Bursting onto the scene in 2017, Billy Strings has been selling out arenas big and small, bringing his bluegrass vibes to Rochester on November 9. Playing to a full house of denim, flannel, and tye-dye wearing fans, Strings and his ensemble gave the Blue Cross Arena a solid set of progressive roots-rock that went on for nearly three hours.
Billy Strings
Son of Terry Barber, a bluegrass musician himself, Strings was introduced to the genre at a young age and has been influenced along the way by some of the world’s greatest artists including Jimi Hendrix, Phish, and Black Sabbath.
Since bursting onto the music scene in 2019, Strings has collected some accolades and awards along the way including a Grammy in 2021 for Best Bluegrass Album (Home), 2022 Artist of Year from Americans Music Awards (also nominated previous two years), and 2019 International Bluegrass Music Awards for Best New Artist and Guitar Player of the Year. Assuming things keep going the way they are going, Billy will need a hall to house all his awards!
With the classic bluegrass sounds of the Dave and Deke Combo, Allison Krauss, Doc Watson, and Old Crow Medicine Show all still influential in their own rights, Billy Strings seems to have upped the ante for bluegrass/roots music. Although the classic dualling banjos will never get old, time have changed, and Billy Strings has set the tone.
Billy Strings – Blue Cross Arena, Rochester, NY – Wednesday, November 9, 2022
Set 1: Old Train; Turmoil & Tinfoil; Running the Route; Stone Walls and Steel Bars; Fire Line; Running; Ashland Breakdown; The Train That Carried My Girl From Town; Black Mountain Rag; Love and Regret; Bronzeback; Must be Seven; In The Morning Light; Everything’s the Same
Set 2: Heartbeat of America; Red Rocking Chair; Hollow Heart; While I’m Waiting Here; Pyramid Country; And Your Bird Can Sing; Been All Around This World; The Fire on My Tounge; Air Mail Special; Hellbender; John Deere Tractor; Tipper; Dust in a Baggie; Cold, Cold World
The newest video from Venezuelan cuatro player Jorge Glem and American accordionist Sam Reider is about unlikely combinations that end up blending perfectly. Like peanut butter and jelly, like a cigarette and coffee, like navy blue and black — in my opinion, at least — , Glem and Reider’s folk musicality, heavily influenced by their respective country’s musical traditions, fit together like pieces of a puzzle. This harmonious amalgamation is exemplified visually and auditorily in their latest music video to “Homer the Roamer/Sabana Blanca,” off their album, Brookly-Cumaná, just released on November 4.
The video focuses on duos, how two separate entities can come together to create new sounds that celebrate and even emphasize their differences. “Homer the Roamer/Sabana Blanca” is set in a latin bar, where Jorge Glem is strumming passionately on the cuatro to a cheering crowd, glowing with a summer sheen, clinking drinks and vibing to the music. Sam Reider, the American accordionist, pianist and composer watches from a tall table as Glem finishes his set, then comes over, accordion slung around his shoulder, asking Glem to play with him: “You start,” he says.
They launch into “Homer the Roamer,” and soon enough a beautiful woman is spinning in a gold skirt while men vye for her hand in dance with some moves of their own. With each tempo change comes new energy, as the unlikely pair’s contagious sound coaxes more personalities out onto the dance floor.
Suddenly, Jorge Glem and Sam Reider are standing, the rhythm is palpable, and everyone is involved: a man does the robot in slacks and a work tie, a girl in knee high pink boots vogues, someone drops into the splits and someone grabs a tambourine. It’s “Sabana Blanca,” and strangers twirl each other around as the “strangers’” instruments spur.
The whole video exists in this one scene, a total celebration of the singular experience of live music. During the pandemic, I would play Bill Evans Trio’s live recording, “Porgy (I Loves You Porgy) – Outtake,” on repeat, closing my eyes, pretending I was at a jazz club, a concert, anywhere but alone in my room. If I had had this video during that time, I would have died of FOMO, but still probably would have had it on repeat as well.
“Homer the Roamer/Sabana Blanca,” is a superb translation of music to film, a video you can get lost in, something you don’t just watch, you experience. It’s a beautiful addition to the album, which features a fusion of esteemed Latino and American musicians. Listen to it here.
With just a few days before Election Day, Amy Schumer hosted Saturday Night Live with musical guest Steve Lacy making his SNL debut.
Opening with a satire of President Biden’s speech on democracy from earlier this week, James Austin Johnson as Biden brought up a cavalcade of ‘new’ Democratic candidates meant to appeal to younger voters, among them, Marianne Williamson, Guy Fieri, the guy from 6ix9ine, Azaliea Banks, and Tracy Morgan (Keenan Thompson).
Amy Schumer used her monologue for a few minutes of standup where she riffed about childbirth and her husband being diagnosed with autism as an adult.
Hitting home for many who have dealt with COVID and the week long isolation/quarantine that results, the COVID commercial featuring Sara Sherman was as timely as ever.
To perform on SNL, Steve Lacy had postponed shows in San Diego, San Francisco, Oakland, Vancouver, Seattle and Portland on his Give You the World Tour. For his first song, Lacy performed “Bad Habit” off his second album Gemini Rights, released in July. The R&B vocalist and multi-instrumentalist performed in black leather pants and Geordi La Forge wrap around shades, with the Gemini Rights logo suspended behind him. Lacy, as well as the drummer and bassist wore white shirts with a single black S on them, making a dollar sign with their black ties hanging, a nod to the Dead Kennedys.
On Weekend Update, Tammy the Trucker (Cecily Strong) showed up to talk about gas prices (and definitely not abortion), much like how in November 2021 she showed up as Goober the Clown to talk about abortion. WU anchor Colin Jost noted voters are being driven by economic issues and not abortion, and Tammy responded with commentary on women’s rights and health care. The same deep and urgent message from last November was conveyed through truck driving references that intertwined concerns about the right for women to control their own bodies was being eroded, and ended with a call to action to vote on Tuesday.
As Weekend Update ended, SNL gave a nod to Migos rapper Takeoff (Kirshnik Khari Ball), who had performed on SNL in 2018.
A preview of the Bills/Jets game in the Meadowlands showed Jets fans (Andrew Dismukes, Thompson, Schumer, Strong) ripping on the visiting Bills fans, regardless of age or mobility. The casual chatting among the four of them would quickly devolve into taunting and heckling, giving heavy ‘Get Off the Shed’ vibes.
Lacy’s second performance of the night found he and his band in the same outfit, same narrow room effect but with a heavier Stevie Wonder vibe in both voice and tone of the song.
Following a “Big Penis Therapy” sketch that is worth watching, Schumer sported a Jews shirt during the goodnights, following wearing a VOTE VOTE VOTE sweater.
Next week SNL returns for a post-election episode with host Dave Chappelle – appearing post-election for the third time since 2016 – and musical guest Black Star.
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’
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.
Spoiler NYC frontman, Life of Agony bassist, and graphic artist Alan Robert was recently caught on video being arrested with his bandmates from Spoiler at Brooklyn’s Lucky 13 Saloon.
Well, not really. The group’s music video for “Banned in 38 States,” released this past Thursday, October 18, showed the band being carried out of the heavy metal-themed bar in handcuffs and performing from behind bars in a skit-like approach.
Produced by Ken Lewis, a producer whose repertoire includes work with the Wu-Tang Clan, Eminem, and countless other hip-hop icons, it’s a quick, pounding punk rock track which just crosses the two minute mark. Robert proclaims the band’s infamy as inciters of punk-infused chaos, yelling on the first verse, “no where left to play, lots of hell to raise, pour me another bourbon, whiskey or wine.”
“Banned in 38 States” is one of two new tracks from their August-released album of the same name. It’s a 15th anniversary edition of their debut album Grease Fire in Hell’s Kitchen, featuring remastered versions of the record’s original 12 songs.
Spoiler NYC band members from left to right: Chris “Junkyard” Silletti (guitar), Alan Robert (lead vocals/bass), Tommy “The Kid” Clayton (drums).
The other new addition is the slower, more melodic “Damaged Goods,” an ode to Robert’s tumultuous upbringing with an abusive father. “People say I will never amount to nothing, and then they’ll wait ’till I kill myself or something, then they’ll say ‘oh what a shame, he was damaged goods,” he sings on the chorus.
The song received a Taxi Driver-themed music video back in August when the remastered album dropped.
Spoiler NYC is also promoting Banned in 38 States with three upcoming shows: one in November in a return to the Lucky 13 Saloon, and two in December, with appearances at Coney Island USA and Bowery Electric.
Information regarding tickets, Banned in 38 States’ limited vinyl release on Halloween, and more can be found on the Spoiler NYC website.
This October, moe. is once again supporting The American Cancer Society (ACS) in its “Real Men Wear Pink” campaign. The messaging is designed to engage more male community leaders and influencers in the Society’s mission to eliminate breast cancer. In addition to selling limited edition pink merchandise through the band’s online store (coming soon), the band is offering fans a variety of donation opportunities for unique experiences.
These range from a round of golf with percussionist Jim Loughlin to a custom song written by guitarist Al Schnier. moe. is even offering high level donors the opportunity to “join the band for the day,” including hanging with the members during soundcheck, collaborating on the setlist, and sitting in during the show. All proceeds will be donated to ACS, the nation’s largest nonprofit source of cancer research funding. Also, a donation of any amount enters fans for a chance to win VIP tickets to Summer Camp in 2023. For more information and a full list of donation options, visit the donation page here.
The issue hits close to home for moe., with bassist Rob Derhak himself a recent cancer survivor. “The American Cancer Society offered help with so many avenues that I didn’t know existed which made me realize how important the organization is,” said Derhak. “They offer support for people who may not have that team in their corner.”
ACS provides innovative research, patient services, health equity, and education around screenings and risk reduction. Since its inception, this annual program has raised more than $40 million towards the fight against breast cancer.
We are grateful to moe. and their community for making an impact in the lives of cancer patients and their families. We are proud to partner with them to ensure everyone has a fair and just opportunity to prevent, detect, treat, and survive cancer.”
~ Barb Romeu, Director, American Cancer Society
moe. is gearing up for a three-night run at the Fox Theatre in Boulder, CO from November 4-6, as they continue to navigate through the recovery of guitarist Chuck Garvey, who suffered a stroke last year. Michael “Suke” Cerulo from Schleigho will be subbing in for Chuck, alongside keyboardist Nate Wilson from Percy Hill and Assembly of Dust. The shows will also be available to watch via livestream. For more information and to purchase tickets visit the band’s website.
Saturday Night Live‘s third show of the season featured a double threat with Megan Thee Stallion returning as both host and musical guest. Following Queen Latifah in 2004, this was only the second time a female rapper served as both host and musical guest on Saturday Night Live.
The show’s cold open featured a take on the January 6th Committee, with second-year player Sarah Sherman appearing as New York Senator Chuck Schumer negotiating for a pastrami sandwich delivery during the insurrection.
Megan’s monologue was brief and allowed her to share one success over the summer, Bachelor’s degree in Health Administration from Texas Southern University, an HBCU. Before her career took off, Megan Thee Stallion’s was enrolled at Prairie View A&M, leading the rapper to joke that while her fans know her as Tina Snow, Suga and Hot Girl Meg, she can now be known as “Megan Thee girl that needs some sleep.” Stallion continued by saying “I got my degree in health administration because I have always wanted to help the people in my community. I believe it’s important to have a sharp mind and a sharp body-ody-ody.”
Megan Thee Stallion also took a moment to plug the website she launched last month, called Bad Bitches Have Bad Days Too, which features mental health resources, crisis hotlines and directories of Black and LGBTQ therapists.
The first sketch of the night put her degree to good use with “Hot Girl Hospital” where, joined by nurses Ego Nwodim and Punkie Johnson, they were “three everyday heroes glow up the community one dusty chick at a time.” The trio were on point together, with Nwodim standing out as the new female lead cast member thus far in the season.
The first song of the evening, “Anxiety,” from her sophomore album Traumatize, had a Beauty Pageant vibe with Megan Thee Stallion and backup dancers all wearing formal dresses with sashes that read “Ms. Overlooked,” “Ms. Insecure,” “Ms. Overlooked,” “Ms. Underpaid,” and Megan wearing “Miss Anxiety.” Rapping about bad girls having bad days too, the emotional empowerment number struck a chord with fans online, and Megan, as she sang about the loss of her mother.
A medley of “NDA” and “Plan B” were featured in the second performance of the night, with Megan wearing a black corset and cutout jeans, with knee length hair and a Cuban link chain, all whiile backed by a full rock band.
Saturday Night Live is off this week and returns on October 29th for the annual Halloween show, with host and musical guest Jack Harlow, who previously was musical guest in 2021.
