NYC band Restless World Music have recently released their new single “Second by Second.” The group is no stranger to melodic beats and emotionally driven lyrics, as they blend different musical styles and carefully-chosen words into a restless whole.
“These days I’m rebuilding my life / You could say I’m refilling my life” – how many have thought or said that over the past few years? So many self-empowerment songs make it all seem so easy – this song isn’t one of them.
For many on the road from doubt and despair to self-appreciation, one’s “gotta fight for every inch” and “Second by Second” makes the joy at the end of the journey, and this song, so much sweeter. “Second by Second” features stellar female vocals over an atmospheric fusion of trap, pop and a touch of jazz.
The lyric video for “Second by Second” builds on the song’s themes of rebuilding oneself after a crisis, and moving from doubting yourself to new heights of self-confidence. Produced by Restless World Music using Adobe After Effects software and a rich selection of 1080p video clips, the video delivers a cinematic feel that enhances the mood and meaning of the song.
Restless World Music’s songs have earned awards from the Great American Song Contest four times and have been recognized twice as top-five songs of the month in online music magazine SongwriterUniverse.com.
Today we celebrate the anniversary of the first Phish show ever held at New York City’s esteemed Radio City Music Hall. Fresh off the heels of a New Year’s Millennium celebration in the Everglades that made headlines worldwide, Phish was ready to take on the year 2000 with a Spring Tour of Japan on the books. But first, they would play a few gigs in New York City to dust off the cobwebs and help support their album Farmhouse which was released just days earlier. On this the first of a two-night run here, Phish would wind up playing about half of the new album’s songs while mixing in other classics in a show that certainly lived up to the anticipation surrounding it.
Phish seems to soak in the applause for a bit from a raucous Radio City Music Hall before starting the show with thunderous “First Tube” that seemed to move the ground itself. Mike Gordon’s constant, unwavering bass line dominates this one pulled from Farmhouse that continues to be a mainstay at shows to this day. A familiar first set face in “Wolfman’s Brother” gets played next, adding a veritable dose of funk to the revered music hall, with sound coming through in pristine fashion thanks to Radio City’s amazing acoustics.
An early show “Squirming Coil” then makes an appearance. The “Little Jimmy’s off to camp” line seems to get a noticeable roar of approval from the crowd, perhaps in respect to last summer’s legendary (and sweltering) Camp Oswego festival in Upstate New York. After a fairly brief Page McConnell closing piano solo, the opening to “Possum” emerge which reenergizes Radio City and then some with the floor once again seeming to have a discernable bounce to it, especially on the upper levels of the building. After a brief pause, the funk returns once more, this time courtesy of a bubbly “Moma Dance.”
Once “Moma” comes to a rolling stop, the opening chords to “Limb By Limb” ring out, a fellow Story Of The Ghost selection. “Limb” elicits one of the finer jams of the first set, one that slowly increases in fervor and intensity, with McConnell and Trey Anastasio on guitar musically sparring back and forth, before it closes with Jon Fishman alone on drums. “Character Zero” then wraps a bow around the much anticipated first Phish set at Radio City, a spirited and well-played one with fairly standard selection of songs for 2000.
The second set stays very much in that same vein, beginning with a “Gotta Jibboo” that produces the next standout moment of the evening. The band is instantly locked in on a blissful jam that takes off right away, aided by Anastasio’s signature digital delay loop running underneath it the entire time. This momentum carries squarely into the “Down With Disease” that comes next. The band rips through the composed section and jumps immediately into an aggressive high-octane jam that starts strong and never really lets up, with Fishman pushing both the tempo and the limits in a masterclass of drumming. Eventually, Trey reintroduces the digital delay loop with Page adding in some harrowing organ fills as the band takes their time crafting this one. It all adds up to a 20-minute “Disease” that’s the highlight of the show and one of the better ones ever played to date.
In a true case of juxtaposition, Phish lets the crowd catch their breath a little and trots out the introspective “Dirt,” yet another Farmhouse selection. This would actually begin a three-song run from the new album (and four of five including “Jibboo”) in the second set as “Twist” follows and brings with it a mellow, groove-infused jam that turns into near ambience.
This lays the foundation for “Piper” and its customary (at the time) slow build introduction. “Piper” goes from slow to lightening quick in a hurry, with Anastasio shredding out the main chords in rapid fashion with Fishman, once again, doing some otherworldly business on the drums. Instead of stretching “Piper” out further, it comes to a rather abrupt stop and Phish pivots to “Harry Hood,” much to the delight of the Radio City crowd.
Phish doesn’t mess around with “Hood” and delivers a splendidly euphoric version of one their signature songs, a slow build of emotion before cresting perfectly. A second set full of music and memorable jams could have easily ended right there with few complaints. But from the ashes of “Hood,” McConnell emerges alone on piano and begins “Wading In The Velvet Sea” to add another emotion-provoking song to the list. Afterwards, both he and Trey expressed their appreciation for being able to play at Radio Music Hall, where they had both been able to see the great Stevie Wonder perform, with Trey making some especially poignant and heartfelt remarks about the current state of Phish and the scene it has created.
With that said and done, the resurrected “Guyute” then closes out the second set in grand fashion. The “I hope this happens once again line” at its completion gets another extra round of applause from the crowd. For an encore, Phish trots out one last Farmhouse selection with the acoustic “The Inlaw Josie Wales” before “Loving Cup,” the lone cover song of the night, sends the Radio City crowd home glowing, eagerly anticipating what’s to follow in round two tomorrow.
Take a listen to the whole show below or song by song at PhishTracks.
Phish Radio City Music Hall – New York, NY 5/21/00
Set 1: First Tube, Wolfman’s Brother, The Squirming Coil, Possum, The Moma Dance > Limb By Limb > Character Zero
Set 2: Gotta Jibboo, Down With Disease > Dirt, Twist > Piper, Harry Hood > Wading In The Velvet Sea, Guyute
Celebrating 518 Day on May 18th, bass-heavy psychedelic prog rock ‘bastards’ Primus made their triumphant return to Albany. Amidst a special 46 date, coast-to-coast tribute tour paying homage to fellow prog-rock legends Rush and drummer Neil Peart, the influential Bay Area trio performed two distinct sets; one of original music and the other, a full cover set of Rush’s seminal 1977 album A Farewell to Kings.
Curated by charismatic Primus front man and bass playing virtuoso, Les Claypool, the only logical venue suited for an occasion of such royal proportions was downtown Albany’s historic Palace Theatre.
Les Claypool of Primus performs at the Palace Theatre in Albany 5/18/22
The man, the myth, the compulsive entertainer, Les Claypool has arguably been one of rock’s most influential players of the last thirty years. Creating a mythical, almost cult-like following through his multitude of side projects, some may know him from his time with Trey Anastasio and Oysterhead , or with Buckethead and The Flying Frog Brigade, or more recently with his “Delirium” collaboration with Sean Lennon, son of Yoko and John. An impressive pedigree to be sure, but make no mistake, Primus has always been the bread and butter for Les and also his most successful.
But what made him want to start playing music in the first place?It all goes back to a single day in 1978 when a young Claypool attended his first ever rock concert. Performing that night was a young Canadian banned named Rush. Mesmerized by what he saw on stage, it was then Claypool decided music was what he wanted to do with the rest of his life. 14 years later and now spearheading a colorful band of his own dubbed “Primus,” things came full circle when they were offered a supporting slot on Rush’s 1992 tour. They say never meet your heroes or you’ll be disappointed, but in the case, the two bands shared an instant connection and would develop a close friendship organically through years of touring together. According to Claypool, paying tribute to Rush is simply a way to say “thank you” for all of their inspiration.
Primus performs at the Palace Theatre in Albany 5/18/22
Bringing the “Tribute to Kings” Tour to the Palace Theater this past Wednesday, fans turned out in droves, but not necessarily to see Primus. With the passing of iconic drummer Neal Peart, Rush played their final show in August of 2015, yet based on the sheer amount of vintage Rush t-shirts and memorabilia that was present at the Palace, it’s fair to say there is still a significant demand for their music. If there is any three-piece unit that has the talent and the chops to fill that void, it would have to be the mighty Primus.
Taking the darked Palace stage as the customary Danny Elfman “Pee-Wee’s Big Adventure” theme piped in over the PA, Claypool, along with guitar player Larry “Ler” LaLonde and frummer Tim “Herb” Alexander, wasted no time in letting their intention be known. Playing the type of songs that don’t exactly fit well with the radio format, class was in session early as Primus opening their performance with an “American Life” history lesson. Complete with a massive rear projector high above the stage displaying hypnotic video loops and depicting things like immigrants registering at Ellis Island, the Statue of Liberty, along with images of Mount Rushmore and Honest Abe, the projections would subtly change to a ‘military marching orders’ theme during classic Primus cuts like the songs “Too Many Puppies” and “Sgt. Baker.
The low-end pulse would beat a little louder (and darker) on the next song, 1989’s repetitive, percussion-heavy trance educing song “The Pressman,” after which Claypool claimed the band had not played in a while. One of the highest highlights of the first set came next with a rare “Professor Nutbutter’s House of Treats” which segued nicely into a “Del Davis Tree Farm” bust-out, played for the first time since 2017. Sensing an opportunity to slip in something new, Primus then unloaded their brand new sprawling and groovy single, the covid-inspired, tongue in cheek eleven minute opus “Conspiranoia.” The opening set concluded with a condensed mash-up of “Welcome to This World” and the always awesome “My Name Is Mud.”
Primus performs at the Palace Theatre in Albany 5/18/22
From there the Rush was on, literally. In an evening billed as a “Tribute to Kings,” Primus would honor their musical heroes by performing the 1977 classic Rush album A Farewell To Kings in its entirety. Other than a minor wardrobe change and Claypool trading in his signature Carl Thompson ‘Rainbow’ bass for a black and white Rickenbacker model, Primus tore through the set with such complete confidence it almost made you forget these were someone else’s songs.
Technically proficient, it was the vocals that proved to be the biggest challenge for Claypool. At one point addressing the audience between songs, acknowledging Geddy Lee’s high pitched (and often polarizing) vocal style isn’t exactly “easy” to mimic and then encouraged those who knew the lyrics to try and help sing the next one, then launching into one of Rush;s biggest radio hits, “Closer to the Heart.” For a brief time during “Xanadu,” both Claypool and Ler could be seen wielding a pair of huge, double necked axes. Allegedly the first to ever play an electric 12 string bass, Geddy Lee claims Rickenbacker specifically built the first one for him.
After witnessing Lee perform with the mammoth instrument at his first ever concert, Claypool confessed he’s wanted one ever since and joked that it took him all these years to finally be able to afford one. Always cracking wise, Claypool would also make several light-hearted jabs at the people in the first few rows who were still inexplicably sitting down, saying “it’s that mutual exchange of energy that [he] feeds off and that if he has to remain standing through the entire performance, everyone else should be up off the asses too.” Les then dove into his favorite Rush song of all time, the set closing “Cygnus x-1.” Just prior to the encore, Claypool would later apologize to anyone who may have been offended by his heckling and then proceeded to drop into the opening notes of Primus Frizzle Fry fan favorite “Groundhog’s Day” from 1990. Still not satisfied, fans begging for “just one more” were treated to a tune Claypool introduced as “a true story about a friend…who was addicted to crack.” His name was Harold.
Primus performs at the Palace Theatre in Albany 5/18/22
Coming to a close a little before midnight, most people stayed all the way to the end as the theme from the original “Charlie and Chocolate Factory” helped send them home with a smile. There was a little something for everyone at this show. Sure, real Primus fans want to hear all Primus all the time and the faithful Rush fans were probably a little overwhelmed by the undeniable heaviness and some of the weirdos the Primus scene tends to attract, perhaps even hoping for another radio hit like “Tom Sawyer” or “Spirit of the Radio.”
The real winners on this night were the scores of young fans in attendance. Similar to the way Les Claypool’s life was forever changed by his first concert, you couldn’t help but notice the abundance of skid fathers who brought their boys with them. Perhaps the sentimental notion of passing the prog-rock crown from Rush to Primus? Or maybe they just couldn’t find a babysitter? Or maybe, just maybe the next great virtuoso bass player was sitting right there in the Palace Theatre all along, absorbing the magic of live music at their very first concert. One thing is for sure, Primus most certainly does not suck.
Primus | May 18th, 2022 | Albany, NY | Palace Theatre
Set 1: American Life, Too Many Puppies(>)Sgt. Baker(> ‘Too Many Puppies’ reprise), The Pressman, Last Salmon Man, Conspiranoia, Professor Nutbutter’s House of Treats, Del Davis Tree Farm (First time live since 2017), Welcome to This World, My Name Is Mud
Set 2: A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: Groundhog’s Day, Harold of the Rocks, Follow the Fool >Harold of the Rocks Reprise
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from, Shane Guerrette, That Girl w/One Free Don and many more.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
That Girl featuring One Free Don – “Cherish”
Shane Guerrette – “Here’s Hoping” & “How was I to know”
Rochester’s Boy Jr. is gearing up to unleash their debut album Pay Attention to Meee next month. In anticipation of the release, they’re giving us a taste of the synthy-pop ear candy to come.
Inspired by Chairlift and Caroline Polachek, the bedroom pop ditty “Hey Sorry” ensconces girl power in the face of heartbreak.
“‘Hey Sorry’ is a sonic showcase of how fucked up I get when I have a crush.”
– Boy Jr.
Boy Jr. is the songwriting/production project of Erica Allen-Lubman (she/they). To celebrate the release of “Hey Sorry” they will be opening for Aryia at The Knitting Factory, Brooklyn tonight (May 18). Follow on Instagram.
The Capitol Theatre was packed on Friday, May 13 with Deadheads young and old as Dark Star Orchestra paid homage to the Grateful Dead at the iconic Deadhead venue at The Capitol Theatre. On this night they recreated one of the Dead’s shows from their great Europe 1972 tour. More specifically the show from May 13, 1972 at Lille Fairgrounds in Lille, France. It was a hell of a set then and it was a hell of a show now.
The first set was played with precision and umph, never getting too noodley. The second set started off with a thunderous “Truckin’” into a jam filled “drums” > “The Other One.” Other highlights of the evening included “Beat It On Down The Line,” “Playing in the Band,” & “GDTRFB.”
Dark Star Orchestra – The Capitol Theatre – May 13, 2022 – recreating May 13, 1972 – Lille Fairgrounds of France
Set 1: Bertha, Black Throated Wind, Chinatown Shuffle, Loser, Beat It On Down The Line, Mister Charlie, China Cat Sunflower > I Know You Rider, Me And My Uncle, Big Railroad Blues, Next Time You See Me, Playing In The Band, Sugaree, Mexicali Blues, Casey JonesÂ
Set 2: Truckin’ > drums > The Other One > He’s Gone, It Hurts Me Too, Sugar Magnolia, Not Fade Away > Going Down The Road Feeling Bad > Not Fade AwayÂ
Albany’s DIY music scene has been thriving in the wake of 2020’s lockdowns. Basement and house venues are popping up left and right, and bands have been eager to get back on stage and perform in front of live audiences. The Laundromat is one of the newest underground music venues in Albany and it just wrapped up a busy spring semester. The hidden basement spent the last five months promoting pop-up shows at Pauly’s Hotel, hosting their own basement shows, and contributing to Albany’s flourishing music and arts community.
The venue started back in September of 2021 and is run by two U Albany students Ari Spielman and Samantha Mehrkens. The duo runs their venue on Instagram (@the.laun.dro.mat) and have grown their page beyond 1,500 followers in the past few months and have put on over a dozen shows. Ari and Samantha have built, from the ground up, a popular space for musicians, painters, photographers, and artists of all kinds to work and enjoy each other’s art. The two can always be spotted up front at their shows, enjoying the music, addressing technical difficulties, and even keeping their fans cool and comfortable.
Glue Head @ The Laundromat – 3.11.22. Ari Spielman and Samantha Mehrkens (right)
The Laundromat was recently one of a handful of DIY venues in the Albany area that was part of Byrdhouse Records‘ Phoenix Fest. The week-long festival consisted of six consecutive shows all over Albany, Troy, and New Paltz. The Laundromat’s show took place on 4/20 and featured five local acts: Floral Arrangements, Ricky Bandana, Prom Sex, Rhakimali, and The E-Block. The packed lineup, along with the holiday festivities, brought out a big crowd for the Wednesday night show that ran late into the early hours of the morning.
The surprise highlight of the night was the third act of the night: Prom Sex. The newly formed band played their first show ever at The Laundromat and they received a warm welcome from Albany’s DIY community. The band played their own version of musical chairs, or rather musical instruments, as everyone rotated from guitar to bass to drums. The young band played on for a full 45-minute set with a crowd-demanded encore.
Prom Sex @ The Laundromat – 4.20.22
The Laundromat also features local bands time and time again, like Ladybyrd. The WCDB Rising Artist of the Year is a regular at The Laundromat, and performed at the last show of the semester on May 6. Ladybyrd had also performed at The Laundromat as recently as April 8th, along with Chaz Kiss, and Sam Legenbauer. This April 8th show was promoted as the Femme Fatale Feature Friday, as it featured acts fronted by women. The Laundromat doesn’t always host shows with an overarching theme, but when they do, they always tend to draw out their biggest and most energetic crowds.
Ladybyrd @ The Laundromat – 5.6.22
The Laundromat has often featured a broad range of music on any given night, one could hear everything from hip-hop to punk or shoegaze to funk. One of these genre bending shows was on February 18th, featured acts included: Free Spiritu, Cloud 18, Dork!, and Alliteration. Alliteration closed out the show and have been seen all over the 518 in the past few months. It feels like the Poughkeepsie-based punk band brings their unique sound to the area every other weekend and they have fans traveling regularly from as far as Long Island to catch every single one of their shows.
Alliteration’s success is well deserved and has been a direct result of the band’s collective work ethic, attitude, and fun music. Xayvier, Ryan, and Mike are loved throughout the music community and can be found in the crowd or the merch table at every show they play. They arrive early, enjoy the sets of other acts, and are eager to mingle with fans. It’s this type of approachability and friendliness from the band members though that has helped make them a true crowd favorite in New York’s DIY music scene. Basement show-goers may even find themselves challenged to a game of Super Smash by Xayvier for the chance to win a t-shirt discount. Good luck beating him though.
Alliteration’s Next show will be at The Bundy Museum on May 28th, for the Bing X Punk Festival . The day’s music starts at 3pm and is slated to run until 9:30. The show will feature three other bands who have been seen in the Albany area as of late: Stay Off The Fence , Senior Living, and DiRTYBANDAiD. All of these bands rock, hard, and will be accompanied by a number of other acts who won’t disappoint: The Droogz, Pons, The War Lovers, Pleasure Dome, and Tom Jolu.
Alliteration @ The Laundromat – 2.18.22
Like the Bing X Punk Festival shows, Albany’s DIY scene is not an island. It is, instead, a part of a much larger community of music lovers all around the state. There are vibrant underground scenes in cities like Oneonta, Binghamton, and Troy and bands are constantly playing together and traveling from city to city as often as they can. The Laundromat’s final show of the semester on May 6, 2022 featured Crash Test Auto from Oneonta. The upbeat rock band put the community’s connectedness on display by featuring Adam Henkel on bass. Adam is a SUNY Oneonta student who currently runs the 607 Music Scene Instagram page.
Adam has found himself playing for a number of bands and is now focused on building his Instagram following through 607 in order to aggregate event and artist news from around New York’s DIY music scene beyond. Adam’s efforts are all in the name of his love for music and for the members of the underground community. 607 Music Scene is the go-to page to follow if you are interested in keep up-to-date with upcoming shows, photography galleries from past shows, and new music from local acts.
Crash Test Auto @ The Laundromat 5.6.22
In addition to hosting shows in their basement, The Laundromat has also promoted a number of shows at Pauly’s Hotel in Albany. The Laundromat kicked off the 2022 spring semester with their Wild N’ Out rap show on February 5. The show featured nine of Albany’s up and coming rappers to allow the crowd to decide who their favorite rapper of the night was. The show’s winner and runner-up were awarded to Lil Baby Suplex, and Rhakimali. The grand prize was awarded to Suplex and earned him free studio time in New York City.
The Laundromat’s Pauly’s Hotel shows have also included lineups with some local regulars like Treasure Cove, The E-Block, and Safety Meeting. Those who frequent DIY shows in the area are more than likely quite familiar with all three of these acts, as they have all been regularly performing around the area and at other Laundromat shows. Safety Meeting also played shows at The Byrdhouse and WCDB this semester. In April they performed at WCDB Fest and were nominated for Best Alt Rock/Indie Artist for their fun style of rock that incorporates sounds from different genres spanning from punk to country. Safety Meeting has a show coming up on May 28 at Blueberry Field in New Paltz.
Safety Meeting @ Pauly’s Hotel – 2.17.22
As you can see, The Laundromat plays their own important role in a much larger community. Samantha and Ari have grown their own musical node in the network in a very short amount of time. The space they have created creates opportunities for so many artists to put their work on display. The nature of the community inspires crowd members, promotes new acts and venues alike, and makes the whole of New York’s DIY scene stronger.
So whether you are young or old, love hip-hop or punk, or just have $5 in your pocket, then you should consider following The Laundromat on Instagram and keeping your eyes out for the next show they have. It could be this summer, or it could be next summer, but either way you ought to be ready to send them a DM and get the address to what will likely be one of the best shows in Albany happening that night. Albany’s basements are dark and dirty, but the artists and fans are kind and welcoming to all. There is no doubt that a night spent at The Laundromat will be one filled with good music and good vibes.
The Field ServiceMidnight DriverMidnight DriverRicky Bandana & CirredCirredTreasure CoveTreasure CoveThe E-BlockThe E-BlockSafety MeetingDork!AlliterationMichael Rodriguez – AlliterationAlliterationSouly HadMoss TongueMoss TongueGlue HeadGlue Head, Ari & SamanthaGlueheadGlue HeadGlue HeadSam LegenbauerLadybyrdChaz KissDavid Stingle – Chaz KissEvan Randall – LadybyrdProm SexLadybyrdCrash Test AutoAdam Henkel Crash Test Auto / 607 Music Scene
The penultimate episode in Season 47 of Saturday Night Live featured two SNL first timers – Selena Gomez as host, and Syracuse native Post Malone as musical guest.
Gomez did serve as musical guest on January 23, 2016, and used her monologue to discuss her TV show past, including her time on Barney & Friends, and discussed her current show, Only Murders in the Building, featuring SNL-vetaran Steve Martin and SNL-alum Martin Short.
Steve Martin would appear in a pre-taped “Unventor Documentary” sketch as Archie Gizmo, the inventor of the whoopie cushion. He tells the origin story of the gag gift, with Dina Beans (Aidy Bryant) as the muse he fell in love with.
https://www.youtube.com/watch?v=TOKAWhFdYNM
For Post Malone’s first song, the dark stage was backlit by white spotlights, the singer on stage alone dressed head to toe in leather to perform “Cooped Up.” Partway through he was joined by Roddy Ricch, who featured on the remix of “Wow” in 2019. The new song dropped this past week, with lyrics that note how Malone gave Ricch a big opportunity: “And Posty took me on my first damn tour date/ He had me rockin’ every night, sold out arenas/ I’m project n—a, I never thought I would see s–t/ I tried to tell you, you prolly wouldn’t believe us.” “Cooped Up” appears on Twelve CaratToothache, set to be released on June 3.
https://www.youtube.com/watch?v=RSdHZale2cA
Post Malone would show up twice in sketches – first as the conscience/shoulder-angel of Chris Redd in showed up in the sketch “Intuition,” and later in the final sketch of the night “Baby Monitor” as a baby in a crib.
Post Malone’s second song, “A Love Hate Letter To Alcohol,” also appears on the upcoming album. Fleet Foxes along with LA-based singer-songwriter Adam Melchor served as backup to Malone, all clad in black. Malone was revealed on one knee and wearing a calf-length dress along with white button down and black suspenders.
https://www.youtube.com/watch?v=DNzvsXsQaMU
Saturday Night Live returns for the Season 47 finale on Saturday, May 21 with host Natasha Lyonne and musical guest Japanese Breakfast.
Finding a rare balance between heavy riffs, southern blues and psychedelic space rock, Nashville, Tennessee’s All Them Witches wowed a packed Westcott Theater crowd on Tuesday, May 10 in Syracuse. Now celebrating ten years as a band and also the birthday of one of their founding members, fans were treated to a career spanning powerhouse performance of unapologetic, in-your-face stoner-rock of the highest caliber – gloomy yet groovy, visceral, thought provoking and loud. Very loud.
All Them Witches performing at the Westcott Theater on May 10, 2022
Garnering a substantial “cult-like” fan base through a decade of relentless touring, All Them Witches (AIW), comprised of birthday boy Ben McLeod on guitar, vocalist Charles Michael Parks Jr. on bass, drummer Robby Staebler, and multi-instrumentalist Allan Van Cleave on keyboards and violin, have firmly established themselves as heavyweights of their genre. The Nashville psych-rock quartet already has an impressive six studio albums and three live albums under their belt. Sidelined by the pandemic for the better part of two years and eager to play in front of people once again, the Witches’ are currently in the midst an extensive spring tour, one that often sees them doing five nights in a row. We caught up with the hard working and harder rocking road dogs as they rolled into the Westcott Theater for a special Tuesday night treat.
With a stage setup that featured a massive backdrop depicting the same “acid face” seen on much of AIW’s merchandise, the show began at 8pm with a blistering opening set from Ocean City, Maryland psyc-metal power trio The Swell Fellas. Their first time hitting the road on a national tour, the band expressed their sincere gratitude to ‘The Witches’ for showing them the ropes and bringing them along. After their impressive and thunderous, percussion heavy performance, the house lights dimmed and it was finally time to see what sort of strangeness our headliners were brewing up.
AIl Them Witches Charles Michael Parks Jr. performing at the Westcott Theater on 5/10/22
As the silhouettes of All Them Witches took their positions on the darkened stage, an eerie and brooding ambiance began funneling in, swelling and building tension in the now mostly full room. Finally, after much anticipation, the thick bass line and steady snare beat of the song “See You Next Fall” kicked in as vocalist Charles Michael Parks Jr. crooned his first words of the evening, “If all is well / I can not tell,” setting the tone for the heavy subject matter still to come. As the layers of sonic distortion, spacey textures and psychedelic fuzz continued to amplify, there was always a type of impending dread under the surface.
The band was always in control, showing a calculated restraint while building the tension to a boiling point before The Witches would finally kick on the overdrive pedals and unleash an all-out sonic assault of the senses. Brilliantly executed throughout the evening, the band was able to ‘craft’ a well-balanced setlist that both kept the listener on their toes and built momentum through the duration of the show. Working their way through AIW staples like “When God Comes Back,” “Diamond,” and “1×1” (which featured the crowd shouting in unison “I can’t wait to be defeated,”) the band flexed their musical might with a cool confidence that never seemed too “over the top.”
Rooted in the blues, but with a propensity for all things heavy, the influences for AIW’s sound are all over the map. While you would never confuse them for the Grateful Dead, it was hard not to notice the huge Steal Your Face slap on guitar player Ben McLeod’s amp, or the Gilmour influence on stand out tracks of the night like “Saturnine & iron Jaw,” which goes from delicate and tasty Pink Floyd-esq licks to suddenly shifting directions to a chugging, meaty crunch reminiscent of bands like Tool and Mastodon. Perhaps the essence of this versatility was best on display during the incredible one-two punch of the bluesy, almost spoken word styled “The Marriage of Coyote Woman” which alligatored nicely with the relentless riffage of “Enemy of My Enemy.” Footage of that can be seen below:
Pausing for a moment to acknowledge The Swell Fellas kicking off the party, Parks would then lead the crowd in a “Happy Birthday” singalong to bandmate Ben, who suddenly found himself on stage alone in the spotlight. Seizing the opportunity, McLeod would noodle his way into a beautiful instrumental called “Everest.” When the rest of the band returned to the stage, Parks claimed the birthday boy had wrote that song when he was just twelve years old.
AIl Them Witches guitarist Ben McLeod celebrates his birthday at the Westcott Theater on 5/10.22
Now trading his bass guitar for an acoustic one, Parks would duet with Allan Van Cleave on electric violin for the song “The Children Of Coyote Woman.” Van Cleave, an original member clad in a ridiculous cat shirt, took a break from the band in 2018 and only has played a handful of shows since rejoining The Witches in 2021. Afterwards, the multi-talented Van Cleave could be seen talking with fans, handing out setlists and taking selfies, clearly happy to be back on the road again.
All Them Witches Allan Van Cleave rejoined the band in 2021
Moving forward, vocalist Charles Michael Parks Jr. then introduced a song the band has “rarely played,” partially because it’s a newer one called “ Fall into Place.” A decade into their career and with six albums to choose from, it was obvious they couldn’t play everything. As fans started to worry they might not hear their favorite AIW song, many of those fears were quelled when The Witches launched into “41” and then closed out the set with a towering rendition of “Blood and Sand / Milk and Endless Waters.” Exiting stage left to a rousing ovation, the boys still had one song left in their back pocket. The one people were calling out for all evening long.
After a brief encore break and some more begging from the thirsty crowd, All Them Witches returned to the stage to send them home happy. Whether they heard their call, or were perhaps playing the audience like a fiddle, the band closed the show with perhaps their most well-known song, “Alabaster” which Parks described as a “dancing song, if you feel comfortable enough.” As the band took their final bow of the evening, Parks then simply said, “Thanks everybody. Get home safe. We love you a lot.” Footage of the band performing “Alabaster” can be seen by clicking on the link below:
Watch All Them Witches perform “Alabaster” live from the Westcott Theater on 5/10/22
An impressive performance from start to finish, the band showcased exactly why they are at the top of their genre. While their name my conjure up some preconceived notions, It was a pleasant surprise to see the vibe wasn’t all doom an gloom. At one point, Parks even stated he “hoped everyone had a good time, maybe talked to some new people, made a new friend. Cause that’s what it’s all about. We’re all in this together, so it’s important to try and love thy neighbor.” Complete with a distinctive sound, attention to arrangements, great vocals and strong visuals, All Them Witches have artfully crafted a presentation full of technical complexity, subtle nuance and mystery. A band worthy of your time.
All Them Witches | 5.10.2022 | Syracuse, NY | Westcott Theater
Setlist: See You Next Fall, 3-5-7, When God Comes Back, Saturnine & Iron Jaw, Diamond, 1×1, Fall Into Place, Everest, The Children of Coyote Woman, The Marriage of Coyote Woman, Enemy of My Enemy, 41, Blood and Sand / Milk and Endless Waters
Encore: Funeral for a Great Drunken Bird, Alabaster
For more photos of this show, check out the full gallery below, courtesy of NYS Music photojournalist Zak Radick.
By 1980, the Grateful Dead certainly didn’t feel like a stranger at Nassau Coliseum. The band had played ten shows at this arena already, five in 1973 and another five the previous year in 1979. However, 1980 would only see a single three-show run at Nassau. With the Brent Mydland era now fully initiated and underway, we take a look back at this opening night of the run on its anniversary, aided by a sterling soundboard recording.
The 1980 Nassau run kicks off with an “Alabama Getaway” that does nothing to wane the excitement present in the building. Some lively Brent Mydland harmonies and a few short but spirited guitar solos from Jerry Garcia highlight the opener that never really stops and instead instantly veers into a “Promised Land.” Bob Weir mans the vocals on the Chuck Berry cover and, by now, Mydland’s Hammond organ is fully turned up in the mix in a big way, adding a palpable layer of soul.
After that spirited 1-2 punch to open the show, the Dead then slow things down in a big way with a “Candyman” that hits all the right notes, with the band taking a delightfully patient approach to this live show staple.
Things then liven back up as the band takes a musical trip south of the border, so to speak, with an interesting “Mexicali Blues” and “El Paso” pairing. Bassist Phil Lesh throws down some stellar fills on “El Paso” before the Dead bring things back to the States with a “Tennessee Jed” that gets a roaring endorsement of approval from the Long Island crowd. “Jed” is played to perfection and after some brief deliberation, they jump right into “Let It Grow,” the second part of the esteemed “Weather Report Suite” that made its live debut at Nassau Coliseum nearly seven years ago. This elicits a brief but mesmerizing jam that sees Garica and Mydland fully in synch with one another.
They then take command of the next two songs, as Garcia lays down the opening guitar licks to “Althea” that, like much of the opening set, is played with a comfortably deliberate pace with each note serving a purpose. Lesh shines again on bass here, backing up another typical stirring Garcia guitar solo. Mydland then puts his signature raspy vocals on full display on the “Easy To Love You” that follows alongside some delightful play on the electric piano. The set then comes to a rousing finish thanks to “The Music Never Stopped” and a closing breakneck jam that sees the whole band immersed and engaged on this crowd favorite.
The second set begins with a rather funked out “Feel Like A Stranger,” a new weapon in the Dead’s live arsenal that just made its debut a few months ago at the Capitol Theater in Passaic, NJ. Weir handles the vocals with ease and the song is aided by some droning synthesizer work on Mydland’s end that peppers the song throughout. Instead of its traditional ending, they jam out the ending of “Stranger,” and rightfully so, until Garcia initiates the introduction to “Sugaree.” Garcia and Mydland, on organ now, lock in together once more on a rousing version with a jam that slowly builds in intensity.
This first show of the Nassau run then features another pairing of Dead songs, this time it’s “Lost Sailor” and “Saint Of Circumstance,” with the latter making it another song that made its live debut in New York State. The first “Saint” was played in Glens Falls in August of 1979. To slow things down once more, the Garcia-led ballad “Comes A Time ” then emerges, replete with one more emotion-laden guitar solo.
The harrowing outro jam to “Time” slowly but surely begins to increase in tempo, with Garcia fluttering all around the fretboard, until Phil Lesh rings out the signature bass line that begins “The Other One” and the Dead are off and running once more. A madcap, psychedelic journey ensues between the two main verses on this classic tune that harkens back to the days of San Francisco and “Cowboy” Neal Cassady. Once the second verse is completed, the band almost stops playing instantly and defers to Bill Kreutzmann and Mickey Hart for the “Drums” portion of the evening.
From the ashes of “Space” emerges the always reflective “Black Peter,” with Mydland once again lending a delicate touch thanks to the Hammond. The Dead then close the doors on the second set at Nassau with a couple of traditional rock and roll covers. Weir helms the vocals once more, starting with “Around And Around” and ending with “Johnny B. Goode,” rounding out a trifecta of Berry covers for the night. “Don’t Ease Me In” then served as a fitting encore for this show, with the Dead having laid the ground work for another memorable run of shows at Nassau Coliseum.
Listen to this show below or at Live Music Archive here.
View this show and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead Nassau Veterans Memorial Coliseum – Uniondale, NY 5/14/80
Set 1: Alabama Getaway > Promised Land, Candyman, Mexicali Blues > El Paso, Tennessee Jed, Let It Grow > Althea, Easy To Love You > The Music Never Stopped
Set 2: Feel Like A Stranger > Sugaree > Lost Sailor > Saint Of Circumstance > Comes A Time > The Other One > Drums > Black Peter > Around And Around > Johnny B. Goode
