On Wednesday October 26, Renaissance made an appearance at The Homer Center of Arts on their historic Legacy Tour. Renaissance became a progressive rock band starting back in 1978 when top hits “Carpet of the Sun” and “Ashes are Burning” came out.
The Legacy Tour was a celebration for Annie Haslam’s 75th year, in celebration to Annie’s solo music career and The Renaissance band for over 50 years. The group includes Jason Hart, David Keyes, Rave Tesar, Frank Pagano and lead vocals Annie Haslam and Michael Dunford. Combining rock, classical folk, jazz, and the lead female vocal, Renaissance has maintained their musical groove.
The Homer Center of the Arts was the perfect venue for hosting the Legacy Tour. The U shaped arranged seating brings the audience together. Renaissance welcomed the crowd from beginning to end which truly connected the crowd.
Renaissance’s great success began in the 70’s, and this show made it clear that their passion for music has carried with them throughout the decades. Highlights of their success in the 1970’s included sold out shows at Carnegie Hall, Royal Albert Hall and The Royal Chorale Society, while also recording and releasing these sold out shows as live albums.
Wednesday’s show at Homer Center for the Arts did an outstanding job bringing the 70’s rock back on stage. While Renaissance still pursues their music career, fans are nothing but excited to see what’s next in store for these progressive rock legends.
In September and October 1980, the Grateful Dead did a brief concert tour of shows with three sets each, one acoustic set followed by two electric sets. The acoustic sets were the first ones the band had performed since the early ’70s aside from a few rare one-offs. The final shows of this legendary Dead tour, which yielded both an audio and video release, took place at New York City’s Radio Music Hall with the last one taking place on none other than Halloween. NYS Music, along with a strong lending hand from YouTube, now presents a look back at this holiday gig at one of America’s premier musical venues.
Bob Weir greets a raucous Radio City Music Hall to start things off and also says hello to all the “folks who are filtering in to the various theaters around the country.” This show was both simulcasted across the country, apparently, and released to the public the following year on video as Dead Ahead. Things get off to a rocky start with Phil Lesh’s amp producing some decidedly spooky feedback. So he is whisked away and the rest of the band opens with a bass-less instrumental in “Heaven Help The Fool.”
With Phil and his bass still on the sidelines, Jerry Garcia leads the ensemble through another rare instrumental. This time it’s “Sage and Spirit,” a song that appears on 1975’s Blues For Allah and was only ever played live twice, with this being the last one.
The Dead keep the rare acoustic hits coming at Radio City with the cover of “Little Sadie” that appears next, with Jerry Garcia on lead vocals. It’s a song that hadn’t appeared live since a show at San Francisco’s Family Dog in 1970 – a dark tale of murder befit for a Halloween show.
Weir then shifts the theme from “tragedy” to “tragedy narrowly averted” with “Monkey and the Engineer,” which finally sees Phil Lesh and his bass return to the fold.
“Boy we’re really having fun now,” notes Weir afterwards. Up next, the Dead grace Radio City with “It Must Have Been The Roses.” A staple of Jerry Garcia solo shows in the ’70s, it would go on to be played for the rest of the Dead’s touring career. Garcia seems to visibly enjoy this one coming to life in the Dead setting.
Up next are two Grateful Dead live staples, starting with a percussion-heavy and crisp “Cassidy.” WIth one small drum kit, Mickey Hart moves over to the congas, after previously utilizing the maracas on “Roses.” This “Cassidy,” which even elicits a bit of a jam, serves as an MTV’s Unplugged-type version of a Dead classic well before the program ever existed.
This is followed up by “Bird Song,” by far the longest and most experimental of all the first set songs. Garcia leads the way once more with a blistering guitar run and the rest of the band now firing on all cylinders.
A very enjoyable opening acoustic set of Grateful Dead music then comes to a close with “Ripple,” much to the delight of the Radio City crowd, with special attention paid to the “let there be songs to fill the air” lyric.
With the acoustic setup gone and the traditional dual drum kits returned, the Dead then go on to play another two sets of electric music at Radio City Music Hall in their typical concert format. The second begins with a vibrant “Jack Straw” that sees Bob Weir bouncing up and down in earnest at one point.
This is followed by a fairly standard run through of “Cold Rain and Snow” that gets a very warm reception from the New York city crowd at first.
Bob Weir then takes lead once more and navigates the band through “Me And My Uncle.” With the drum beat never fully stopping, the Dead then slide seamlessly right into “Mexicali Blues,” completing a popular pairing of songs.
The “first set” vibe of this second set carries right along with “Ramble On Rose.” As expected, Radio City greets the “Just like New York City” line with a massive roar of approval. Garcia graces this version with a pedal steel-esque guitar solo that’s rife with emotion.
As is their custom, Bob Weir on slide guitar then tags in for lead on the next song, a cover of the blues song “Little Red Rooster.” Garcia is playing slide as well and drops another notable solo and Brent Mydland even gets into the action a little as well with some standout organ play.
Afterwards, the Dead rip through a pristine take of “Brown Eyed Women,” with Garcia back on lead vocals and Weir and Mydland ably tending to the harmonies.
From “Women” the music then shifts almost immediately into the ever poignant “Looks Like Rain.”
The Dead then close out the second set of Halloween at Radio City with a rousing “Deal” that’s carried by the strength of two more powerful Garcia guitar solos.
To start the third and final set at Radio City, the Dead kick things off with a short but sweet “Don’t Ease Me In.”
Next, it’s time for another signature pairing of songs, with the Bob Weir-helmed “Lost Sailor” that flows seamlessly right into “Saint Of Circumstance.”
With the third set energy peaking, Garcia initiates the familiar opening chords of “Franklin’s Tower” and the band is off and running once more. Playing his legendary “Tiger” guitar, Garcia obliterates another run up and down its fret board, spearheading a brief jam that reaches a quick peak before mellowing out and devolving into the “Drums” only portion of the evening.
Unfortunately, there doesn’t seem to be video of the “Drums” > “Space” sequence for this evening, but emerging from the psychedelic mist are the opening notes to “Fire On The Mountain.” While not necessarily jammed out, it’s a clean and pure take of a Dead classic, with Phil Lesh coming in loud and clear now, his bass issues a thing of the past.
The band takes a nice, relaxed approach to the introduction of the “Not Fade Away” that follows. The Grateful Dead deliver their own bluesy take of this Buddy Holly cover, with Radio City singing along in earnest.
Instead of keeping up the pace and stretching it out, however, the tempo slows to a crawl. This sets the stage for Garcia to take lead once more for “Stella Blue” and to unleash one last gorgeous guitar solo.
As the last notes of “Stella” drop, the Dead immediately steer back into the show’s closing sequence with a blistering cover of “Goin’ Down The Road Feeling Bad.”
Instead of ending the set right then and there, the Dead throw in one last cover for the Radio City faithful. This time it’s The Young Rascals’ “Good Lovin’,” sung by a spirited Bob Weir in the only way he knows how. He even throws in some Pigpen-esque vocal riffing at the end for good measure as the crowd eats every bit of it up.
Weir then wishes both the audience at Radio City and everyone else around the country “good night” and the Grateful Dead encore with “Uncle John’s Band,” closing out quite a memorable three-set show in the heart of the city.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead – Radio City Music Hall – New York, NY 10/31/80
Set 1: Heaven Help The Fool, Sage And Spirit, Little Sadie, Monkey And The Engineer, It Must Have Been The Roses, Cassidy, Bird Song > Ripple
Set 2: Jack Straw , Cold Rain And Snow, Me And My Uncle > Mexicali Blues, Ramble On Rose > Little Red Rooster, Brown Eyed Women > Looks Like Rain > Deal
Set 3: Don’t Ease Me In > Lost Sailor > Saint Of Circumstance > Franklin’s Tower > Drums > Space > Fire On The Mountain > Not Fade Away > Stella Blue > Goin’ Down The Road Feeling Bad > Good Lovin’
Each Sunday evening from 7-9 p.m. 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 Ian Nichols, mrhs, and Northern Faces.
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.
Ian Nichols – “Killer Corpse”
Ian Nichols is a singer-songwriter from Albany who is an indie rock/ Lo-fi composer. His fourth full-length album is scheduled to be released in November. He has worked on various other projects and produced the score and music for the 2014 horror film Lake Nowhere. His single “Killer Corpse” will be played on EQXposure.
mrhs – “Old Fashioned Hurgusburgus”
mrhs are a synth-punk group from Albany. They recently released a new album, Poo Brain. The song “Old Fashioned Hurgusburgus” from that record will be played on EQXposure.
Northern Faces – “Feelings”
Northern Faces are a rock band formed in 2012. The band features Bryan Shortell and Marco Testa on vocals and guitars, and Matt Ippolito on bass.
Bands largely based in Chautauqua and Erie County show up on a bi-weekly basis to take the stage at the Main Street Studios venue in Fredonia. Initially making cassettes for local bands, Foxhead Record Company rented out the building.
Foxhead record company logo
Follow the closure of the North Pole Strip Club (NPSC) house venue on Main Street, Felix Kellogg, Jake King and Liam Powers, the founders of the Foxhead label, talked with the owner of the space about their idea of launching DIY-shows. “Since we got to Fredonia, there was always live music going on”, explained King, “and it was always upperclassmen running it”.
(Credit: foxheadrecordco Instagram)
He pointed out there being a need for people to organize shows and Liam Powers also added in a prior lack of places for shows to happen, following the the North Pole Strip Club closing. The recognition of a need for performance outlets in town led to the transition of the company from focusing on making cassettes for bands to extending their business, bringing live concerts at one of the most popular venues in Fredonia.
Listen to Jake, Liam and Felix discuss more about the formation of their record company, the Fredonia music scene, and more in an exclusive interview below.
Interview with founders of Foxhead Record Company:
https://youtu.be/EG0mNXaG9Hw
A Fredonia-based artist, under the moniker Soup Kale and lead singer of the alternative band Karrot Kake, who performed at Main Street Studios on Saturday, 10/15, commented on the shift in the Fredonia music scene. In an interview below, he described a lot of jam bands being active in the area, along with reggae sounds being notable several years ago, before pop-punk more recently turned into the predominant element integrated in the scene.
Interview with Karrot Kake band musician Soup Kale:
https://youtu.be/t0kZki2MBDI
Interview with musician Soup Kale of Karrot Kake band
SAINT BLIND, real name Aaron, is another artist part of the line-up who performed at Main Street on the night of 10/15. He described working with many people involved in the Fredonia music scene, having joined multiple bands, including one with Jake King of Foxhead when he was in his teenage years, as well as composing a group known as the Blind Orchestra. The alternative/indie rock and synth-pop artist details more of his musical involvement and both upcoming and released works of his in an interview below.
Interview with musical artist SAINT BLIND:
https://youtu.be/RBNFz06i5TI
Interview with artist SAINT BLIND
Make sure to follow Foxhead on Instagram at @foxheadrecordco for updates on when shows are happening at Main Street Studios and original cassette releases. Also, follow Karrot Kake on Instagram @karrotkakemusic and on Spotify @Karrot Kake, and Kaleh @soupkale, as well as SAINT BLIND @saint_blind on Instagram to keep up with the latest news on their musical releases and performances.
The Eaves Band, based in Buffalo, is comprised of Adam Clukey, Chris Couche, and Maurice Halliday. They’ve been friends since childhood and reconnected after a couple of years after, following going to different colleges, according to Couche.
The Eaves Band (Credit: Brett Pallachino Photography)
In late 2018, The Eaves debut record Learning to Live in the Dark was produced by GRAMMY Award-winner, Ted Hunt, whose worked with other bands including The Gaslight Anthem, Lucero, and Dropkick Murphys. Fast forward to 2022, their upcoming album Lately, I Don’t Have a God…and Other Obvious Epiphanies was recorded in collaboration with artist Jay Zubricky and features a production from bassist and vocalist of the Goo Goo Dolls, Robby Takac.
Cover Art for ‘Lately I Don’t Have A God…And Other Obvious Epiphanies’
“‘It’ll Be Okay’ was the last song we wrote for the record”, the band’s Chris Couche said. He explained that the track “is meant to be earnest, reassuring catharsis – direct, unashamed, and unadulterated.” The new video for the track is available for streaming on New Noise and DSPs.
Read more of NYS Music’s interview with The Eaves’ Chris Couche.
Heather Occhino: What made you guys decide to form a band?
Chris Couche: The three of us (Mo, Adam, and I) grew up together. We all had similar musical interests and played in bands together. We sort of went our separate ways during college and reconnected a couple years after. We caught up quick and realized that our shared music taste had evolved similarly, so we decided to start writing together and see if anything came of it.
HO: Are there any artists or bands who inspired you to pursue a career in music?
CC: We’re inspired by a ton of artists, but honestly, the first band that ever inspired to me to pick up a guitar and write was Blink-182. I was 11 or 12. I could barely play (still can’t), but the true power of blink is their accessibility and lack of pretense. As a 12 year old, those three power chords were ACCESSIBLE. They were the way in.
It would take a little longer, but the real revelation I needed to push me over the edge was seeing Bruce Springsteen live for the first time. Totally changed everything for me. My entire perception of music and what it could do was instantly upended. It was a surreal and borderline religious experience on a personal level. I know lately even Bruce himself has been trying to dismantle his mythic stature a little bit, or at least trying to temper unrealistic expectations and create some separation between persona and actual, fallible human being. The persona may be fictitious, but the euphoric result of that group sharing their talent and passion with a crowd of equally passionate participants is very, very real. It was after seeing Bruce that I realized I needed to make music a priority in my life.
HO: After reading an article on your music that was released by Earshot Media on Mad Mimi, I saw that your debut single, “It’ll Be Okay” is part of your upcoming album, Lately, I Don’t Have a God… and Other Obvious Epiphanies. What makes this track stand out from the other songs part of the debut album, despite it being the last song?
CC: “It’ll Be Okay” may be the only truly reassuring song we have. It only talks about the sun exploding ONCE. But really, we were at a point where it was kind of bothering me that even when I would try to write lyrics that were reassuring or positive, I would almost inevitably gravitate toward negative feelings, mostly because I’ve found it’s difficult to write something reassuring that feels like it has any genuine sentiment behind it. That likely says more about me than it does anything else, and uncoincidentally, is sort of thematic through-line that most of the album wrestles with. But “It’ll Be Okay” is our earnest attempt at surrendering to sincerity and opening up to catharsis. Sometimes cheesy is cool, clichés are cliché for a reason, and it’s okay to feel good.
From an instrumental perspective, Kyle Resnick lent his celestial horns for the chorus, which are maybe the most identifiable trait of the song overall, and really set the track aside sonically from some of the other songs on the record. We’re all big fans of The National, so working with Kyle was a surreal experience. He’s also the nicest, most down to earth person you’ll meet, and of course generous with his talent. If I was that good at something, you’d need a draw bridge to get to me.
HO: The recording and production of the album was assisted by established people in the music industry, like Robby Takac of the Goo Goo Dolls and Kyle Resnick, who worked with the band, The National, and also featured on Taylor Swift’s album Folklore. Are you planning on working with these people again for future debut projects?
CC: If they’ll have us after reading this! We’re very fortunate and grateful to have had the opportunity to work with all the people who helped make this record. Jay Zubricky mixed and engineered the album at GCR Audio and helped introduce us to Robby Takac. Having grown up in Buffalo, getting a chance to work with Robby was a pinch me moment. The project started in 2019 with Robby and a couple songs and ended with an album in 2022, with Jay there every step of the way (with the pandemic, logistics prevented us from working with Robby on more of the record). Finally, I have to mention Stu McKillop who mastered the record at Rain City Mastering. He really flipped the switch and brought the creature to life.
HO: I also saw that you guys have shared the stage with other rock bands, such as The Joy Formidable and The Lawrence Arms. Would you be able to share when your group is planning on performing next with other musicians?
Music has been an integral part of the moviegoing experience ever since the Lumière Brothers screened the first silent shorts with musical accompaniment in Paris in 1895. Today, Upstate Films is continuing the tradition of celebrating film and music together at its theaters in Rhinebeck and Saugerties and many other locations via its traveling Hudson Valley Picture Show.
From musicals to documentaries and biopics to staging live performances before and to complement silent film screenings, Upstate Films is putting a uniquely creative touch to the fusion of music and moviegoing.
The venture launched in 1972 as a single-screen, not-for-profit cinema in Rhinebeck. In 2010, it added to its footprint by leasing Woodstock’s Tinker Street Cinema for a decade. With its departure from Tinker Street in 2020, Upstate Films moved on to an even grander space, The Orpheum Theater in Saugerties. This new acquisition was forged by Upstate Films’ newly appointed co-executive directors, the creative team of Jason Silverman and Paul Sturtz.
“The Orpheum Theater is a true classic,” says Katie Cokinos, Senior Programmer for Upstate Films. “It opened in 1908 as a vaudeville theater and has a big, beautiful stage which is ideal for live events. We’ve had everything from staged readings of plays to poetry and book events and, of course, a bounty of live music. That’s not only here, but also at our Rhinebeck location and throughout the area with our Hudson Valley Picture Show.”
Launched in Spring 2021, The Hudson Valley Picture Show is a traveling film experience, one that is often staged “al fresco” at some of the region’s most bucolic backdrops. With the purchase of a state-of-the-art outdoor screening system including a 24-foot screen, an ultra-bright projector and a powerful sound system, Upstate Films has popped up at venues like Olana, Kingston’s Old Dutch Church, Catskills Community Theater and many more.
“Our Hudson Valley Picture Show events always incorporate a live music component,” says Jason Silverman. “My co-director Paul and I really love music. And since we are new to the area, we thought this would be great way for us to not only get to know but showcase the unparalleled wealth of musical talent that call the Hudson Valley home.
“Over the course of the past two years, we’ve probably had 40 acts performing in our theaters and Hudson Valley Picture Show,” continues Silverman. “We’ve had everyone from jazz greats like Bill Ware and local legends like Simi Stone to up-and-coming younger bands and solo artists as well as a revival of the John Street Jam, a long-running singer-songwriter event in Saugerties that was without a home for a few years. ”
On Friday, October 28, Upstate Films’ Hudson Valley Picture Show will present a screening of the 1920 horror classic, The Cabinet of Dr. Caligari, with live musical accompaniment by The Anvil Orchestra. Founded by Roger Clark Miller (Mission of Burma) and Terry Donahue more than 30 years. The event will take place at The Community Theater in Catskill, New York.
“The marriage of silent film and live musical accompaniment is something we’ve been exploring since we reopened The Orpheum in November 2021,” adds Silverman. “Our opening weekend actually featured a screening of Buster Keaton’s Sherlock Jr. with a live score by pianist Barbara Lee. It was something that not only pleased adults but kids as well. We look forward to doing more of it in the future.”
Upstate Films and its Hudson Valley Picture Show have also boasted screenings of many of the best music documentaries. The list includes the Prince-focused Sign of the Times, the recent Bowie doc Moonage Daydream and Anonymous Club, a critically-acclaimed profile of enigmatic singer-songwriter Courtney Barnett.
Barry’s book is a ‘fly on the wall” account of the final chapter of Helm’s life and the scene that grew up around his legendary, star-studded home concerts, the Midnight Rambles. These weekly events were a way for Helm to both recover from bankruptcy and battle against throat cancer, something that had robbed him of his legendary voice for a time. Barry spent years just hanging and recording conversations with Helm, both in his home and on the road. The book, which took the writer 14 years to complete, may provide the truest look into the spirit of this legendary American music-maker and his triumphant final turn with the Grammy-Award winning album, Dirt Farmer, before his passing in April 2012.
Barry was joined at the sell-out event by Barbara O’Brien, who served as Helm’s manager during this final chapter, and Radio Woodstock’s amiable morning host Greg Gattine. The trio provided many humorous and heartfelt anecdotes about their time with Helm, providing unique insight into both his music and his life in Woodstock. The event was co-sponsored by Inquiring Minds Books in Saugerties which, in this writer’s estimation, has the largest selection of music biographies and histories to be found in the Hudson Valley. For more information on Barry’s book, visit rockrollramble.com.
Silverman continues: “We think of ourselves as a cultural center, something that is about film, of course, but also about the other arts that flourish here in the Hudson Valley. We pay every musician who plays here too, which is important. There are many ways to use a theater and music is just one. But it’s one that is a true cornerstone of Hudson Valley culture, one, as with Helm’s story, can have a lasting, worldwide impact.”
Upstate Films will mark the holidays with two additional musical events. Woodstock-based singer/songwriter Chris Maxwell will be teaming with Holly Miranda and Ambrosia Parsley on a quirky holiday musical/variety show, The Great Big Christmas Show. Slated for December 11 at The Orpheum Theater, it will include tune created by the trio for their 2016 holiday CD, Catskill Christmas. Also upcoming in a holiday themed rock-and-roll performance by the youngsters at Woodstock’s own rock school, The Rock Academy, at The Orpheum on December 4 at noon.
For many, GWAR has been one of the most consistent heavy metal bands in their lives. On October 22nd, they brought their bloodbath to the Rapids Theatre in Niagara Falls.
GWAR brings a bloody great time to the Rapids Theater in Niagara Falls. Photo by Samantha Rychlicki
If you search the name GWAR, it’s easy to see just on the outside what this band brings when they put on a performance. Big costumes, heavy metal, blood and guts. When you go to see them, however, there is something so much more.
But before we go into the main event, let’s talk about the other groups that GWAR brought along.
The opener was a band from Pottsville, PA named Crobot. With a name like that, I wasn’t too sure what to expect. However, as soon as lead singer Brandon Yeagley popped out of a foam egg, the crowd was immediately enthralled with this group. With groove mixed with a lot of Rock ‘n Roll, you couldn’t help but dance/scream/head bang. The energy they brought was incredible and they are certainly a group to keep your eyes out for.
Brandon Yeagley of Crobot flies high while band mates Chris Bishop, on guitar, and Tim Peugh, on bass, rock out. Photo by Samantha Rychlicki
Immediately following Crobot, we have the melodic death-metal group Nekrogoblikon. They. Killed. It. The audience was absolutely in love with this group, and with John Goblikon. Their sound was totally unique and they definitely rocked the house down.
Nicky Calonne and John Goblikon jamming out together. Photo by Samantha Rychlicki
And finally, we have GWAR. Formed in 1984, this group has been non-stop for more than three decades. Fans of GWAR at Rapids Theater were some of the most dedicated people to a group I’ve ever seen. Normally when you go to a rock show, there is a unspoken dress code of all black all the time. But for this one, fans were dressed in white, in hopes to be part of the carnage that this band brought. Of course there were crowd surfers and mosh pits. What else can you expect? Blothar the Berserker’s vocals are out of this world and the rest of the band are a recipe for success.
This being said, there was also plenty of the blood spewing that the band is known for. From the dismemberment of a ‘GWAR fan’ and a soldier, to the ‘pissing match’ between Blothar’s alter-ego from another universe (which he said was a manifestation of everything that he hates about himself). There was a certain political undertone that was hard to miss and the crowd ate up with the infamous presidential decapitation of Joe Biden, Putin’s demise and even the destruction of Amy Coney Barrett.
Blothar’s alter-ego from another dimension. Photo by Samantha Rychlicki
The ‘so much more’ piece mentioned before about this group? The fans of the GWAR are die-hards, they are all connected in a way that is so much more than just the costumes, guts and gore.
If you ever have the chance to see this band perform, do not miss your opportunity. And if you’re too scared to get a little dirty, stay in the back or stay home. This is not for the lighthearted.
GWAR at Rapids Theater Setlist: The Cutter ft. Lzzy Hale, The Issue of Tissue (Spacecake), Bring Back the Bomb, New Dark Age, Mother Fucking Liar, Rise Again, Bored to Death, Saddam a Go-Go, Ratcatcher, Womb With a View, Black and Huge, Venom of the Platypus, Berserker Mode, U Ain’t Shit, None but the Brave Encore: Sick of You, Fuck This Place.
Gwar decapitates a “fan”. Photo by Samantha RychlickiPustulus Maximus of GWAR. Photo By Samantha RychlickiBlothar the Berserker enjoying a cup of a soldier’s blood. Photo by Samantha RychlickiPutin’s destruction. Photo by Samantha RychlickiBonesnapper surveys the area to make sure there’s no trouble (that they aren’t causing). Photo by Samantha RychlickiBeefcake the Mighty on Bass. Photo by Samantha RychlickiFans of all types enjoy the bloodbath that GWAR brings to their show. Photo by Samantha RychlickiBlothar the Berserker. Photo by Samantha RychlickiBalsac the Jaws O Death on lead guitar. Photo by Samantha RychlickiThe aftermath of the gore. Photo by Samantha Rychlicki
Nearing the end of the 2022 leg of their world tour that commenced six months ago in Croatia, East London heavy metal legends Iron Maiden landed at the Prudential Center (affectionately known as “The Rock,” a reference to the Rock of Gibraltar corporate logo) in Newark, NJ this past Friday night, October 21.
The Rock | Photo by Michael Dinger
Iron Maiden’s Legacy of the Beast Tour, inspired by the 2017 video game of the same name, is an all-encompassing retrospective of their history, complete with a visually stunning stage design featuring jaw-dropping, thematic backdrops and stage props. Dating to the first leg of the tour consisting of European dates in 2018, Iron Maiden have played nearly 150 shows to more than 3 million fans, their biggest world tour since their formation on Christmas Day 1975.
Bruce Dickinson of Iron Maiden | Photo by Michael Dinger
Taking over support duties from Trivium, who departed the tour at the end of September after opening eleven shows for the heavy metal icons, Within Temptation took the stage promptly at 7:30 pm. Formed in 1996 in the Netherlands, the symphonic metal band are led by vocalist Sharon den Adel and guitarist Robert Westerholt. The Dutch sextet is rounded out by Ruud Jolie (lead guitar), Jeroen van Veen (bass), Mike Coolen (drums), Stefan Helleblad (rhythm guitar) and Martijn Spierenburg (keyboards).
Within Temptation performed three tracks (“Raise Your Banner,” “Supernova” and “The Reckoning”) from the latest of their seven studio albums, 2019’s Resist (Spinefarm Records), which found the band exploring new genres such as industrial and electronic dance music. The remainder of their 8-song set included single offerings from their discography, albeit their 1997 debut album (Enter) and their third studio album, 2004’s The Silent Force. Nearing the end of their set, Within Temptation presented “Don’t Pray for Me,” the fourth and most recent independently-released single in a series that is a precursor to their next studio album – expected for release in 2023.
Sharon den Adel of Within Temptation | Photo by Michael DingerRobert Westerholt of Within Temptation | Photo by Michael DingerRuud Jolie of Within Temptation | Photo by Michael DingerMike Coolen of Within Temptation | Photo by Michael DingerJeroen van Veen of Within Temptation | Photo by Michael DingerMartijn Spierenburg of Within Temptation | Photo by Michael Dinger
At approximately 8:45 pm, as “Doctor Doctor” by UFO played over the house PA, the lights went dark and it was game on! To thunderous applause from the 20,000 capacity crowd, the heavy metal icons appeared before us – the 64-year old Bruce Dickinson known for his legendary, operatic-style vocals, bassist Steve Harris, drummer Nicko McBrain and the trio of guitarists comprised of Adrian Smith, Janick Gers and Dave Murray.
Maiden’s 15-song, nearly two hour set kicked-off with the three lead tracks from their most recent studio album and 17th overall, Senjutsu, including the title track, “Stratego” and “The Writing on the Wall.” The opening trifecta of songs was accompanied by a magnificent stage production that matched the Japanese theme of the record’s visual graphics, including an early appearance by their mascot Eddie as a samurai warrior. Eddie would make another appearance later in the night as “The Trooper” to do battle with Dickinson.
Eddie | Photo by Michael Dinger
The setlist was a retrospective of their voluminous, four decade discography celebrating their biggest hits (“The Trooper,” “Hallowed Be Thy Name,” and “Fear Of The Dark”), while also including some deeper cuts such as “Revelations” (Piece of Mind, 1983), “Blood Brothers” (Brave New World, 2000) and “Sign of the Cross” (The X Factor, 1995). Maiden played two encores consisting of “The Trooper,” “The Clansman,” “Run To The Hills” and the closing number of the night, “Aces High,” as a life-size replica Spitfire plane swayed high overhead.
Bruce Dickinson of Iron Maiden | Photo by Michael DingerJanick Gers of Iron Maiden | Photo by Michael DingerSteve Harris of Iron Maiden | Photo by Michael DingerDave Murray of Iron Maiden | Photo by Michael DingerAdrian Smith of Iron Maiden | Photo by Michael Dinger
In the closing moments of the show, before Monty Python’s “Always Look on the Bright Side of Life,” Dickinson addressed his audience for the last time of the night:
We’d like to take you home with us, but you won’t fit through the front door. Have a great weekend, have a great week, have a great month, have a great year. In fact, have a great fucking life, because you only get one. Live every fucking day you can of it. We’ll see you again, thank you everybody.
Maiden’s 24-date journey across North America culminates at the Amalie Arena in Tampa, Florida on October 27, followed by a much-needed rest for this band on the cusp of their golden years. Lord knows they sure haven’t wasted any, especially with 2023 dates already announced for The Future Past Tour that will launch at the Sweden Rock Festival in early-June. And hopefully, by then, these metal behemoths will finally be on the Rock & Roll Hall of Fame’s list of new inductees.
Iron Maiden | Photo by Michael Dinger
Within Temptation Setlist: The Reckoning > Paradise (What About Us?) > In the Middle of the Night > What Have You Done > Supernova > Don’t Pray for Me > Raise Your Banner > Mother Earth
Iron Maiden Setlist: Senjutsu > Stratego > The Writing on the Wall > Revelations > Blood Brothers > Sign of the Cross > Flight of Icarus > Fear of the Dark > Hallowed Be Thy Name > The Number of the Beast > Iron Maiden > Encore: The Trooper > The Clansman > Run to the Hills > Encore 2: Aces High
They say there is no such thing as coincidence, well that was before Artificial Intelligence was deployed in our browser searches. In the case of Rock Voices and Tony Lechner, its founder, I’m grateful either way.
The Collision of AI & Coincidence
The impact of harmony cannot be denied when you discover a new ways to connect in community with Rock Music. I spied the Rock Voices advertisement on Facebook, combing the Internet for potential guests on my podcast The Long Island Sound. Intrigued by the YouTube video of various people singing a choral arrangement of Rock songs, I am reminded of the Playing for Change, Songs Around the World videos, which began on the web during the Covid quarantine. Leave it to the musician community, who will not be deterred from delivering their art to the masses, while endeavoring to draw communities together. Ever amazed at the seeds of creativity, I am drawn to unpack Rock Voices, an amazing program. Taking a stab at an invitation and reaching out to Tony Lechner, we were drilling down on the particulars after a couple of days for an interview.
Follow the full conversation with Tony Lechner, a music professor turned entrepreneurial rock coral arranger on The Long Island Sound Podcast.
Professor Tony planted the seeds of a rock coral group ten years ago in Hadley, MA. Our cousins across the pond in England had flushed out the idea and Mr. Lechner knew the time was right to start a no-audition Rock chorus in America. He was so amazed with the early impact and results, he told the pioneers of Rock Voices that he’d quit his full-time job as music teacher and pursue the dream of bringing a Rock-based choral group to life.
Recalling the many Zoom calls we all engaged in during quarantine, and recognizing the need to stay connected to the community, Rock Voices is well worth investigating. The program seems to be a prescription to allow singers of every skill level re-enter the local collective and have some fun along the way.
I don’t even like to call it a choir, I’d like to call it a Rock Band with a ton of singers
Tony Lechner
Communities Making Connections
Today, Rock Voices has chapters in six states, and there is a waiting list for new locations as the vetting process for directors continues. New York State has chorus’ in Albany, Brooklyn Heights, Saratoga Springs, Syosset, and Syracuse. They perform concerts in the Spring, Summer and Autumn seasons.
The various Rock Voices Choral Groups have performed selections from the Beatles, James Taylor and the Foo Fighters to name a few.
I was amazed at the arrangements, in particular, the cover of “Somebody to Love ” by Queen, raised the hair on my arms and pulled at my heartstrings.
A choral group is a great place to hide and learn in a no judgment zone
Tony Lechner
Healing Harmony
Tony spoke about the various studies which highlight the mental health benefits for the participants who engage in harmony singing. The positive feedback from the choral group members is an endorsement of the healing powers that music can bring to a community. Rock Voices flings the door wide open and provides an easy entry point for everyone to participate in a fun-loving learning experience. So if you’re ready to Rock, this just might be the therapy you need.
B-Real, Sen Dog, Bobo, and Dj Lord, better known as Cypress Hill, took to the stage at The Vine, at Del Lago Casino in Waterloo, NY on Friday October 21, as the band celebrated 30 years of mainstream hip hop and rap, as well as promoting new album, Back in Black.
The Vine @Del Lago
Activists for legalization of cannabis, the band members routinely take the stage with blunts in hand and enjoy the Mary Jane throughout the show and this show did not disappoint! After an approximately 18 minute intro by DJ Lord who seemed to be in his own little haze, B-Real took the stage with blunt in hand and continued to get the crowd pumped up with collaboration of “Roll It Up, Light It Up, Smoke It Up,” “I Wanna Get High,” “Cisco Kid,” “Dr. Greenthumb,” and “Hits From the Bong.”
30+ years and 10 albums later, these guys from South Gate, CA can still kick it and toke it just as hard as they did in 1988. Fans were in the aisles, on the steps, and on section dividers grooving and moving as the beat played on.
Setlist: DJ Lord intro/ Roll It Up, Light It Up, Smoke It Up, I Wanna Get High, Cisco Kid, Dr. Greenthumb, Hits From the Bong/Real Estate/Hand on the Pump/Sound of da Police/When the Shit Goes Down/Tequilla Sunrise/Lowrider/Illusions/Latin Lingo/Lick a Shot/How I Could Just Kill a Man/Throw your set in the Air/I Ain’t Going out like that/(Rock Superstar)/Insane in the Brain/Jump Around (House of Pain cover)
