
MB: Yeah, I play with this band called JRAD which is, which is Joe Russo’s Almost Dead and it’s like all the music of the Grateful Dead. I’ve done it a couple of shows with them in that place in New Haven at a new spot. It’s pretty awesome – Westville Music Bowl. I do love tennis and played so much tennis because of the quarantine. I’ve been playing with them, smaller shows, some smaller solo outdoor gigs which has been cool. I played with my band with Karina and Divi at Brooklyn Steel and cool stream from there. That was really, really fun. It’s fun to be able to capture the venue and do what I do, go into the venue and have a sound person that you know and everything, helping you out and doing it safely felt really good.
Connecting Post-COVID-19
EW: With the upcoming tour, do you anticipate there being a different energy or headspace in the crowd?
MB: Well, it’s not full capacity. For example, Westville in New Haven holds I think 12,000 people or something. If there were actually 12,000 people in that venue it would feel a lot different than it does now because I think they’re literally only letting in like 3000. That’s gonna be a little… it’s kind of like you’re aware but kind of wandering around a little because you have a little bit of wiggle room.
EW: Gratitude. In my experience, like it seems for some people it’s almost more of a religious experience than it’s ever been. Because artists that have been there for them through stuff, your streams kept people happy.
MB: I did feel that way, which was a nice feeling. Like, oh, I can I provide something that people like, they really love, and they really needed love, even if it’s not live, they need it through somewhere, somehow, and even as a musician, I also need that outlet as well. Even though I’m playing here all the time anyway, but just to have a concert where you’re like, actually emotionally connecting.
Cheap Keyboards
EW: And we’re like, “Yeah, music. It’s fun. It’s creative. This is who I am.” But then after it becomes like any relationship, where you were there for me, when I was going through this thing, and your music was there, almost saying “I got your back.”
MB: Yeah, I did feel that way. I also taught some lessons. I was like, I’ll just put my name out there. And if it’s just one person that wants to take a lesson every week, that’d be awesome. And they’re so stoked, they’re so stoked, right? This one guy, still takes a lesson with me. He just wants to shoot the shit about music and talk about how things roll and writing everything. It’s really loose, it’s been really cool. Now we have this connection and never met before. Now I know how smart he is. How great of a musician he is, and that’s so cool. I know that he was at this show, and for certain songs of that show, really freaking out that night.
This one guy, still takes a lesson with me. He just wants to shoot the shit about music and talk about how things roll and writing. It’s really loose. It’s been really cool. Now we have this connection, and never met before. Now I know how smart he is. How great of a musician he is, and that’s so cool. I know that he was at this show, and for certain songs of that show, really freaking out that night.
Marco Benevento on Teaching music
The Future
EW: What are you excited about right now?
MB: I’m excited. I’m very excited. I’m playing this weekend with JRAD. I played at the Newport Jazz Festival on Sunday with Christian McBride, John Scofield and Joe Russo, and some other people will probably sit. It’s like the the grand jam at the end. So I’m doing that and then I’m playing with my band at Levon Helm Studio.
EW: When you are into something, do you go so deep until the point where you’re like, “Alright, I’ve done enough in order to do more. Do I have to give up something else and therefore move on?” Or do you have different psych levels, where you have many things that you’re sort of slow cooking?
MB: That was that was a good way of saying it. Just lots of things that are still simmering in this. Song ideas. I rarely look back and think, “I spent too much time on something.” Getting a sound, maybe I look back thinking I spent too much time on maybe the arrangement of the song that seems to take me a long time to figure out which parts of where it feels like if it’s too scary or too much. For example, I had a song that was like, basically three parts in it, the whole thing repeated as a song form and it was an instrumental song, you know, whatever A, B and C, then I edited it, I listened to it and was like, this doesn’t sound right. So I flipped it around and see it was C, B then A – I was like, that’s on the song with the ending that I thought was the ending but it should be the beginning of the song. The middle of that regard, this is where it’s pretty awesome.
Four Track
Fred Short Show and Tell
EW: Then mixing and mastering – is that your people that do that for you?
MB: I love using tape machines and I have a four track recorder. I basically get all my tracks down to four tracks and I’ll have drums on one track, one bass. one vocals and then put it back in the computer. This is an essential tool for me.
EW: Do you find having a lot of gear can get overwhelming? Or do you love having tools and things around?
MB: I know how they all work. So yeah. If anything, I always love more.
Random Note
MB: This is called Random Note, it just does whatever you can adjust. You can adjust the speed, and then you can adjust the world. There’s the gear shelves too. This is a favorite too, this is a Wurlitzer kind of a classic sound. I mean, you’ve heard this. Oh, this is this is another new thing. You’ll like this one. This is cool. I just got this. I do like the cheap keyboards. I love these cheap keyboards.
“I do love cheap keyboards” Marco Benevento
You can adjust the speed, and then you can adjust the world.
Marco Benevento
EW: Why is that?
MB: It sounds so cheesy, but when you hear right, I use a lot of drum machines. This keyboard plays these discs, and it’s called the octagon, it uses a light. That’s why it’s called the optimal use of the optical sensor. It has these cool grooves and then you can play along with your right hand. So they all have these funky little album covers too that you get with it. These are cool, just found on eBay. So for example, your special effects, tambourine covers, track sandbox, and that’s what this one sounds like.
I spent a lot of time over here with this keyboard because it helps me get inspired right away. This sound is awesome, then it just helps me, like that. Even though maybe at the end of the songwriting process, this might be eliminated, at least it got me there. I might not use the original drum track that inspired the song, at least in the moment this is drum sound inspired me to write something, which is what everyone’s looking for when they’re being creative.
The Octagon
EW: It’s an intervention, sort of.
MB: Yeah, this is just a quick way, an intervention. Getting started really quickly. I’ll just randomly do shit like this.
EW: What is the story with the artwork in the corner over there?
MB: That’s Billy Martin from Medeski Martin Wood. The donkey is from my friend Battista Ebar, who actually made the artwork for my first record, Invisible Baby. I’m a fan of just making weird art. My record cover, obviously. I just like doing drawings like a staple in your book, and it’s the cover of our record called The Story of Fred Short.
Creative Concerts has announced that moe. will perform at Apple Valley Park in LaFayette, NY on Saturday, August 7th and Sunday, August 8th.
Unlike other upcoming shows at Apple Valley, these two moe. shows are general admission only. With NYS restrictions lifted, the venue looks forward to welcoming moe.rons to the area in a format of outdoor concert many live music enthusiasts have all been missing.
Enjoy an evening with moe. on Saturday, August 7, with gates opening at 4pm and music starting at 6pm. On Sunday, August 8, Marco Benevento will open the night, with gates opening at 3pm and music starting at 5pm.
For three decades, moe. has corralled myriad musical forms on a truly original journey rich with crafty, clever songwriting and astonishing resourcefulness. Fueled by an impassioned fan base, moe. has spent much of those thirty years on the road, encompassing countless live performances marked by eclectic wit, deep friendship, and exploratory invention.
Having built an enduring legacy with hard work and a confirmed commitment to creativity and community, moe. seem as surprised as anyone to find themselves at such a significant landmark. Impossible to pigeonhole as anything other than simply moe., this one-of-a-kind band has never been easily categorized, their sonic adventurousness and tongue-in-cheek humor distinctly and undeniably their own.
Apple Valley Park is located in beautiful LaFayette, NY. With its rural atmosphere, rolling hills, and expansive fall foliage, it has proven to be a wonderful home to the annual LaFayette Apple Festival since 1973. More recently it has expanded to host other live entertainment events, including a few successful drive-in concerts in the fall of 2020.
Apple Valley Park upcoming shows Umphrey’s McGee (June 25, 26) Blackberry Smoke (June 29) Warren Haynes (July 3) Tedeschi Trucks Band (July 9, 10, 11) Dark Star Orchestra (July 31, August 1)
In celebration of their 25th year of providing music education to America’s youth, the all-volunteer Mockingbird Foundation has announced a free, three-day streaming event that features a host of musicians, educators, and other speakers. The Mockingbird Sessions will stream live on June 4, 5, and 6 on Fans.live in what will be a celebration of music, education and community.
Thanks to the efforts of dozens of people and multiple studios, Mockingbird Sessions includes an impressive schedule of artists including never-before-seen combinations; a series of Masterclasses showcasing the artistic philosophies of various artists and instruments; video testimonials from past Mockingbird grantees; and more.
Mockingbird Sessions includes artists such as Marco Benevento, Joe Russo, and Christian McBride in a once-in-a-lifetime quartet with harpist Mikalea Davis; The Delvon Lamarr Organ Trio; The Yonder Mountain String Trio; Paul Hoffman (from Greensky Bluegrass); and many others in unique pairings and groups that were curated specifically for this event.
Masterclasses will also be presented. These are se to showcase the artistic philosophies of various artists and instruments, like the bass panel featuring Reed Mathis, Karina Rykman, and Chris Wood and hosted by Dr. Stephanie Jenkins (noted host of the Phish Studies Conference in 2019). Testimonials by grantees will be sporadically shared during the weekend as well, and a limited edition print from artist Cory Rowe will also be available for purchase.
The Mockingbird Foundation is an all-volunteer, fan-founded and managed 501c3 organization that has now been around since 1996. With the core goal of supporting music education for children, it has been operated entirely by fans, without any paid staff. The Foundation has now made 493 grants in all 50 states, totaling more than $1.8M. Funds for grants are obtained through generous donations from a loyal base of music fans, as well as through books, recordings, artwork, merchandise, and other special events.
