NYS Music 202​2

Category: Video

  • Grateful Dead Continue To Build Knickerbocker Arena Legacy: March 28, 1993

    Knickerbocker Arena will always be one of those venues with a special place in Grateful Dead lore. The band played the downtown Albany arena thirteen times in their career which included three three-night runs at “The Knick.” Today, we look back at the middle show of the last three-night run there in 1993. It may not reach the heights of the band’s initial heralded run here in 1990 which helped provide material for their Dozin’ At The Knick album, but it sees the Dead at a time when they’re clearly comfortable in their own skin with this last incarnation of the band. The show provides a solid blend of Grateful Dead fan favorites, a pair of Dylan covers, and some newer original songs that were only played a smattering of times in this late era for the band.

    The show begins with a tune that was starting to entrench its spot as a show opener in this last phase of live Dead, “Mississippi Half-Step Uptown Toodleoo.” Jerry Garcia sounds engaged right from the get-go and drops an immaculate guitar fill early on in the proceedings. The band takes their time dragging out the composed portion of the opener before Garcia lays down another heavenly solo. After a courtesy nod of gratitude from the Knick crowd, the opening licks to “Walkin’ Blues” ring out loud and true and fellow guitarist Bob Weir takes control for the next number. He leads the way through a cover of the American blues classic before they resort back to one of their sentimental originals in “So Many Roads,” replete with another feathery Garcia solo that serves as the bridge before a somewhat “Knockin’ On Heaven’s Door”-esque ending.

    The Dead make the following cover selection more than clear with a joyous romp through Bob Dylan’s “When I Paint My Masterpiece” that has both guitarists wailing on vocals by song’s end. Things then slow down again somewhat with the “High Times” that comes next. This Grateful Dead classic serves up a classic blend of bluesy Garcia solos that merely matches vocals of the same tenor. This sets the stage for yet another late-era Dead regular that never seemed to take off, “Eternity,” co-crafted by Weir and his fellow Ratdog bandmate Rob Wasserman.

    A slow transition into “Deal” then follows, with bassist Phil Lesh pushing the tempo early and often before a jam that reaches near hysterical proportions closes out the first set earnestly. The second one begins with the familiar tones of “Scarlet Begonias” as the Knick crowd gets brought back to life with this vintage Dead number. This triggers a brief but blissful jam, with Garcia’s tricked out guitar creating the effects of a veritable flute solo, that serves as the springboard into a raging “Fire On The Mountain.”

    After a somewhat abrupt ending to “Fire,” the drum-fueled intro to “Samson and Delilah” emerges. Some vintage bass bombs from Lesh are peppered throughout on a frenzied take on this live show staple. Another old standby in “Ship Of Fools” then follows, graced with a typical breathtaking solo from Garcia, before the Dead break out “Wave To The Wind,” a song co-written by Lesh and longtime band lyricist Robert Hunter that was played only a handful of times in 1992 and ’93.

    A post-song segue into “Truckin’” gets a little murky but the band soon finds their footing and treats the Knickerbocker Arena crowd to another classic Dead sing-along number. It sees some strong piano fills thrown in from Vince Welnick that help fuel a brief but explosive jam that sets the table for the traditional “Drums” > “Space” portion of the evening.

    Dead Knickerbocker

    From the psychedelic mist emerges another song synonymous with ’90s-era Dead, “Long Way To Go Home” with an energized Welnick taking charge and leading the way on vocals. The tone then shifts from new school to old school in a hurry as the band dusts off “Attics Of My Life.” It ends a 41-show gap from its last performance, which just happened to be here at The Knick last June. The set then comes to a rousing finish with a “Turn On Your Lovelight” that sees Bob Weir doling out the signature bluesy vocals and Garcia once more digging into his bag of tricks and emitting joyous trumpet-sounding guitar fills on the closer. The second and final Dylan cover of the night then serves as the encore as the show ends with a beautifully somber take of “Knockin’ On Heaven’s Door.” The Grateful Dead would return to Knickerbocker Arena the next day to close out this run and, two years later, they would play their final shows at this heralded venue.

    Check out video of the entire show here and below thanks to YouTube.

    View This And More Grateful Dead Shows From Across The Years In New York State With Our Interactive Map Below

    Grateful Dead Knickerbocker Arena – Albany, NY 3/28/93

    Set 1: Mississippi Half-Step Uptown Toodeloo, Walkin’ Blues, So Many Roads, When I Paint My Masterpiece, High Time, Eternity, Deal

    Set 2: Scarlet Begonias > Fire On The Mountain, Samson And Delilah, Ship Of Fools, Wave To The Wind > Truckin’ > Drums > Space > Way To Go Home, Attics Of My Life > Turn On Your Lovelight

    E: Knockin’ On Heaven’s Door

  • Watch the Stop moe.tion Animation “All the Way Down”

    Long Island art teacher Brian Baker has released his second stop moe.tion brick film, “All The Way Down,” featuring LEGO versions of moe. and their fans.

    all the way down moe
    Still image from “All The Way Down” by Brian Baker

    Baker’s first stop moe.tion animation, “moe.rons on parade,” captured the spirit of a moe. show in LEGO form. This animation follows moe. on an adventure to visit guitarist Chuck Garvey as they prepare to practice for their upcoming tour. Chuck, as any proper moe.ron knows, spends his free time lording over the underworld in his role as Satan. The project was begun in June of 2021, before recent medical issues have sidelined Chuck, who continues to recover.

    I send this project out into the universe with nothing but love and the best of intentions for his recovery.

    Brian Baker

    Continuing this project gave Baker a chance to build upon “moe.rons on Parade” and also improve on the original. As Baker looked back on his first ever ‘brick film,’ he saw many little things that he could do better, from the timing of the photos to the pacing of the story and the general plot itself. While Baker shared his work is a long throw from being a professional production, ‘All The Way Down” has polish to it that the first one lacked. And still, he continues to find joy in his work, noting “I still get a laugh watching segments for the 100th time.”

    all the way down moe
    Still image from “All The Way Down” by Brian Baker

    Baker began work on “All The Way Down” in June of 2021, and by August he began filming. Using a camera that would focus throughout the whole more than 10,000 picture production, Baker planned more for his second go around.

    I did a lot of research on other brick films and learned how to pull off some different tricks. I learned how to incorporate green screen.  I spent a lot of time practicing walk cycles. I thought of different materials that could be used for effects such as tissue paper and stained glass.  A lot of little challenges and problems arose along the way that I needed to find solutions to, but that’s half the fun.

    Brian Baker

    As the project progressed, ideas evolved and grew as the story took on a life of its own. Going into the last few minutes of screen time, Baker had no idea how to wrap everything up and pull it all back together. While he never considered himself a “storyteller,” he found it tough to keep everything moving forward in an understandable and entertaining way.

    all the way down moe
    Still image from “All The Way Down” by Brian Baker

    Besides a personal challenge and creation for Baker, “All The Way Down” also serves as a great teaching resource for his 9th grade animation class. 

    I am planning to chop this up into smaller “gag” segments that I can use in class to help my students get ideas for their own brickfilms. Students have already started working on learning basic movements like walking and picking up objects. I am hoping some of them can get into some advanced animation techniques. Some students have definitely been bit by the animation bug. It is very rewarding when a student comes in and shows their teacher what they were working on at home over the weekend “just for fun.”

    Baker thanks and gives credit to moe.rons who shared info and lyrics as well as thoughts about their experiences with the band in the past year, as well as friends who helped proofread the story. He looks forward, along with many other moe. fans, seeing the band back on stage this summer at City Bisco in Philadelphia and at the Great South Bay Music Festival in July.

  • Disco Biscuits Announce The Return Of City Bisco

    Philadelphia’s own The Disco Biscuits have announced the return of their two-day City Bisco festival. The mini-fest is scheduled for the weekend of Saturday, June 18 and Sunday, June 19 and will once again be held at TD Pavillion at the Mann. This will be the fifth installment of City Bisco and it marks the 10-year anniversary of the festival since its inception in 2012.

    City Bisco

    This year’s bill also features performances from electronic duo Bob Moses, renowned DJ Shiba San and moe. It’s a promising sign for the jamband mainstay as it marks another scheduled gig for the band as guitarist Chuck Garvey continues to rehabilitate from a recent stroke. moe. is also slated to perform at their own Summer Camp music festival in Chillicothe, IL from May 27-29.

    Other acts scheduled this year include fellow electronica icons The New Deal, TAUK, LP Giobbi and Township Rebellion with the Disco Biscuits capping off each night with two sets of music.

    Presale tickets for the event will be available with the code CITYBISCO starting March 23 at 10 a.m. EST with the general on-sale beginning March 25 at 12 p.m. EST. Tickets can be purchased here.

  • Upstate NY Director and Singer/Songwriter collaborate on score for “Panama”

    Nashville needed Upstate New York for the upcoming film Panama before it could arrive in theaters.

    Panama is loosely based on a true story of a special operations guy (Cole Hauser, who plays Rip on Yellowstone) getting mixed up in the US invasion of Panama in 1989. Mel Gibson stars as his point man in the military. The film is directed by Mark Neveldine (Crank) with music composed by Central New York native now in Nashville, Mick Fury.

    panama

    Neveldine, was born and raised in Watertown, and called upon Fury to compose the score in his studio. Stunt coordinator/actor Frank Blake, also from Watertown, organized his team from his home base in Nashville. Fury shares how we connected together with the film crew:

    So initially they liked some of my old Rock band (from Syracuse) Silent Fury’s music and asked to license that. A month later when I got officially hired I first got to sit with the director and hear what emotion he was hoping to present in each particular scene. They call this a “spotting session.” After spent a few hours on that, I hopped into my studio with a rough cut of the film and got to work. Most of the score was scenes you would guess, gun fights, drama, chase scenes, military stuff…but there’s a few scenes with some pretty intense love making happening. Certainly never expected my career to take a turn for softcore porn music! Lol. It wasn’t really that graphic, but it is intense and it’s a unique inspiration to compose for. 

    In Panama, Fury paints a soundscape of 80’s influences from cumbia (the folk music of Panama) to synthesizers to straight up rock n’ roll.

    panama
     Photo Credit Brett Berwager 

    I was working on the film as they were editing the video, which is not typically how its done. Usually they would finish the video and then send it to me, but the music is such an integral part of this film they wanted me in on the ground floor. As such, sometimes I’d score a scene, think it was great and send it…only to get an email back with the scene looking and feeling totally different, and a request of “Do you mind looking at this again?” When we’d finished the film, I felt great…until they asked the video team for a few major changes, including the “tone of the film.” That required me to re-score almost the whole thing a second time. Wild and not highly recommended, however I learned so much the first time through that the second time through my compositions were much much better and really helped to nail the mood. 

    Looking back, Fury says he has blocked the six months of struggle, sweat, blood and tears and only remembers a really fun experience that was artistically rewarding. And he can’t wait to do another.

    I have some connections in the movie world, including to the director of this film. It’s Mark Neveldine who did Crank with Jason Statham. I asked if I could get a song in Panama, and he said send something along and they’d see. I did, he and the production company liked it and asked for more. I sent more, and then more again, and again. I was driving across the Golden Gate bridge a few weeks later with my wife on vacation when I got a call asking, “Well, do you think you could score the whole movie?” I had no idea if I could but of course I said yes and here we are lol.

    Panama will release on Friday, March 18th on digital and in theaters.

  • Phil Lesh Announces 9-Show Residency At The Cap

    This October, expect to see a whole lot more of Phil Lesh at The Cap. The legendary Grateful Dead bassist has just announced a nine-show residency at the historic Port Chester venue that will take place over the last three weekends, culminating in a Phil-o-Ween show on the 31st. With his “Friends” still yet to be announced, these shows will also commemorate the 100th show for Phil at The Cap since 2012.

    Phil Cap

    A Deadhead destination and a quintessential venue in Phil Lesh history, The Capitol Theatre‘s Phil-o-Ween shows are always filled with musicians who like to push boundaries and create a mind-bending, high-octane, psychedelic experience in the Grateful Dead tradition.

    Tickets will go on sale starting Friday, March 25 at 12PM and can be purchased through The Cap’s website here.

  • John Oliver Analyzes Fan Frustrations with Ticketmaster and Live Nation on “Last Week Tonight”

    On the March 13 episode of Last Week Tonight, host John Oliver broke down a myriad of issues with concert tickets, namely, Ticketmaster and its near monopoly on ticket sales for major artists and bands.

    While some information presented in the episode is public knowledge, the writers at Last Week Tonight deftly threaded the details together, offering a clear path from fan frustration when faced with exorbitant prices and a lack of tickets (not to mention insanely long wait times to acquire tickets), to the root causes, namely Ticketmaster.

    Ticketmaster, while disliked by the public, serves as the main platform for ticket sales around the country, accounting for 80% of ticket sales prior to their merger with Live Nation in 2010. Since the merger, there have been complaints, as noted in the New York Times regarding Live Nation pressuring venues into contracting with its subsidiary, Ticketmaster.

    Following the merger, Ticketmaster acquired Front Gate Tickets, which handles ticket sales for music festivals including Lollapalooza and Austin City Limits, and that same year, acquired a DIY ticketing platform, Universe. TicketWeb, the self-service ticketing platform owned by Ticketmaster, acquired the marketing platform Strobe Labs, building a social media network in the process. Most recently, Ticketmaster has looked to convert physical tickets into digital ones using blockchain technology, and did so by acquiring UPGRADED in 2018.

    John Oliver pointed out that Ticketmaster absorbs much of the hatred for ticket sales, while artists, promoters, and venues all have a hand in raising ticket sales. This is where drawbacks to boycotting Ticketmaster begin, despite being popularized by Pearl Jam in the 1990s. Oliver noted that when Pearl Jam sought to perform at non-Ticketmaster venues, their manager at the time said the band would need “to play at weird places like a ski resort in Lake Tahoe and a fairground in San Diego.” If Pearl Jam can’t walk away from Ticketmaster, how can other bands, especially smaller artists with no leverage and limited options for venues, expect to avoid Ticketmaster?

    The answer is – they can’t, and now it is even more difficult to do so.

    Where do the tickets go?

    You’ve likely been there – logging in early, watching the clock for the on-sale time, then waiting in the virtual Ticketmaster queue (with 2000 other people in front of you) waiting for your turn to purchase tickets. Then you get to the end of the line, and if the show isn’t sold out already, the seats left available are typically not the best – behind the stage, upper levels, if any at all.

    Using the example of a pair of 2012 Justin Bieber concerts at Madison Square Garden, both of which sold out in 30 seconds, John Oliver points out the details of where the 20,000 tickets for that show went. Noting a NY Attorney General report, fewer that 2,000 tickets (10%) to each show were on sale.

    Where are the rest of the tickets sold? Some are given to credit card companies who partner with Ticketmaster for pre-sale on-sales and private passes that exclusive to credit card holders.

    Then there are the ticket brokers (a rebranded name) who buy them in advance. Even the ‘Are you a robot tests’ are still circumvented by bots via the ticket broker. These brokers/resellers include SeatGeek, StubHub and Ticketmaster itself (Platinum seating) who represent a majority or overwhelming majority of ticket sales, per a 2018 GAO study. They then mark up tickets by 49% on average, and sometimes as high as 1000%.

    The average music fan can login to one account at a time, per device, with a phone number attached to the account to prevent multiple accounts vying for the same tickets. While this seems to present itself as leveling the playing field, John Oliver notes that some brokers have 200 accounts, and Ticketmaster does not make any effort to restrict these ticket brokers.

    Showing video from the Ticket Summit conference in Las Vegas in 2018, undercover reporters discovered via a Ticketmaster representative that ‘damn near every one of them’ is using multiple accounts.

    The system of ticket brokers/resellers is designed to be opaque, providing brokers with anonymity. Resell sites have additional fees built in too, with John Oliver citing a ticket for a January 21, 2022 Adele performing in Las Vegas, resold on SeatGeek, at a cost of $1690 for the tickets, with $538 in SeatGeek fees (a 32% markup), for a total of $2,228. For a single ticket to see Adele.

    Blame is shared among Ticketmaster and ticket brokers – some artists are to blame as well. Justin Bieber’s tour resold tickets on resale sites, with an entire row that had gone to the tour, resold on the secondary market instead of direct to fans at on sale. Metallica did this as well, along with many other artists as well. Restricted resale has been experimented by Pearl Jam without extra fees or profit, but this effort was postponed in 2020 by COVID-19.

    What can live music fans do?

    Typically, Last Week Tonight offers a call to action for the audience, something that has made the Peabody Award winning show stand head and shoulders above their competition (with 23 Emmy Awards, including 8 consecutive Emmys for Outstanding Variety Talk Show, beating out The Daily Show, where Oliver got his start). In past episodes, Oliver has encouraged the use of the FCC public comments website during a Net Neutrality episode, to motivating viewers in taking to the streets to protest the killing of unarmed African-Americans by police.

    This week, however, there was no call to action, simply because beyond a trust-buster in the vein of Teddy Roosevelt taking Ticketmaster and other ticket brokers to task, there is not much that can be done by fans.

    There is one alternative for live music fans in the short term – avoid resale sites by using CashorTrade. Since 2009, CashorTrade has been the only website dedicated to helping face value tickets get into the hands of fans, devoid of the ticket brokers and scammers, and offering protection on purchases. This healthy alternative to Ticketmaster continues to build a base of users that allows a great deal of tickets to be resold at face value, or traded amongst fanbases. If there is one solution fans seek after watching this week’s episode of Last Week Tonight, CashorTrade is that solution, providing anti-reseller technology allowing real fans with a profile and trusted reviews to trade with one another. 

  • Rosalía performs “Chicken Teriyaki” and “La Fama” on SNL

    Spanish singer Rosalía served as musical guest for this week’s episode of Saturday Night Live, hosted by The Batman star Zoë Kravitz.

    Following a TikTok influencers-meet-President Biden cold open, Kravitz was joined by various Cat Women and Katt Williams (Chris Redd) in her monologue.

    Rosalía began singing at age eight, graduated from Barcelona’s Catalonia College of Music with a degree in the Flamenco arts (with studio album Los Ángeles serving as her graduate project) she has appeared in Pedro Almodóvar’s Pain & Glory. Shortly after, Rosalía and her sister Pili launched a brand, gained a massive following in Spain and in 2018 was signed to Sony Music.

    The evening’s performance marked Rosalía’s solo debut on SNL, having performed in 2021 alongside Bad Bunny for a duet of their romantic collaboration “La Noche De Anoche.”

    https://www.youtube.com/watch?v=0EEyiB9NtVg

    The 28 year old Flamenco singer first performed the Latin trap song “Chicken Teriyaki” off the upcoming release Motomami, a track that is prime for TikTok at a run time of only 2:02.

    The lyrics reference various parts of New York City: “De azúcar la mami, todo sin recibo/Leo pentagrama’, pero no lo’ escribo./Desde Queens hasta Tribeca/Un ramo de flore’ azule’ no se seca.” Translated to English the lyrics read: “The mami made of sugar with no receipts/I read pentagrams but don’t write them./From Queens to Tribeca/a bouquet of blue flowers that doesn’t die.)

    https://www.youtube.com/watch?v=aAtUnqdTz2g

    Her second song of the night “La Fama,” is a collaboration with The Weeknd (who did not make an appearance on the Studio 8H stage this evening.) Wearing a large comforter, Rosalía resembled Baymax from Big Hero 6, before ditching the puffy outer layer to reveal a white dress and shawl.

    https://www.youtube.com/watch?v=gnItVv1EsXw

    Both songs performed his evening will be featured on the upcoming Motomami, the follow up to her 2018 album, El Mal Querer. The Latin GRAMMY-winner told Rolling Stone in an interview that the new album would include both experimental and vulnerable material, with a big emphasis on the theme of feminism.

  • Charli XCX dazzles on Saturday Night Live

    Charli XCX made her long awaited return to Saturday Night Live, alongside host Oscar Isaac of the upcoming MCU series Moon Knight.

    Originally, Charli XCX was slated to be the musical guest for the Christmas episode of SNL in December 2021, but due to the omicron wave of COVID-19, the show was filmed with a limited cast and host Paul Rudd, and she was rescheduled for the March 5th episode.

    Tonight marked Charli’s second time playing SNL, having first performed on the show in 2014 when her sophomore album Sucker was released. Now in 2022, she’s promoting her forthcoming album, Crash, due out March 18.

    Charli XCX has been performing and writing music for other artists in her decade long career, including “I Love It” by Icona Pop and “Fancy” by Iggy Azalea, in addition to her hit “Boom Clap.” Toeing the line between mainstream pop and being an indie darling, Charli has built up a core fanbase and dabbles in the burgeoning subgenre of hyperpop. On the upcoming Crash, Charli collaborates with Christine and the Queens, Caroline Polachek and Rina Sawayama.

    Before arriving on the Studio 8H stage, Charli showed up as a singing meatball in a disturbing pre-taped sketch, which doubled as veteran cast member Kenan Thompson’s 1500th sketch, an all time best for SNL.

    Her first song, “Beg For You,” featured Charli dressed in a white gown and lengthy bedazzled nails amid a bright stage with flowing scrims, the song sampling the 2007 song “Cry for You” by September.

    https://www.youtube.com/watch?v=TZKUEmT3J-k

    Her second song of the night, “Baby,” was just released on Friday, March 4, and featured Charli in a black dress with two dancers flanking her and a full band backing her up.

    https://www.youtube.com/watch?v=oeO_f-Gbzzo

    SNL returns March 12 with host and The Batman star Zoë Kravitz and musical guest Rosalia.

  • 25 Years Later: Phish perform “Character Zero” on the Late Show with David Letterman

    On Wednesday, March 5, 1997, Phish was the musical guest at The Ed Sullivan Theater on Broadway, performing “Character Zero” on the Late Show with David Letterman.

    The band had just returned from a tour of Europe a few days prior, with Trey Anastasio and Jon Fishman both sporting a post-international tour/vacation beard.

    Phish Character Zero

    Following the performance, Letterman came over to shake the band’s hands, saying “Nice to see you again” to which Anastasio replied, “Hope you got the ice cream,” referring to the new Ben and Jerry’s ice cream flavor, Phish Food, just released nationwide a month prior. A concert at the Flynn Theater in Burlington, VT on March 18, 1997, would officially release the flavor, including an appearance by Ben Cohen and Jerry Greenfield just before the show began.

    Guests on the show this evening included Chevy Chase and Mary McCormack from the ABC show Murder One.

    https://www.youtube.com/watch?v=F7frkMAW6-g

    One of the arena rock songs in the Phish repertoire, “Character Zero” typically is found as a set closer in recent years, putting an exclamation point on a show and extracting jubilation from fans in the song’s refrain.

    The band’s appearance on Letterman was their third overall, starting on December 30, 1994 with “Chalkdust Torture,” “Julius” on July 13, 1995, “Birds of a Feather” on October 27, 1998, “Heavy Things” on May 15, 2000, a multi-song performance on the Ed Sullivan Theater marquee on June 21, 2004, and “The Line” on June 25, 2014.

    I was taught a month ago
    To bide my time and take it slow
    But then I learned just yesterday
    To rush and never waste the day
    Well I’m convinced the whole day long
    That all I learn is always wrong
    And things are true that I forget
    But no one taught that to me yet

    I ought to see the man Mulcahey

    I was taught a month ago
    To bide my time and take it slow
    But then I learned just yesterday
    To rush and never waste the day
    Now I’m convinced the whole day long
    That all I learn is always wrong
    And things are true that I forget
    But no one taught that to me yet

    I ought to see the man Mulcahey

    “Character Zero” lyrics

  • Andy Frasco & The U.N. Announce New LP ‘Wash, Rinse, Repeat’

    Andy Frasco & The U.N. has a lot of news to share. First and foremost, the band has announced that they will be releasing a new LP, set to release April 8. To celebrate the announcement, the band released the titular track of the album accompanied by a music video. Frasco speaks on the single: 

    [Wash, Rinse, Repeat] is about the PTSD of being in your house for too long. We forgot who we were before this pandemic. Now that we are slowly coming out of this, it’s time to follow our dreams again. Get outside, explore, maybe fall in love with someone or ourselves again. The Renaissance is around the corner.

    Andy Frasco
    Andy Frasco
    Andy Frasco

    The track itself brims with positivity, love, and excitement. Andy Frasco delivers intoxicating vocals which perfectly tip-toe the line between raspiness and mellifluousness. Moreover, Ernie Chang electrifies the song with a perfect brass touch, giving the single its infectious feel. Alongside a catchy hook and great instrumentation, the song has the potential to be a hit for the band.

    Andy Frasco and the U.N.
    Andy Frasco and the U.N.

    Alongside the album announcement and the release of Wash, Rinse, Repeat, Andy Frasco and the U.N. also announced a tour throughout the United States. On their run, the band is set to hit the Town Ballroom in Buffalo and Putnam Place in Saratoga Springs. Twiddle will join the band in Buffalo.

    ANDY FRASCO & THE U.N. LIVE

    + with Twiddle

    2/11 – Fox Theatre – Boulder, CO

    2/19 – Sweetwater Brewing Company – Atlanta, GA

    2/26 – Gasparilla Music Festival – Tampa, FL

    4/5 – State Theatre – State College, PA +

    4/6 – House of Blues – Cleveland, OH +

    4/7 – Town Ballroom Buffalo, NY +

    4/8 – The Bluestone – Columbus, OH +

    4/9 – The Majestic – Detroit, MI +

    4/10 – Bell’s Back Room – Kalamazoo, MI

    4/13 – Roxian Theatre – McKees Rocks, PA +

    4/14 – Soundstage – Baltimore, MD +

    4/15 – Putnam Place – Saratoga Springs, NY

    4/16 – Infinity Music Hall – Hartford, CT

    4/17 – The National – Richmond, VA +

    4/20 – Beer City – Oklahoma City, OK

    4/22 – TACAW – Basalt, CO

    4/24 – Hill Fest 2022 – Eden, UT

    5/5 – Tipitina’s – New Orleans, LA

    5/26 – 5/29 – Rooster Walk – Martinsville, VA

    5/27 – 5/30 – Arise Music Festival – Loveland, CO

    5/27 – 5/29 – Summer Camp Music Festival – Chillicothe, IL

    6/16 – 6/19 – Bonnaroo – Manchester, TN

    6/18 – Red Rocks Amphitheatre (supporting Umphrey’s McGee) – Morrison, CO

    7/7 – 7/9 – 4848 Festival – Snowshoe, WV

    For tickets and more information on Andy Frasco and the U.N., www.andyfrasco.com