After a hiatus in-between singles, Brooklyn bred rapper Jellz is back with his latest effort, “Infinity.” In his return from his musical sabbatical, he introduces a new version of himself. His prior releases like “Bullsh*t” and “Ghost” saw Jellz try his hand at his own wave of drill music. Bringing an extravagant feel to the violent-laden sub-genre. With a renewed focus and plan, Jellz returns to show fans that he has more in his bag.
Shot while on vacation in Los Santos, Colombia, the music video for “Ghost (Freestyle)” saw Jellz bring much more flair than the drill scene is accustomed to.
I still have drill music in the bag, but I’m more than just a drill artist. I have a lot of different flows, and feel like I’m just an artist honestly. So I wanted to give the fans a little something different this time around. In the future you’ll be hearing a lot of drill type beats mixed with my own melodies.
His New Single
The auto-tune laced “Infinity” brings the feel-good ambience of life’s never ending chase for success. In an enticing opening chorus, Jellz raps, “I done made some friends made some enemies, I can’t f**k with ni***s that move finicky, I just wanna ball with my day ones, know we got the sauce keep it A1.”
Jellz spends much of his time away from the States
The song’s theme of never-ending success keep in theme with what he wants to bring to the rap game. Since his initial release, he has amassed over 400 thousand streams and another 400 thousand in YouTube views, while remaining self-funded. Contrary to other rappers, rap isn’t the means to success, it’s one of the many avenues in running it up til infinity.
It’s been a while since I wrote it, but I think it’s just a culmination of life and what I want from it. One of my biggest values are friends and family, and I plan on living a great life with them in the future, and we all plan on achieving the goals we set for ourselves. In the song I talk about what the song has already brought and taught me. I’m also manifesting a lot of my future self in it.
In like manner, Jellz has operated his short rap-career as an extension of the life he has created for himself. The music video for “Ghost” was shot while on vacation in Los Santos, Colombia. In it, Jellz presents himself with a Jefe-like persona, surrounded by local women in bathing suits and ski masks. In the “Bachata” visuals, he channels his inner Escobar while in the South American republic, segueing between a game of soccer and a night out with a dame.
What’s the next Step?
Although brimming with career know-how beyond his years, Jellz’ obstacle remains his consistency. Despite success on visuals and streams from his singles, months usually go by in-between Jellz releases. Something he knows can be the difference in career trajectory.
I want to be more consistent this time around, with the releases and with the content. So, I was just taking time off to build my arsenal so I can be more consistent this time around. Because I know consistency is the final piece to the puzzle to get me where I want to be.
Expect a few more singles from Jellz until a project is released
Although family oriented, Jellz spends much of his time away from the states, citing New York City’s cold weather as the reason for his long respite’s. “I can record from anywhere in the world, but I still have my engineer from back home mix it for me,” he divulges. As cold temperatures near, expect Jellz to be somewhere warm, where he can create better. As for the next drop? Expect a slew of singles until he feels the time is right. Much like on “Infinity,” Jellz’ success cannot be rushed.
I don’t really do empty lyrics, a lot of the time my words do have a lot to of with my situation, or what I want my future to bring
The Long Island music scene has a star with a trajectory rising like a Phoenix out of the music halls around town. Meet Kelli Baker, a transplant from Arizona, who has momentum unlike anyone. This soulful singer is a cross between Amy Winehouse and Susan Tedeschi. Her original music erupts in an emotional whirlwind as she draws you in.
I had the chance to interview Kelli Baker on The Long Island Sound podcastback in June and her rise to prominence has been something to behold. After the passing of her dad several years ago, Kelli packed her bags and headed for Huntington Village, on the Northshore of Long Island. Her energetic live performance is insync with her go-for-it attitude and work ethic. Continuing with skills in hospitality, Kelli worked several jobs while gigging around the village with her bag of cover songs and an occasional original song snuck into the mix.
With a chuckle in her voice, this starling belts out emotional verses with the ease of a carnival barker. She connects with her audience as she calls us into the curiosity of her sideshow. The circus of sideshow gigs as a result has landed Kelli on the main stage. She was recently signed to the parade of Sony Music artists this past January under the Bad Jeu Jeu CDX Record label.
The hard work and song writing has seemed to have payed off, as she landed Monster Cables as a sponsor and just a few days ago She also landed a spot on Spotify’s Editorial Playlist, Blues Roots among some of the top names in the business, Jon Baptist, Tedeschi Trucks, and The Black Keys.
Blood on the Nile
Her recent single release, Blood on the Nile hit the airwaves on September 9th. Recorded in Cove City Sound Studios in Glen Cove, It features another guest on the podcast, Brother Dave (Solomon) . Dave is an excellent slide and lap steel guitar player also featured as a guest on the podcast.
Kelli BakerKelli Baker – Blood On the Nile
The song, Blood on the Nile invites you in with the call of a pedal steel guitar, and slowly builds to a crescendo of emotion as Kelli exudes a passion that only a heart with scars can comprehend. Her catalog of songs are deep and insightful. The track, Cathedral released early in 2020 sets a scene as the bells toll for thee and me. The exploration of Kelli’s music has just begun for me. She tailored her sound both as a solo performer in the music halls, wineries, bars and pubs, from North Shore to the South Shore and to points East on the Island.
Gathering excellent band members around her, Ms. Baker embarked on a Summer tour along the East Coast to excellent reviews. This past month the Kelli Baker duo opened for the all female Swedish band, Thundermother at the Paramount in Huntington.
This exploration into Kelli Baker’s music has just begun. I could wax poetic with flowery prose, but after seeing her performance at the Blue Point Brewery, this past August, I left the venue having gone through a memorable experience, weary with emotion and thirsting for more.
Some music is misunderstood. In the fifties and sixties, older generations didn’t understand rock ‘n’ roll. And in the thirties, preachers had a problem with blues. But metal has seldom been understood throughout the generations. And the cool thing is that metal actually enjoys it. Defiance to the norm is on the underside of every nickel-wound string and dropped D.
Faced is a metal band, and they’re one to watch. With an album out in 2020, they came through the other side of ‘crazyville’ to lay down brutality in the studio. I sat down with Faced’s Jordan (Jordo) Simpson to talk turkey.
RRX: You released II Coming in September of 2020, which was a pretty crazy time. I won’t ask how hard it was to put it together during that time; old news. But it touches on a point. Metal is about insane shit, apocalypses, general doom and whatnot. Does it feel different singing about, well, dystopia, where we’re living in it?
JS: A lot of the material was written for a couple of years. On this record there is a range of topics from out of the mind and body experiences to straight up anger, loss of will and hope, smoking weed, the list goes on. So, the timing of it fit the period in all of our lives.
RRX: Faced has a really tight sound, not clean in the sense of like clean guitar, but clean as in maybe streamlined, well put together. And yet the sound is chaotic. And people who don’t listen to metal think it’s all chaos because their ears aren’t trained to it, but some metal is cleaner, tighter, than other metal. How do you control the chaos?
JS: That’s a good question. We have always been musicians that push the edge. Always trying to zero in on how to do things better. So, with drive and practice combined we just strive to be the best metal band we can be, and the result is that tight sound you hear. We just try to be ourselves and true to the art. We don’t follow trends or fads. We just pour ourselves out there.
RRX: I love that guitar sound. So maybe we talk shop for a second. Let’s talk pedals. First off, do you guys use them, or is it all in great amps? If you do use them, what do those pedal boards look like? And how do you manage pedal boards in a live show – punch them during the show, or set and forget? If no pedals, what stops you?
JS: Glad you like the tone!! I’ve worked many years to find my sound. Live and in the studio I use a Randall RM-100 head with a 4 x 12 loaded with Marshall Celestions speakers. In the studio I use a few pedals. For delay I use a DD-8 Delay pedal for leads. For wah, I use a Dunlop 525Q. I also use a stereo chorus from the 80’s made by Arion. Which is a diamond in the rough. But everyone loves the sound. For live I use a Headrush pedalboard thru my loop in my Randall. It sounds great and doesn’t kill my back.
RRX: I’ve listened to Faced from the studio and Faced live on one of the Booze Cruises. There’s a lot of similarities, and differences. I don’t think it’s even possible to recreate a live metal sound in the studio unless you record in a venue and let people mosh in the recording booth. Do you try things to bring the live sound into the studio?
JS: The studio is a different beast. We always try to capture the Faced sound. That’s what we aim for. We don’t want to sound like another band live or in the studio. So being true to ourselves is what comes through live and in the studio. Live we throw different things in there and take risks. We try to always outdo ourselves. If you came to a show to hear what’s exactly on the record what good is that. We always want it to be an experience. You never know what you will see or hear at a Faced show. Like to keep the fans on their toes.
RRX: Metal in the Capital Region is a tight group. Part of that is the music itself. Metal is a music that doesn’t mix well with other music. You wouldn’t see a metal band booked with a folk or a blues band. That said, metal does mix very well when it’s mashups with other genres, like rap, country, blues, folk…pretty much everything. Why is that?
JS: Well, I can only speak for our music. We have played with many genres under the sun. We love many types of music. We have shared the bill with many different acts playing many different genres. Hell, we even played a rave once! Our thing is as long as you have a dream and you’re doing everything possible to make that dream a reality we back you 100%. Musicians stick together.
RRX: Most music, or most musicians, have a theme. Just basic, there’s stuff we care about, so there’s stuff we sing about. If I think the CIA implants radios in peoples’ fillings, my albums might be me revealing that belief in 4/4 time. And that’s a stupid example but Faced probably has themes to its music. What is the Faced message?
JS: We have many messages through many songs. We tell stories about life through real experience. It’s real songs with twists and turns through the mind. We scream about things we have lived through and have seen. Pretty much it’s all left up to interpretation. We make the listeners think about what it all means to them in a lot of songs.
RRX: This is where you answer the question I didn’t ask. Comments? Shout-outs? Educate, enlighten, emote – the floor is yours.
JS: Come out to a show and party with us. We don’t bite…much! Check us out on every streaming platform there is. If you dig it, pass it to a friend.
We would love to give a few huge shout outs to our manager Bear without him some of the things we have done wouldn’t have been possible. We would also like to give a shout out to the social outcasts, the misunderstood and the bullied. We love you all and embrace every last one of you. A Faced show is where you are accepted for who you are. Come out and be part of it. Thanks for all the support!!
Andy Falco has deep New York roots. Stretching across the South Shore of Long Island and into the Hudson Valley, these roots gave him his introduction to bluegrass music, leading him to Nashville, The Infamous Stringdusters, and soon, Borderland Festival in East Aurora.
Andy Falco – photo by Trent Grogan
Born in Greenwich Village, growing up in Garden City and now residing in Sayville, Falco first played music at bars on Long Island. His brother Tom brought him to Fadeley’s, a small deli and bar in Patchogue, and one of the few places on Long Island in the late 1990s to find craft beer, on multiple taps no less. While it may seem unassuming from outside, Falco recalls the room fondly, saying “There’s something about that room, the wood or something, it really sounded good in there. Like playing inside an old Martin guitar.”
Exterior of Fadeley’s – photo by Rob Tellerman
Interior of Fadeley’s – photo by Rob Tellerman
As he and his brother got into bluegrass viaOld and in the Way, they were then introduced to The Seldom Scene, a bluegrass band from Bethesda, MD. For Falco, this was the way. “Getting into Bill Monroe at first felt a little harsh to hear, like a single malt scotch. At first maybe you’re like ‘Whoa what is that?’ and then you start to get used to it.” While tuning into David Bromberg for his more bluegrassy tunes, he met Buddy Merriam, a Long Island guitar teacher and member of Back Roads, and who has played traditional bluegrass music for more than 40 years. Merriam, who was friends with and played music alongside Bill Monroe, made mix tapes of various Monroe and Jimmy Martin tunes, a taste of more traditional, first generation bluegrass.
Andy Falco – photo by Trent Grogan
Falco would bridge the gap to Monroe in playing with Buddy for a number of years before Falco headed to Nashville. By 2021 The Infamous Stringdusters had released their GRAMMY nominated A Tribute to Bill Monroe, playing traditional bluegrass for a change, picking some of their favorites to record, mixing them at home during 2020’s shutdown, and finally mastered by Fred Guarino on Long Island.
Finding his way to Winterhawk Bluegrass Fest (now Grey Fox), Falco discovered his love for acoustic guitar during a workshop with Jack Lawrence, Doc Watson’s playing partner for more than three decades.
Andy Falco – photo by Trent Grogan
Reflecting on Winterhawk/Grey Fox, Falco recalls the time spent there fondly, noting that he and fellow Stringduster Chris Pandolfi “cut their teeth on that hill.” Hanging an Italian flag above their campsite, the pair would spend days in workshops, watching bluegrass, and jamming at night time pickin parties. This would be one of the first places Falco would run into Andy Hall, setting the stage for their eventual connection in Nashville where Falco joined the Stringdusters in 2007.
“I decided I wanted to play bluegrass guitar on that hill. I checked out a guitar workshop led by Jack Lawrence, went down there in the morning and it turned out he was Doc Watson’s playing partner, and he brought Doc with him. I sat so close to him I could string his guitar. I went and bought a Martin guitar not too long after that and just really got into bluegrass.
Andy Falco
Given this was the 1990s, there weren’t as many festivals in New York State as there would be a decade later, so Winterhawk and a charity-focused Labor Day festival on Long Island – Bradstock – would be the extent of Falco’s festival experiences. At Bradstock 2 in 1995, Falco would play his first real gig with Water Street Blues Band, and was the only other festival he would perform at until moving to Nashville.
Looking ahead to Borderland Festival, where The Infamous Stringdusters have played three times previously, Falco looks eagerly towards the Western New York festival. “The people are always so awesome to play for and the community they’ve put together is lovely to be a part of.” Borderland Festival founder Jennfier Brazill leads this community, having known the band for over a decade, having first worked with the band as a partner at WinterWonderGrass Festival in Colorado. Said Brazill, “I am their biggest fan and always want them as a part of my events.”
The Infamous Stringdusters have been on the lineup four times, but a hurricane prevented their arrival one year, in 2018. Held in 2022 over the weekend of September 17 and 18, The Infamous Stringdusters will perform on Sunday the 18th ahead of The Flaming Lips, who headline the night. The festival also features Portugal. The Man, Keller Williams, Michael Franti and Spearhead, Spafford, Dogs in a Pile, NYS Dead Coalition, Folkfaces and many more.
Having been on the road with Greensky Bluegrass earlier this year, the shift from buses to flights – given a shortage of drivers and parts for buses – has led to more hotels, less sleep and heading right to venues to soundcheck and prepare for a gig. Add in the crew who are working harder, arriving earlier and staying late, the collective effort is not lost on Falco. “When you’re on stage and playing music in front of everyone, it’s worth it. More people are coming to festivals, despite all the travel woes. It feels like it’s over, the music is still coming back in this transitional time that is by no means normal. You have to appreciate every moment.”
Art Bernstein has been playing, recording, teaching and writing about drumming for over 30 years. As a contributing writer to “Drumhead Magazine”, a teacher with The Empire State Youth Orchestra, and performer on over 40 albums, Art is a master at his craft, whose teachings, publications and performances have undoubtedly enriched the lives of so many drummers.
To top it off, Art is a terrific guy; very down to earth and humble. I am proud to call him my friend, and a terrific drummer. His work with jazz guitar virtuoso Chuck D’Aloia is exceptional in every way. Art has written several lesson books, including “Kangarudiments”, which is one of the best lesson books that I’ve ever read. Art is a true gem in the world of percussion. So please welcome, my friend, Art Bernstein!
RRX: Hey man. Let’s start out with the basics; How old were you when you started playing?
AB: I started playing in sixth grade as I remember. I started on snare, and quickly moved to snare drum and drum set. In seventh grade I played in the concert band and jazz ensemble. In eighth grade I started playing in both the middle school and high school jazz band. My eighth grade year was very busy, doing both jazz bands, concert band, as well as some drum set work on upop” tunes at the time. The jazz ensemble material was almost always focused on swing, jazz/funk and fusion; really all over the map, and this really helped me grow as a drummer. I am so thankful for the time I had with all that material. In the summer of 1984, I was full time at the Eastern US Music Camp at Cortland State University, playing in multiple ensembles all day every day, and studying privately with Tom Brown. In high school I studied with Kathleen Lowry, who is Tom Brown’s daughter! I am so happy to have had the opportunity to study with those gifted players, as well as my private instructor at the time, David Bitner. I am so thankful for having these wonderful teachers while growing up.
RRX: It sounds greatl Who inspired you early on in your drumming life?
AB: Too many to list! I was a very young drummer, but would cite Neil Peart, Stewart Copeland, John Bonham, Mitch Mitchell, Chad Smith, Steve Gadd, Dave Weckl, David Garibaldi, Chick Webb, Gene Krupa, Philly Joe Jones, Louis Benson, Buddy Rich, Tony Williams…the list goes on.
RRX: A long list! Tell me about your “dream kit”.
AB: As an Ayotte guy I have to say pretty much what I am playing right now. Custom Ayotte four or five piece. I would love to add a 20″ x 14″ kick that could be tuned like a 22″ or 24″ kick if needed. A separate vintage wish list would include a vintage Ludwig Black Beauty, Supraphonic, and anything Gretsch Round Badge!
RRX: Nice! You’ve been teaching, writing, and playing your tail off for years; is there anything that you prefer to do?
AB: I truly love it all.
RRX: It shows! I like to ask jazz players about rock and roll drummers like Charlie (Watts) and Ginger (Baker) who preferred to be known as jazz players. So, having played several different styles of drumming, in your opinion, what is it about jazz that seems to attract even the most “rock and roll” type drummers?
AB: I could go on for hours but let me boil it down and try to be succinct. First, I think that this is our history, as drummers. I think that we are drawn naturally to find out where we came from. If it were not for jazz, would there be rock? Second, to know as much as you can about where you came from historically with your craft, will assist you in so many ways, to help you figure out where you’re going. Third, outside of straight rock playing all 8th and 16th notes completely straight and playing triplets in strict orchestral fashion, everything swings to a varying degree. From totally swung to a James Brown funk feel, or a New Orleans jazz feel, and all things in between, they’re all related, and there is no right or wrong in my eyes, As Duke Ellington once said, “If it sounds good, it is good!” Fourth, in my mind, music is language, music is communication, most importantly as drummers, as we are listening, reacting to what we’re hearing, and subsequently being a supportive player with what we choose to play/say. No matter what we are doing stylistically we are always listening and communicating as we play. In all music, but particularly in jazz, we are supporting the other players, often through “comping” (which means to compliment) the other players. It makes a lot of sense to me that drummers are so drawn to this kind of improvised musical communication. I don’t mean to imply that jazz is the only musical style where this occurs, but it does seem to provide more opportunities for this type of playing. Finally, jazz drumming welcomes playing that incorporates four way independence and can span many genres within one tune when applied in a jazz fusion setting. That, combined with all my previous points creates a super fun, musically expanding and rewarding experience,
RRX: So true. Ok; worst gig ever?
AB: OMG too many to mention! I won’t name names though. Even the worst gig has its rewards. It’s all about the music.
RRX: Do you polish your cymbals?
AB: I absolutely understand why some drummers do, but I don’t. Something about the sound of an aged cymbal that is fairly well cared for seems to work for me.
RRX: Tell me your feelings on roto-toms.
AB: Wow! Roto-toms! I have not played them since the mid 80’s. I did own a set though. Benefits in my eyes include, easy to tune, simply swivel the head, three toms to one stand, and cost effective to add three toms to a kit! Drawbacks? Well, it’s a distinct sound, but probably has a place. Maybe there will be a roto-tom revival! That might be quite cool and fun!
RRX: t am waiting for the roto-tom Revival. That’s a good name for a band. Is there one drummer in history that you would like to sit down with and interview?
AB: Again, too many to narrow down to one.
RRX: Ok Professor, as a teacher, performer, author etc., what is your favorite warm-up before playing?
AB: A cup of java and mixing things up with something different every day. Always rudiments, followed by a specific style, rotating every day. One day, Afro Cuban, the next day Brazilian, the next day swing/jazz, next day New Orleans, and then slow blues, funk, the next day…
RRX: Art Bernstein is not only a tremendous player, author, and teacher, but also a wonderful guy. Check out his work at “Drumhead Magazine”, or any of his recordings, especially the ABCD albums, or at his website, artbernstein.com. You will not be disappointed!
Midnight. Blue recently connected the lines between a diverse selection of shooting star quality musical talent working today in order to create the perfect constellation of sound in Perception Records‘ first album, Celebration of the Midnight. Blue album release and launch of Perception Records will be held September 1, 2022 at the Bluebird Theatre in Denver, Colorado. Drummer Adam Deitch took time with NYS Music contributor Em Walis to discuss what makes a good studio experience.
Midnight Blue took musical ingredients from across the diverse offerings of the Denver music scene. Each componant melted into a record with a new take on Neo-Soul, R&B and funk. The sound of each artist is distinct, without overpowering the others. Like a good ensemble movie, plenty of space was provided in exactly the right places. The pristine execution which occurred between musicians friendly with each other outside of the studio allowed for an immersive listening experience.
Breathe by Midnight. Blue
Familiar Faces
Musicians that contributed to the Midnight. Blue studio sessions include: Lyle Divinsky (vocals – formerly of The Motet), Eric Benny Bloom (trumpet – Lettuce), Josh Fairman – (bass – Sunsquabi), Adam Deitch (drums – Lettuce), Ian Gilley (keys – Recess), Jake Jay.Greens Leventhal (guitar – Perception Records), Halle Tomlinson (vocals – The Voice), and G. Finesse (vocals – Black Eagle Society).
“We have a bond as musicians and as friends also.”
Adam Deitch
“It’s when you’re a musician, you do things called recording sessions, yeah. session or other people’s sessions for this thing or a session for a rapper sessions for a guitar player. So you know, I’m also a session musician, but it has to be with the right like minded people and good people, and you know, it’s gotta be worth it. It’s really not that often that I get called to do a session for somebody’s record, and I love doing it, especially if I like the music. This was a nice throwback to I guess, more, really the 70s and 80s early 90s.”
Some members of Midnight. Blue once called the areas in and around New York home. Common ground in Education, cutting teeth in performing and culture surrounding music in a place as special as New York arguably provided an unconscious undercurrent for cohesion between the diverse styles of each artist.
The trust in those enlisted to contribute went as far as songs by players being brought in for the record.
“We’re really comfortable with Josh Pearman, the producer of the record. Jake knew that and and wascool enough to ask me to bring in some songs that I wrote, and not just play drums and that’s how that song Let Me In came about.”
The creative trust in the group extended through the depths of songwriting and collaborative solutions in one instance of lost lyrics.
That was something that I recorded myself played every instrument and wrote the lyrics and sang on it. So I had the demo, but I hate the sound of my singing voice. So I never played it for anybody, it just sits there. Then for some reason, I thought oh, this is a great song that I would love to have somebody that has a great voice sing, you know? [Lyle] sure does. He showed up, and I had lost the lyrics. The lyrics were gone. So we had to like pick out the lyrics from the demo. And I was mumbling on the demo. It’s hard.
Lyle ended up having to write a bunch of lyrics that were lost in the recording. It ended up being a collaboration that I’m glad happened because Lyle added some lyrics that probably made better sense of what I had there first.
Familiar Places
Denver has been named current basecamp for the contributing artists. Recording close to home at a familiar studio created a comfortable atmosphere to produce creative work, without the typical distractions of a “home office” remote recording style many artists had to endure during shutdown.
“We all did it in Denver. We did the recording session right by Red Rocks. It’s called Stanhope and it’s a really cool studio and we’ve all recorded there over the past 15 years. Jake was there he was very quiet and very, very humble and chill and Josh did most of the talking about what he needed for his track. They had already discussed what was needed and, so I just came in and over the course of two or three days, I’d knock out the record.”
Adam Deitch
Some members of Midnight. Blue once called the areas in and around New York home. Common ground in Education, cutting teeth in performing and culture surrounding music in a place as special as New York arguably provided an unconscious undercurrent for cohesion between the diverse styles of each artist.
Feeling comfortable in the environment during creative work could be as important as the people involved.
“Stanhope is one of the best studios in Denver. It’s small. It’s cool. It’s got a basketball hoop outside. I love that basketball. You know, it’s nice to take a break. There used to be an alpac farm. You can see some alpacas and that’s cool. I think I wrote a song called llamas next door. I didn’t even know that they were alpacas and not llamas. So that’s cool about that place and it’s been a family for a while and it’s not corporate at all. It’s owned by a friend of ours, Joel and so you feel really comfortable there. There are sort of no rules besides just make good music and have fun.”
Mental Mosaic
“Small colored pieces of hard materials such as stone, tile or glass. Display arranging together small colored pieces of heart. The walls and vaults are decorated by marble and Mosaic. Okay, so it’s different, different materials that create one, one piece.
Yes. Definitely a collection of different musicians that that are from the Denver seeing that kick. Benny Blum and drew Sayers. Ian and and Josh, and a lot of great players that got together and even though we’re not in bands together. We’ve all played with each other, we all know each other. So, it just really happened and the sound of the band, even though it’s with a bunch of so called session, guys or whatever. It has that feel.”
Midnight. Blue and the story behind its conception felt similar to that of a mosaic. Familiar faces. Familiar places. Trusting individuality. Thoughtful composition uniquely assembled with intention allowed for simultaneous awareness of the beauty of each part as well as the product as a whole. A mosaic’s journey could be thought of in a similar way to a record for a non touring collective. The action could be considered the process of creation and after the release has been celebrated, the legacy will reside in the company it provides to those in possession over a long period of time.
Considerations were taken by contributors to the Midnight. Blue album in regards to what it meant to be a peice of a mosaic.
“What I want to do is switch my mindset from what I want and what I think is perfect. Finding out what they want that’s the most important thing that you know, someone that is hiring you to perform on their record. He wants to give them what they what they want from you and a lot of the times they just want what you would do, you know, like give me that Deitch shit.”
Perspective
Excitement for records, especially in genres that define themselves through attendance of upcoming events might not give a record with only one show scheduled a chance. There might not initially feel like a ton of excitement in listening to something carefully constructed in a controlled space and lacking the fond memories of times with friend associated with a live recording. The tracks might not feel enticing because every time the song is visited, it will be the same version, lasting the same amount of time with the same features.
“The collaboration. I love the vibe. It was so, fresh and what I think it’ll really open up how we kind of get pigeonholed when when you play a certain type of music of how how far the derivatives can go. It seems like this is just something that hopefully it’ll help be a little eye opening and broadening for some folks.”
Uncertainty
With uncertainty comes excitement. It could be asserted that there is more certainty, and therefore less excitement with an exclusive relationship with consuming exclusively live music. The notion of more certainty and less excitement goes for the culture which surrounds exclusive live music as well. The usual suspects will be riding the rail. Noah Ray will be doing something extremely nice for another fan, and each song will be a slightly different length with perhaps a slightly varying pace.
“I love that kind of music and even though it’s like hardcore funk, hip hop, you know, like, yeah, so, you know, we’re not really like, get credit. We don’t we’re not really getting the neo soul scene”
When keeping the musical company constant, suddenly a slew of new variables for experiences begin to present themselves. Not knowing how our relationship to the same songs and lyrics might change invites a leap of faith when connecting with certain tracks. The impactful nature music has on our entire executive function, memory and mood can create bridges to both wonderful and horrible places. Should we begin associating a record with a home, a person or a moment in time, the familiarity can instantly transport us back to the associations and feelings.
Excitement in Unexpected Places
Forming emotional bonds with a beautifully studio-tracked musical journey means not being able to discard live recordings of a favorite song because we were not there or distasteful experience on that certain day at that certain place. The one record is it and especially with a moody low-key feel like the one from Midnight. Blue, meaningful associations are bound to form. If a favorite song plays and desire to listen in the company of a certain someone start to form, it will be difficult to shift it to another person in the future. Hopefully that connection continues to reward with a warm uplift with every listen.
Naming Purpose
It might be interesting to consider the types of music consumed and what powers it could provide for us in the future.
Try looking at live music like the medicine. The guaranteed silver lining. If we are feeling sad and need a boost from people we know we will see and songs we know we will dance to, perhaps we could put on a song from a live show we loved and buy tickets for something coming up.
The studio record could be though of like the bit of artwork in our parent’s bathroom. It is consistent. It is in the same spot with the same colors. Some days we might notice the way it catches the light at a certain time of day and give it more attention. Other times, it is just there in the bathroom like always. The importance might only be realized when it is time to take that artwork down and all of the times it has kept us company in our most private moments, never judging if you forgot to brush your teeth or why you took solace by its side to cry in privacy.
Potential In The Unknown
A studio record like the one from Midnight. Blue holds a pleasant consistency yielding prosperous longevity. It could be put on when having a dashing new acquaintance over for dinner, or fill the space between turns in a boardgames played with friends or family. It is complex enough for a private meditative escape from reality. It might not provide the same high as pressing “confirm” for flights booked to attend that show in that cool place to hear that song played a new way and possibly with a record breaking length of jam. It will keep you company in the quiet times. It will yield no emotional rollercoasters due to permit revocations and festival postponements. Midnight. Blue will provide a positive stability and present its meaning as we make our way through this journey called life.
On the eve of the 53rd anniversary of the 1969 Woodstock Music and Art Fair, blues/rock artist Kenny Wayne Shepherd brought with him living blues legend Buddy Guy and up-and-coming blues man Christone “Kingfish” Ingram to the Bethel Woods stage for three sets of incredible music. The showcase of three generations of blues musicians is the inaugural edition of the touring Backroads Blues Festival. In addition to a remarkable evening of music, Shephard spoke with us about the tour and the entire interview can be seen at the end of this article.
The Backroads Blues Festival’s inaugural run is visiting six venues between the Northeast and Virginia and included two stops in New York. Christone Ingram, a Mississippi native who goes by the nickname Kingfish, has had an impressive career so far for only being only 23 years old. While he has a bit of a name for himself, the show was a fantastic introduction for new fans. Though a younger musician, he blazed through his guitar work with emotion as if the blues were his primary language.
Kenny Wayne Shepherd, who conceived the idea of this festival and curated the show, took the stage with his own band between Kingfish and headliner Buddy Guy. Shepherd is a musician who knows the business and how to draw his audience in to his music and guitar with his stage presence. Shepherd’s set included not only his own work, but concluded with a hat tip to the legendary B.B. King with “You Done Lost Your Good Thing Now.” Headlining the show was Buddy Guy, who celebrated his 86th birthday over the summer. There is a lot to be said for seeing and hearing Buddy perform which is why his shows are not just a performance, but an experience. He works the crowd with his wit, humor, and a sharp sense of being in the moment with his band to deliver pure, unfiltered blues.
Before the evening concluded, both Shepherd and Kingfish joined Buddy Guy on stage to trade solos and do some call and response traditional to the style. As Buddy Guy usually does at the end of his shows, he set his guitar down and let his band (along with Shepherd and Kingfish) jam and play him out while he paraded around the stage to toss some guitar picks into the crowd.
The Backroads Blues Festival was a unique experience of listening to three generations of musicians fit into a touring concert format. The crowd was left energized by the music with conversations about each of the three performers drifting through the air when the lights came back on. While the festival tour is wrapping up this weekend, we’re looking forward to the future versions of the Backroads Blues Festival coming back around to New York.
Interview with Kenny Wayne Shepherd
Steve Malinski: You mentioned during the show that the, this touring festival’s kind of been a dream of yours for a few years. So what inspired that dream to bring a few gen generations of blues musicians together like that?
Kenny Wayne Shepherd: Well, I felt like there’s something, you know, there’s an opportunity for something like this. There’s kind of a void and I was looking to fill it. When I was a kid, there was an annual touring blues festival that B.B. King did. And, you know, I went to it several times over the years as a spectator, as a fan and saw some of the greatest talent in blues from Etta James, B.B. King, Joe Cocker, Stevie Ray and Jimmy Vaughan, Robert Cray, Buddy Guy. I mean, the list goes on and on, right. And then not too long after I joined it as an artist and did the tour myself with my band several times over the years. So, I mean, I just have a lot of really fond memories of that festival and those kinds of experiences. And I think I wanted to give the fans the opportunity to have their own experience like that, you know? I also think the genre still needs something like that. The multi-generational approach where you had three different generations of kind of the hottest names in blues. But I mean, the goal is just to have the best bands that are out there right now. I mean, it doesn’t necessarily always have to be representative of three generations, but I thought that was a really perfect way of kicking off the tour.
SM: Yeah, it’s kind of a neat way of doing that.
KWS: Yeah, I think it was good. I mean, Kingfish, he’s one of the big up and comers, he just won a Grammy. I mean, he’s kind of really blazing a trail and making a name for himself. And then, I’m the generation before and then Buddy’s, obviously the generation before that and everybody’s kind of at the top of their game. And so, it was a really strong lineup.
SM: So how’s the experience been so far with it having a few shows in the books already?
KWS: I think it’s great. I mean, to be honest with you the first night in Providence was completely packed. And it was a really great opening night. Bethel had a great crowd as well, but, you know, we were getting constant feedback. My people who were out in the merch area and the crew that was scattered throughout the venue and even myself at the end of the night… all the people that were working at the venue as they were leaving were just extremely complimentary about the show, said it was one of the best shows that they had there all season.
So you know, that’s great. I mean, obviously, this is my project and it’s very important to me, but I mean, I’m telling you every single person that walked outta that venue that walked past me told me how great the show was. So that’s really satisfying. It’s very encouraging, especially because we’re trying to establish the brand here, because we want to move forward with this on an annual basis. They said they would love to have us come back again.
SM: Yeah. One of the things I was going to say is I see huge potential for this growing into something more than just the limited run of shows you’re doing this summer.
KWS: Yeah, this tour is more to get the word out, establish the brand and kind of like a proof of concept for lack of a better term. But back in the day the B.B. King fest would have around four headlining acts and then they would also have local acts that would perform, you know early on in the day. I mean the whole thing would start, and the local act was playing at like 4, 4:30 in the afternoon, you know? So it was a bit of a longer event and I’m hoping that we can grow into that. And the goal is to be inclusive. We’re gonna have, the hottest women of the blues, the hottest artists. Also, it’s like everything doesn’t always have to be electric either. There might be, you know, some more acoustic driven blues artists that will be included in the bill going forward and things like that. But regardless, it’s gonna be the top performers in the genre for sure.
SM: Awesome. So I’ve seen Buddy Guy a handful of times, and he always talks about learning, not from the book, but just from what he hears and picks up from others. What have you kind of picked up on as inspirations from working with Buddy Guy and Kingfish as you’ve gotten ready for this tour?
KWS: Well, I mean, I’ve learned a lot from Buddy Buy. And so has any other guitar player in the past, you know, 50 years probably. I mean, Jimi Hendrix was a huge fan of Buddy Guy’s. So Buddy influenced, you know, the guy who’s regarded as the greatest guitar player of all time. So people, whether they even realize it or not have been influenced and affected by Buddy Guy and who he is and what he does. So, I mean, the main thing is he’s just incredible at age 86, you know, that he can perform at the level that he’s still performing at. And he’s a true show. And I just, I try and absorb that to the best of my abilities and, and take, things from people like that and incorporate them into what I do. And, that’s the tradition for all of us.
SM: As you know, the Woodstock anniversary is this week. So being on that historic site, were any special feelings that you had performing at Bethel Woods?
KWS: Yeah. You know, I’ve gotten to play this venue more than a few times over the course of my career. And, I’ve been to the site and done that whole thing. It’s certainly cool. I mentioned it earlier on, I think on one of my social media posts, especially because we are doing a music festival and launching a music festival… It’s like that place is sacred ground for music festivals. It was one of the biggest of all time, one of the most historic music festivals of all time took place there. So I thought it was an amazing opportunity to try and do the inaugural run of my festival and play one of our dates at that location.
SM: I noticed you have a tour coming up leading into next year to celebrate the 25th anniversary of your album Trouble Is…. So looking back to 1997 and before, when you signed your first record deal at a six as a 16 year old kid in the early 90s, how do you reflect back on that?
KWS: The first album [Ledbetter Heights] came out in ‘95, right after I graduated high school. I had recorded that one when I was 17. And then the one that we’re celebrating is the second album Trouble Is…, and that came out when I was like 19 years old in 1997. I mean, you know, I was young by any means. To compare to anything that’s a very young age to start a career and have that kind of success. And now I’m 45 years old and certainly, you know, a lot of time has passed. I mean, I think one of the most satisfying things we have accomplished a lot – we’ve sold millions of records. I’ve got several golden platinum albums hanging on the wall, awards on the shelf, all of those great things that any artist could ever hope for. But to me, the biggest accomplishment is the fan base that we have acquired over the years. You know, because people that are fans of this music, the music is timeless. It’s not stuck in an era. So, it’s not like pop music that has a certain sound from a certain era which then people move on from that. This is timeless music. And generally people who become fans of this kind of music kind of dig it for life, you know? And so as a result, that’s why 30 years later I’m out here and we’re still accomplishing things and we’re still making new achievements and we’re still, you know, selling tickets to concerts and selling out venues and moving into bigger venues, into new markets and things like that. That’s the biggest accomplishment because without the fan base that we have, then, none of it would be possible. And so they’ve stuck with me and they’ve kind of hung in there with me for 30 years now and they continue to make it possible for me to pursue, my dreams.
SM: Going off of that, have you run into a lot of younger musicians who are looking up to your middle generation of blues musicians as inspiration?
KWS: So, everybody knows that I started so young. I mean, over the entire 30 years of my career, I’ve run into a lot of younger musicians that come because they heard about my story and, you know, they’re aspiring young guitar players and, and things like that. And so, there’s no shortage of young people that are interested in music and there’s never any void of young people that are interested in blues and for some, it’s a stepping stone and they move on to other genres. And for some people like Kingfish, they try and make a life’s career out of it. But, my job is to be a good example and to be encouraging to them and just kind of do what I can do while I’m here and make my contribution, you know, as solid as possible.
On Thursday, August 4, an electric and explosive night to remember, ROT$ Worldwide, Inc. hosted their very own INTERN$ 22 RAGER underground artist showcase in Manhattan. These individuals, all relatively young, received the opportunity to present their artistry to one of the most musically creative and diverse cities in the world.
Photo Credit: Courtney Griffin
According to Tiffany Swiney, Cofounder of ROT$ Worldwide, Inc., a communications agency with a focus on creative thinking free from socio-economic barriers, the company’s five summer interns brainstormed on a collective project, which in the end became the INTERN$ 22 RAGER event. Their challenge was to fulfill the behind-the-scenes tasks in preparation for the showcase. More specifically, the given instructions were to find a venue and several underground upcoming artists. After intense research, the location chosen was 404 Broadway New York, NY and those selected to perform were Arson, INDiGO, NuuDetta!, Fasquiat, Tenahoni, Hendo, Ka$hKenni, Vas, SANDWCH BOI, Daytona Levell, and Slick2x, along with a few others who were guests on different sets.
ROT$ is all about bringing young NYC creatives together in a safe space to sharpen their skills. It was so great to see everyone working together to hype the performers, get their content in, network, and to just be free.
Tiffany Swiney
Arson, one of the performers of the night and the show’s MC, shed light on how the theme came to be. What worked best for everyone was “nightclub rager,” a show with music to last a lifetime. According to Arson, the main genres of the night were rap, emo, trap, and alternative. The intention of this event was to show the diversity of and bring back the great energy from the NYC underground artist scene. After three weeks of preparation for the show, each performer developed an unwavering supportive family bond with one another.
Photo Credit: Courtney Griffin
Although this was Arson’s first opportunity as an MC, the sky was the limit, as she so effortlessly captivated the crowd with her magnetic energy. Her brand began in a middle school parent-teacher conference, in which she was told she has a fire in her. The name Arson began to encapsulate who she is, as she grew up more secure and self-confident. Regardless of Thursday being her second musical performance, her fiery stage presence left her audience in awe.
Photo Credit: Courtney Griffin
I’m in love with who I was because she bled and fought for me today. I try to inspire as many people as I can and lend a warm safe space for people wherever I go. I have high energy, a fire burning bright in my soul and I feel like it comes out in my music. I will always be Elizabeth, but I’m also Arson.
Arson
Similarly to Arson, melodic, trap, and plugg rapper Ka$hKenni discovered their name as a result of their past. Since they were younger, their luck of finding random amounts of cash has yet to cease. Considering Ka$hKenni is perceived to be high class as well, they thought money should be incorporated into their rap name, with the meaning of luck and good fortune.
Ka$hKenni has been creating music for almost two years now, with her first performance at the INTERN$ 22 RAGER event. Ka$hKenni’s favorite song to perform on Thursday was “Find Me,” because of how suspenseful and intriguing the buildup of the 808s are. Nonetheless, it holds a special place in their heart because it was produced with their brother. After discovering the beat for the song, Ka$hKenni was not too fond of it at first, but their brother encouraged them to record to it, in case of a change of heart.
Photo Credit: Courtney Griffin
I didn’t know what kind of flow I wanted to have over the track, and I was stuck. I started thinking more and writing and that’s when I got the hang of it. It reminds me of something old Chief Keef would hop on and that inspired me to keep writing. I wanted the chorus to be very simple and I wanted to sing a little and that’s exactly what I did. We made that song in less than 30 minutes. The next day we played it on the speaker, and we honestly were shocked. I couldn’t believe I could make something like that. I played it for my friends and my brother played it for his and they couldn’t believe we made such a hit.
Ka$hKenni
Sometimes people have to step outside of their comfort zone to reach a new level in their life, and Ka$hKenni is a prime example of this. Ultimately, they want to be remembered as the one who never gave up.
Although the last to showcase their music, Slick2x’s artistry was nothing less than emotional, powerful, and moving. He said music means everything to him, which was undoubtedly noticeable. His performance is yet another step in the right direction, towards success and fulfilling the promise he made to his brother to always follow his dreams three days before his passing.
Photo credit: Courtney Griffin
Every artist has a different journey and personal motivation for fulfilling their music dreams. For Daytona Levell, developing as an artist was a challenge. Nonetheless, nothing deterred him from moving forward and pushing himself against all odds, even 100 to 1.
Photo Credit: Courtney Griffin
I have had a tough journey and at one point did not know what my image and brand should be. However, I decided to do what I love, and it came natural to me.
Daytona Levell
Artist, actor, and creative visionary SANDWCH BOI, chose his name as a joke in high school, during a rap battle and held onto it ever since. His artistry and persona differ exponentially from the average person, which is why his rap name falls under the same concept.
Even though Thursday night was SANDWCH BOI’s first time performing his own music, he’s been grasping his audience since 10-years-old, as an actor within the theater community. Therefore, his self-confidence only grew as the INTERN$ 22 RAGER event neared, especially with the support of his brother and friends, of whom the majority are fellow creatives.
Photo Credit: Courtney Griffin
I had time to watch my friends grow in their craft and when it was my time to shine, they were nothing but supportive. We were just feeding off of each other’s energy it was amazing.
SANDWCH BOI
Out of SANDWCH BOI’s discography, “Saturn” was his favorite to perform at the showcase because of its amped up energy that gets the crowd jumping. Interestingly enough, “Saturn” is a freestyle that was made in just one take, a skill that usually takes years to master, because of how raw it is.
Photo Credit: Courtney Griffin
Considering how his performance created a shift in the night, with multiple mosh pits, everyone’s full attention and endless smiles to go around the room, SANDWCH BOI’s wish to have people “remember seeing this dude in an orange mask going crazy and turning the whole spot up” will undeniably be granted.
INTERN$ 22 RAGER will forever be a night of great nostalgia and euphoria for everyone in attendance, especially for the performers. This was an unforgettable learning experience for the artists involved and will help each one of them grow not only within their craft, but with their audience as well. August 4th, 2022 will forever be a raging night full of immeasurable vibes and timeless music.
After having a two year hiatus, shows and festivals of all sizes are coming back and coming back strong. One such festival that has been a staple for many years which brought people from all over the state and out, this festival, is iMatter. If you ever been to Warped Tour, you may get a similar vibe, with multiple vendors, bands with merch tents, two stages(way less than Warped Tour).
IMatter’s home is located in Horseheads at The L, and while not big in comparison to the other cities like Rochester or Buffalo, many flock to this area every year for it. One thing that shocks many, is the fact that this festival is free, which seems impossible and has been since the start. There is a lot more to talk about but who better to explain than the current organizer Adam Bunce.
Joe Booth: So, how would you describe iMatter Festival to someone who’s never been?
Adam Bunce: The iMatter Festival is a free annual festival featuring hard rock, metal, and alternative bands from local to national acts. The festival counter suicide, self-harm and self-doubt by promoting unearthed value, unveiled purpose and defiant hope to this generation.
JB: What was your inspiration for the festival and the name?
AB: The iMatter Festival is a free concert hosted by the iMatter Foundation promoting life, hope and value to our communities. Its message is simple: every life matters. The festival began in 2007 because the founder, Scott Lowmaster, wanted to give everyone in attendance something for free, and ask nothing in return from them for attending.
JB: What makes iMatter special for you?
AB: iMatter is special to me because it’s truly something unique and one of a kind. A festival like this would normally run upwards of $50-$500 to attend, yet we have found a way to make it free for those that choose to join us each year.
JB: What has been your favorite iMatter or memory?
AB: For me personally it was probably the year that Underoath headlined the festival. Underoath has always been one of the most influential bands for me over the last 20 years. It was always a dream of mine to book them and we had that opportunity in 2018.
JB: After being on hiatus for two years, were there any challenges to bringing back the festival?
AB: We’ve had a lot of issues this year, issues are always a thing when it comes to booking a festival. Unfortunately, we weren’t granted our mass gathering permit from the county. This is the main reason we had to move the location of the festival to The L. The L is an iMatter run venue that we opened up in September of 2021. As much as the festival is what helped us birth the venue, the venue just isn’t large enough to give iMatter the “feel” that an open field provides. We hope that in 2023 we’ll be able to get this all back up and running as an outdoor festival, it was either move to The L in 2022 or not run for a 3rd straight summer.
JB: I’m sure with the festival almost here, you still have lots of planning going on but do you have any goals for next year and beyond?
AB: Yes, we are always trying to make sure that we are offering something unique to those who attend. Its always our mission to keep the festival free, and we will continue to follow that model. But we love what some of the VIP packages have allowed us to offer those that are willing to pay for an enhanced experience on the day of the festival.
JB: Thank you for your time, would like to add any final thoughts?
AB: We are just ecstatic that we can bring iMatter Festival back after having a 2 year hiatus. Even if it’s just a smaller version of what iMatter has been historically, it’s a step towards what it was originally intended to be.
In case you haven’t seen it, this is the lineup for this year and even though this is a free event, the capacity is limited and all free tickets have been claimed but there’s still plenty of VIP packages you can buy. We will see you July 30th at The L for iMatter Festival Reset.
Take a look back at iMatter Festival in 2018 and 2019.
moe. begins a truncated summer tour this week, taking them across New York State, where they have made their mark for more than 30 years. The moe. lineup – Al Schnier, Rob Derhak, Vinnie Amico and Jim Loughlin – continues to feature Suke Cerulo and Nate Wilson, filling in for Chuck Garvey as he steadily recovers from a stroke he had in November 2021.
Chuck Garvey projected onto the walls of The Capitol Theatre, Port Chester, NY – photo by Filip Zalewski
moe. bassist Rob Derhak and the band have spent time over the past two months rehearsing with Cerulo and Wilson at Big Blue North in Utica to prepare the sextet for their first real stretch of shows without Garvey.
The Chuck shows at The Cap in December with all the guest musicians, those guys (Suke and Nate) were part of the last set of the second night, and the set just really gelled. We had no time to rehearse with anyone beyond soundcheck; Suke had spent his time doing his homework, and Nate has sat in many times and knows a lot of songs, so when it came time to decide, it wasn’t that hard a decision. They can play really well and had a jump on the material, so both factors made it simple.
We’re very fortunate that those guys put the work in ahead of time and did their homework to learn the material, so it was a good fit and a good call in the end.
Rob Derhak, on Suke Cerulo and Nate Wilson
Derhak spoke to NYS Music shortly after Summer Camp Music Festival had wrapped its 21st year, where hosts moe. and Umphrey’s McGee performed 5 sets each over three days at their respective stages in Three Sisters Park. Derhak, along with Schnier, Amico and Loughlin threw Cerulo and Wilson some curveballs that they were still able to hit into play.
There was a 3-song sandwich – “Rebubula” > “So Long” > “Buster” > “Rebubula” – that was a situation where most people may not understand what’s going on but those guys got it. We talked about it ahead of time but never played through the whole thing with them. It came off without a hitch. Nate added a new keyboard intro for “Rebubula” that was really cool.
Rob Derhak
This was of course the first Summer Camp that Garvey had missed in the last two decades, and there was an emotional vibe with the band while they rehearsed and warmed up before the fest. From the Summer Camp Moonshine Stage, Derhak recalled how he felt two separate emotions during the weekend:
One is I keep looking over where Chuck would be, and he isn’t there, and it makes me feel weird and sad. And doing shots before a set, we would always wait for Chuck, and instinctively it’s kinda sad. I miss him, and it’s still not exactly right without him playing there.
Having Nate and Suke play at the same time, it’s almost a guilty feeling having this much fun, knowing Chuck would be loving this. Chuck did FaceTime with the band, saying he was jealous. It was bittersweet.
Rob Derhak
moe.rons can get a change to see Cerulo and Wilson with moe. a few times in July, as they will perform a free show at the Empire State Plaza on Wednesday, July 6 in Albany from 5:30-8:30 p.m., one that looks to have warm breezy weather for the show.
That won’t be all for moe. this summer though – they have a trio of shows in the Northeast over Labor Day weekend, starting at Stateside Amphitheater in Jay, VT on Friday, September 2, then they head down to Lake George for the annual ADK Independence Festival for two nights of two set shows. Labor Day weekend and moe. go hand in hand, given the nearly 20 years of moe.down festivals held in Turin and Mohawk, NY.
We joked last year it was like a little moe.down and after playing, it really was. I’m looking forward to it because it’s a great three days of music, perfect size and location, the vibe is amazing, and made me think of moe.down quite a bit when we did it.
Derhak noted that following the fall shows, moe. will look to start working with Garvey in “sometime in September and getting back to where we gotta go.” With regular check-ins and FaceTime calls, the band hopes to get a better idea of where Garvey is in his recovery and look ahead with new hope for the new year.
