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.
DJ Joe Grossman is someone you maybe haven’t heard of in the Capital Region, but if you were in Manhattan and you knew the right people, the right bouncer to bribe, you might just know who he was. He’s firmly revolving in the orbit of the New York party scene.
There’s a universe that operates on a natural law of rhythm, of galaxies spinning on the turntable of a black hole and the intricate interplay of planets passing by, moons revolving in such a way we could set our watch to them, and in a way, we do. And on this planet, there are trenches. And in those trenches, there are DJs, wielding raw rhythm to move people about in their own orbits.
RadioRadioX: When I think of DJs, I think of old school record-scratching and loops, which is me tipping my hat and letting my age spill out. And DJs produce a whole sound, but I feel like a DJs must share a kinship with drummers, because rhythm and timing play such an important role. How would you compare what you do with what a drummer does?
DJ Joe Grossman: They have similarities, but rhythm and timing are the main two that come to mind. That’s basically one kinship I think all musicians share. I’m sure a lot of people would say there are no similarities because as a drummer you’re creating music in real time and as a DJ you play tracks that are already produced, but there are a lot DJ’s like myself that basically produce live during their sets. For example, playing a kick drum or bass line from one track and then layering hi hats or drum samples over it and then adding an acapella. By doing that you can create a live remix that nobody’s ever heard before.
RRX: You are a New Yorker, which is how I got turned on to you. But you’re in the Manhattan scene, and while Albany and New York City definitely share some culture, some of the mindset, we’re worlds apart. What is the Manhattan DJ scene like? I mean socially, how would you describe the daily grind of the dance scene?
JG: To be honest it’s changed so much over the years it’s hard to really describe, it’s ever evolving. When I first got into DJing it was all vinyl. There was no social media. All the promoters used gorilla marketing with flyers and street teams. The scene was a lot more organic then, a lot more personal. But some things in NY always stay the same. The better DJ’s and promoters have weathered every storm and are still here. However, the focus has shifted from Manhattan to Brooklyn over the past few years. But NY is the city that never sleeps. So, nightlife will always be a staple here.
RRX: One thing I’ve always felt is that venue is the “fifth instrument,” or in your case, the “second DJ.” Where you are can either limit you, or give you an insane rush, and make you hit new heights. So, you’ve probably played in some pretty unique places. What kind of place charges you creatively? Can you give me an example of a place like that?
JG: There really are so many unique places. One that comes to mind is in Acapulco, Mexico. There is a venue called Hannah Sun Club which is basically on top of a mountain overlooking the ocean and the entire club is surrounded by an infinite pool. One of the most amazing moments I’ve ever had was playing music there when the sun went down. But each city and venue has its uniqueness. And it’s up to the DJ to understand the venue and the crowd and make the music work in that specific situation. But the crowd’s energy is really what drives me creatively. Even more than the venue, I feed off the crowd’s energy.
RRX: One of the things that interests me about DJs and DJing is that aside from the electronic elements you create yourself, you get to sample the music of others. So, you get to create for people, but while creating, as a part of that, you get to expose people to music that kicks for you. What kind of music do you look for to sample?
JG: I love classics, there’s just something about hearing a classic vocal sample that might have been forgotten for a while just come through the speakers. Michael Jackson, Aretha Franklin, Etta James, Beastie Boys, Biggie. I have a list a mile long with so many artists and different styles of music. There have been so many times that I’ve been driving and a song comes on the radio and it just gives you an idea for a remix or a sample.
RRX: When I say DJing, I’m kind of like a toddler pointing to everything and calling it ‘water.’ I know that there is DJing, but there’s also EDM, or electronic dance music. And for this interview, I hit Google. And Google doesn’t seem to know the difference. So, here’s your chance to school Google; what’s the difference between DJing and EDM?
JG: Well, DJing is the art of playing music and EDM is the style of music that DJs play. EDM breaks down into tons of different genres and styles like techno, tech house, house music, tribal, deep house, progressive, etc… There have been so many new genres that have emerged over the past few years and new ones are created almost monthly. My style is more techno, tech house and tribal.
RRX: There are none of us islands; we all have other people in our orbits. For you, other DJs, other performers, notable rave kids and scene and scene legends. So, in your world, I don’t want to say you might have favorites, but maybe a couple of cool and interesting people you think deserve some recognition. Recognize!
JG: I grew up in the NY music scene so I’m always going to be partial to my NY DJ’s. A lot of my inspiration growing up came from listening to legends like Danny Tenaglia, Victor Calderone, Boris, I’ve always just loved that big powerful NY sound. Then as time went on, I also took a liking to other sounds as well from a lot of other DJs like Carl Cox, Steve Lawler, Solomun, Chus n Ceballos. The list goes on.
RRX: This is where you answer the question I didn’t ask. Comments? Remarks? Educate, enlighten, emote – the floor is yours.
JG: Well first and foremost I’d like to thank you Liam and RadioradioX for taking the time to do this interview. It’s always an amazing feeling for me to see people interested in what I do. And I’d also like to thank all the people that continue to support my music. All the promoters and fans that support my events are what allow me to do what I love and I’m forever grateful for that.
Music and the music scene is changing every day and to keep up with that I’ll always try to keep learning, growing and entertaining crowds. Sometimes DJ’s forget that the people on the dance floor worked all week and dealt with the stress of their lives and that one night is their release, their moment to forget everything and just enjoy the music. As a DJ I’m responsible for giving them an amazing show and I’ll always do my best to do that.
When you think of Westchester, you may not picture a thriving rap and hip hop scene; one local producer is looking to change that. John Darling aka Poncho is a producer turned entrepreneur, who highlights local artists on his Youtube show, the Encore Podcast.
Growing up in Cortlandt Manor, Poncho didn’t seriously start making beats until a sports injury in college prompted him to switch gears and make music. After dropping out of the University of Mississippi his sophomore year, he returned to his hometown and quickly learned how tough it was to make a career as a producer.
John Darling aka Poncho is a producer turned entrepreneur. With an eye for upcoming artists and an ear for beats, the Westchester native uses his talents daily on his Youtube show, the Encore Podcast.
“You got the industry route where you’re trying to get beats on an album and the internet route posting beats on Youtube, but it’s just so saturated,” he explained. “You can only get so far doing that.”
Rather than DMing artists with his beats and hoping for responses, Poncho wanted musicians to come to him. His solution was the Encore Podcast, where he envisioned himself interviewing up-and-coming rappers, producers and DJs. Poncho had a variety of music contacts from previous ventures hosting live shows and he hoped some of these connections would translate to people he could feature on the podcast. Poncho also believed Encore could serve to connect Westchester artists to one another, creating a community centered around music.
“There’s a lot of people who do music in Westchester, but everyone is just disconnected,” he said. “There’s no home base for people.”
Yet that community is clearly growing under Poncho’s guiding hand. While the podcast is still small – it has less than 1,000 subscribers on Youtube – the fan base is clearly dedicated. The show never appears to lack new voices, whether it be interviews with female rappers like the Yonkers based Prada Mama or big name producers like Mike Snell, who has worked with the likes of artists such as Kanye West and Timbaland.
The podcast is also big enough that Poncho said he only accepts around 15% of interview requests. And on episodes where he reviews new music, artists are now paying him to critique their songs.
Poncho making beats in the studio
Still, it took a while for Poncho to reach this stage. Over the course of hundreds of episodes and many years, the podcast has evolved from acoustic performance videos to music reviews and artist Q&As. Currently, Poncho says the primary focus is creating educational content for artists and producers.
“The interviews are really about creating teachable moments for artists,” he said. “A lot of artists don’t really know what they’re doing … so there’s an education gap that we’re trying to fill with our podcast.”
Indeed, the podcast excels particularly by providing both a platform for artists and their music while simultaneously serving as a learning tool for viewers hoping to make it in the industry. Perhaps no one knows this better than Westchester rapper Tim Schulze, who releases music under the moniker, Starkiller TmmyX.
TmmyX has been a featured guest on the podcast, working alongside Poncho to review artist submissions. TmmyX is also an avid viewer of the show and said the podcast provides knowledge he wished he had known when he was just starting out.
“Poncho goes through and he teaches all these little things and he gives you all these criticisms,” he said. “Some people might take it the wrong way, but these are things that I wish somebody was telling me earlier in my career.”
The burgeoning reach of Poncho’s podcast also contributed to TmmyX filming a music video with the artist Nyck Caution, a member of the hip hop collective Pro Era, which notably features Joey Bada$$ as one of its founding members. TmmyX and Caution had recently made a song together, although they never met in-person for the collab. TmmyX decided to preview the new single on the Encore Podcast, where it was met with rave reviews. Hundreds of people tagged Caution while Poncho himself gave a shoutout requesting the two meet and shoot a music video together … and it worked.
“Two weeks later, [Nick Caution] is with me and we’re in Brooklyn shooting the video because of Poncho’s podcast,” TmmyX said. “It’s things like that. He’s creating moments. Poncho has created each of these connections by putting his service out there.”
Another connection Poncho has made is with Bobby Lehday, a Westchester producer and now frequent guest of the Encore podcast. Lehday has worked with famous rappers like Lil Durk and serves as an in-house producer for other Westchester artists like TmmyX.
Like Poncho, Lehday has an eye for Westchester talent and sees the opportunity for a community to grow around the rap genre.
“I like to see people from my area win and if I can help them with that, I’ll do whatever I can,” Lehday said. “I love seeing people blossom and grow into artists. I feel like a farmer tending my garden.”
Bobby Lehday, Poncho and TmmyX doing music reviews on the podcast
For Lehday, sometimes helping others comes in the form of tough love, as evidenced by his sometimes critical music reviews on the Encore Podcast.
“I’ve been on the show myself and people have said I’ve been a little harsh, but honestly some people really need to hear that,” Lehday emphasized. “If you’re serious about music, you have to be willing to be humbled.”
As someone who has been humbled many times while making the podcast what it is today, Poncho said he agrees with this mindset.
“At the beginning I was ignorant and after a hundred and fifty podcasts, I learned that, ‘oh, I’m doing this wrong,’” he said. “Eventually after I’ve fixed two hundred things, now I have a good podcast.”
Still, Poncho doesn’t deny that sometimes ignorance is bliss.
“I was blessed because I didn’t know what the fuck I was doing,” he said. “If I had known how difficult this actually is, I might have not done it.”
But by all accounts, Poncho has done it. Through trial and error and sheer dedication, Darling has made the Encore Podcast his full-time job and his main source of income. He continues to grow the platform one new artist at a time.
“I’ve got no other option,” he said. “With the platform we’re trying to build, I only want people that have that hustle, because if you don’t have the hustle, you’re not going to make it.”
Astounding an intimate audience during their Lark Hall debut, the experimental progressive jazz-rock quartet Kick the Cat wasn’t pussyfooting around during their recent stop in Albany on October 7th. From heavy metal and beautiful blues-based rock, to complicated jazz compositions mixed with playful funk and all sorts of funky time signature changes, the enduring Chicago-based band unleashed an all-out assault of the senses by combining just about every style of music known to man and making it their own. Uncompromising and anything but commercial, those who dared to take a chance on this night were rewarded with a very special performance.
Kick the Cat performing at Lark Hall in Albany, NY 10/7/22
In a move that only further cements an already legendary status, veteran Capital Region concert promoter Greg Bell of Guthrie/Bell Productions announced just days before the show that it would be free-for-all. No cover charge, no hidden agenda. Why you ask? In a statement released on social media, Bell claimed “Because I feel people should see these two bands, I am making this a free show. No tickets needed, no admission fee, just great music.” Also making their Lark Hall debut on the evening was the Hudson Valley-based group NEQ. Made up of guitarist Todd Nelson, Kyle Esposito (bass) and Manuel Quintana (drums), the group was also joined by Ross Rice on keyboards. Playing mostly songs from their 2022 debut album ‘Nevertheless”, the band showcased a diverse set of influences ranging from classic and prog rock, to gospel, funk and even a splash of spaghetti western. Clearly having a good time on stage, the bands heartfelt approach immediately endeared themselves to the listener and set the bar incredibly high for what was soon to follow.
NEQ performing at Lark Hall in Albany, NY 10/7/22
Dressed like regular dudes, the members of Kick the Cat casually took to the Lark Hall stage around 9:30pm. Greeting the audience with gratitude and letting them know in advance things were about to get weird at times, but also groovy and beautiful at times too. Though the band might be new to some, they’ve actually been playing together for nearly twenty-five years. Consisting of front man Chris Siebold on guitar, Kris Myers (of Umphrey’s McGee) on drums, Chris Clemente on bass and Vijay Tellis-Nayak on keyboards, The Cats opened with the pummeling start/stop frenzy of “Ow! My Eye,” clearly letting you know you had to be punished before you were pleasured.
Kris Myers performing with Kick the Cat at Lark Hall in Albany, NY 10/7/22
Anchoring the controlled chaos, it was the powerful, confident and steady hands Kris Myers that demanded most of the attention early on. A strange sight to see the Umphrey’s McGee drummer without his percussion playing partner Andy Farag nearby, but casual fans may not realize Myers is one of Kick the Cat’s founding members. Myers, who started playing at age 8 and earned a master’s degree in jazz drumming from DePaul University, played on KTC’s first two studio albums before joining UM in 2003. It was here in this type of setting that his undeniable talent and dexterity could truly be appreciated. All evening long you could hear and see people whispering to each other about just how good he really is.
Kick the Cat performing at Lark Hall in Albany, NY 10/7/22
After working their way through a series of complex, percussion-heavy compositions like “Alt De Facto,” “Harebrained,” and “Hope Against Hope,” front man Chris Siebold took to the mic while changing out guitars, saying “We just bludgeoned your bodies, but now we’re about to bathe you in relaxation.” What initially came off as a “cool down” song for Myers effortlessly became a showcase of guitar playing virtuosity for Siebold. Landing somewhere between the luscious and dreamy tones of greats like David Gilmour and Jeff Beck combined with the chop-busting inspiration from bands like The Weather Report, King Crimson and Return To Forever, it was at this point in the evening that Chris stole the spotlight from Kris and let everyone know he was an absolute force behind the frets. After a beautifully bluesy rendition of “Two Down” from their 2002 album Weirdo another show highlight came in the form of “Camel Toe Vs. Snaggle Tooth,” which at its climax, forced even those sitting to rise up in appreciation.
Chris Siebold of Kick the Cat performing at Lark Hall in Albany, NY 10/7/22
After working their way through much of 2021’s Gurgle, Kick the Cat’s first studio release in over a decade, another clear sign of approval came when promoter Greg Bell approached the front of the stage and presumably asked the band to play little longer. Happy to oblige, Siebold joked “Another set? Sure, hell we’ll play till sunrise if someone wants to offer us another $30,000, which of course would be donated to charity. Any takers?” he asked. “No? Ok, we’ll play a little longer anyway, but if we start noticing the place is clearing out, just give us a sign.”
While Kick the Cat didn’t quite play till sunrise, they did perhaps play longer than any other band at the recently renovated Lark Hall. Fans who stuck around until the end were treated to ambitious songs like “Ramsey (All In)”, “Waz Up” and “That Stuff That’s Tough” before eventually bringing things to a close with the song “Squirt.” An evening filled with heady-yet-approachable grooves and other worldly soundscapes, angular melodies, fuzz-filled tones and all-out rock n roll, the level of musicianship KTC brought to Albany was unapparelled. While progressive jazz-rock fusion may not often be thought of as “cool” these days, Kick the Cat is and seeing them live is a thrilling experience you’re not likely to forget.
Kick the Cat performing at Lark Hall in Albany, NY 10/7/22
Kick the Cat | Lark Hall | Albany, NY | October 7, 2022
Setlist: Ow! My Eye, Alt De Facto, Harebrained, Hope Against Hope, Adolpho’s Dilemma, Visogoth’s Overture>Breakfast with the Visogoth’s, Two Down, Camel Toe Vs. Snaggle Tooth, Ramsay( All In), Waz Up, That Stuff That’s Tough, Squirt
Gorillaz brought their star-studded lineup to Brooklyn’s Barclays Center on Wednesday, October 12th, as part of the final leg of their 2022 world tour. While Gorillaz is primarily the project of frontman Damon Albarn (Blur, The Good, the Bad & the Queen), a Gorillaz live show is always a parade of collaborators and special guests, and the show at Barclays was no exception.
The set featured appearances from Thundercat, Fatoumata Diawara, EarthGang, and longtime Gorillaz collaborators De La Soul and Del the Funky Homosapien. Find the full setlist and photo gallery from Wednesday night below.
Back in June, Gorillaz released the stand-alone single “Cracker Island”. Featuring Thundercat, the song is a classic mix of the nu-disco/rap blend that Gorillaz have been long known for. Thundercat provides the bass line and backing vocals while Bootie Brown delivers the rap verses, both of whom were on hand on Wednesday night to perform it live. The song would ultimately become the title of track of their recently announced eight LP Cracker Island, due out in February 2023.
“Cracker Island” by Gorillaz. Via YouTube
With the announcement of the new album in August, Gorillaz also unveiled a second single, “New Gold” featuring Tame Impala’s Kevin Parker and Bootie Brown. While Kevin was did not make a surprise appearance as he did in Los Angeles, Bootie Brown performed his part with Kevin’s image embedded into the psychedelic visuals of the live show. The setlist also featured “19-2000” from their 2001 self-titled debut with a surprise appearance from Miho Hatori, who had not performed with the band for more than a decade. Miho was the original voice of the character Noodle in the virtual Gorillaz band that was the foundation of the groups mystique early in their career.
Damon Albarn and Miho Hatori of Gorillaz, Barclays Center 10/12/22. Photo by Joseph Buscarello
During the encore, Damon welcomed the long time Gorillaz collaborators De La Soul and Del the Funky Homosapien to join them for some of the band’s most iconic songs. De La Soul provided the epic laughing intro and bassy rap verses to “Feel Good Inc.” before Del burst into raucous performances of “Rock The House” and the classic “Clint Eastwood” which sent fans into a frenzy to close out the 2-plus hour, 27 song show.
Del the Funky Homosapien, with Gorillaz. Barclays Center 10/12/22. Photo by Joseph Buscarello
Gorillaz have a handful of dates left on their 2022 tour, before a period of down time ahead of the new album release in February. Head over to their website for the full list of dates, and check out the photo gallery below from Barclays Center.
Gorillaz, Barclays Center, Brooklyn – October 12, 2022
Fun bands are great. It’s strange, in that some bands, you listen to their music and lyrics and you feel so light that you don’t realize how difficult the music might be to put together. Like they say; the great ones make it look easy. And it’s refreshing to have a music that just does what it’s supposed to and gives you a good time.
Haunted Cat is just such a band, and from their eclectic mix of grooves and styles to their never shying away from engaging in festivities, you will find a good time the moment you click ‘play.’
RRX: Haunted Cat has a lot of holiday specials, Halloween, Thanksgiving, Christmas. To see a band do one holiday special in a year is something, but it seems a pattern for the band. How did Haunted Cat start doing holiday specials? Was it a goof that just stuck, or was it something in the band’s basic design?
DB: Let me start by saying it warms the cockles of my heart that you think of HC as a fun band! We have heard that and always appreciate it. We also aim to strike terror into the souls of audience members so their hair turns fully white on the spot, and folks are frequently seen sobbing heavily at our shows as well. Those people are usually watching Steel Magnolias on their phones. The key is, we want to take people on an adventure and hit on all the emotions one could possibly feel, as long as it’s not boredom.
To that point, and with respect to the specials, there are all these ideas that excite us beyond what we’re going to play at a live performance or release as audio recordings. Stuffing those ideas away because they’re outside of a traditional band activity would be bad for morale. They need to happen. We don’t want to just do holiday specials either, we may soon venture into fetish videos, reenactments of obscure political assassinations, revitalizing the Jurassic Park franchise… and, look, this could all be the same project. The important thing is, we want to keep ourselves entertained and interested, and if we are doing that, some other people will probably be entertained and interested. Hopefully?
RRX: The band seems to have a sort of light, sort of lackadaisical feel, from what I’ve listened to. It’s very inviting, very welcoming. And I feel like it leaves a lot of room to experiment and improvise with your sound; you don’t seem tied to some traditional orthodoxy. But do you have any root notion around which the band revolves?
DB: My heart cockles are an absolute inferno right now by your words. “Root notion” whence we orbit? There are some bands that are consciously trying to sound like bands that they like, or a specific genre. It kind of makes sense, you like that music, you want to play music pretty close to like that. I would say the most important thing for Haunted Cat is to operate extremely far away from that, and rather separately and intensely appreciate all art via any mediums that we find most exciting, and filter things we love through ourselves and our collaborators into something that is hopefully unique and new. We get compared to other acts, and writing about music it’s very hard if not impossible to avoid that, but I never think we actually sound like those things.
RRX: The previous question alluded to the fact that Haunted Cat’s sound is diverse. That usually comes from people that have diverse tastes in music coming to the table. I saw that, in one of your specials, you had a song originally sung by Liberace mentioned. That seems like a big shot out in left field for music in these parts? What was that about?
DB: To clarify, in last year’s Halloween Special we brought Liberace back via seance, which was not as easy as you think, and we were granted an exclusive performance of “Violet” by Hole. Liberace is a total pro and we are still honored he showed up despite being very busy with his afterlife passions of snowboarding and jai alai. We could have brought John Lennon back because he has the universal stamp of acceptance, but that would have been extremely boring unless it was the period where he was getting super trashed and making an ass of himself in public, toward the end there. Liberace was way more fun. We had a wheel we spun that included Bam Bam Bigelow and Jesse Pomeroy, but we spun the wheel and the wheel spoke.
RRX: I also saw a picture of you all playing at the Low Beat, which is no longer around. It’s bittersweet to see venues go, as far as the memories we have as listeners, audience members. But a fun night for us may have been a major accomplishment for a band onstage. Any venues, Low Beat included, whose loss you’ve really felt? Why?
DB: For a very long time I couldn’t think about the loss of Valentines without feeling real sorrow, and when I pass that area, I still truly feel the loss. It was devastating to Albany when Valentines closed. That was the place for me and for a long time, nothing came close to filling that in the immediate Albany area. But looking forward there are a lot of great newer venues. No Fun in Troy is just amazing. Every time I go there I have a blast, and it seems it’s just getting better. We still haven’t even played there yet, but we have really enjoyed seeing other shows there. I absolutely love Rare Form and saw like 100 great bands there last summer! We are playing there again on 7/23!
RRX: Going back to the specials. I see specials on television, and they’re usually themed, usually extravaganzas, and it’s as much me being in a holiday mood as it is the special’s performance. But when you guys do these specials, you go all out. And you probably start them well before the season. So, is it like celebrating the holidays twice?
DB: We collaborate with local artist-of-all-trades and technical wizard Eric-jon Tasker on many artistic endeavors, but we truly couldn’t do the specials without him. Together I think we started the Halloween one in April and we would just have our incredibly wonderful and game guest stars come weekend after weekend to film, and then we’d edit whenever we could. We lost a ton of footage when a hard drive fell on a concrete floor, and it was a wild ride. We have such limited resources so it was really a miracle that we pulled it off, especially since it included a live performance filmed at Desperate Annie’s like two days before we released it. By time Halloween came we were pretty much ready to move on to The Brazilian Republic Proclamation Day Special. The goal is that we can increase our resources, funds, etc. so we can go even bigger and have more options with whatever we want to do creatively.
When you spy a fireman on a balcony, you pray for lives to be saved. When that fireman is Dante Mazzetti singing from a balcony, your ears perk up and your attention becomes fixed.
With over forty-two thousand followers on Facebook, Dante Mazzetti must be doing something right. As both a singer/songwriter with a folksy style, and as New York City fireman, Dante Mazzetti has become quite an unintended social media master.
In the continuing search for guests on The Long Island Sound podcast, I came across Dante on Facebook. I’m positive that the AI (Artificial Intelligence) led me to him, or maybe it was some sort of cosmic connection that led to our interview.
Covid Creativity
The impact of the quarantine and Covid changed our lives forever. Even the landscape of the New York City workplace has taken on a new shape, as many refuse to go back to the old normal and reimagine their workplace as more mobile than ever. Musicians accustomed to working out in the trenches of pubs, bars and music festivals were relegated to their homes to sort out the next steps in their creative careers. Some felt the stifling effect of not being heard, and others turned to their creative minds to discover new outlets for their art. Everyday people resorted to Zoom calls to keep connected to family, friends and community. Yet the desire to connect with each other on a deeper level was a thirst unquenched.
Technology can be a challenge to baby boomers like myself, whereas younger generations seem to be born with a Matrix-type connectivity which still amazes me.
I’ve followed some musician’s live streams on Facebook, some great, and some not so great. I was introduced to Twitch, as an alternative to the Facebook Livestream, which has brought a modicum of success to performing musicians during quarantine. Twitch was originally started by a group who built a community of like-minded video gamers in need of a competitive environment to showcase their skills. Eventually the platform, geared to quality video, evolved into a virtual stage for musicians seeking the thrill of a live performance. The ability to have a virtual tip cup, allowed musicians to generate income during the shutdown.
Maybe it’s the lack of a live audience that hindered many musicians from effectively commanding the virtual live stream. Maybe it was the perceived chasm of technology to overcome which encumbered the performance, I don’t know, but I do know when someone is able to command the platform. The ability to have themselves heard and drive more and more fans to their music, and seemingly crack the social media code to build a new fanbase. I put Dante Mazzetti in the win column. Facebook has been Dante’s goto platform for live streaming, supported by Instagram ads to attract new fans.
“The first time I was like, you know, it’s like, sideways, the whole show, but then, you know, people really started to jump in.”
Dante Mazzetti
There’s a Dylan-like quality to Dante’s demeanor and performance. He invites you onto his balcony as his intimate style of performing allows you to peer into his world. We can read about Dylan’s entrance to the Folk scene in Greenwich Village, and imagine what it was like to see him at Cafe Wha. I would think the impact of these early hootenanny’s may have been the inspiration for Dante Mazzetti’s daily balcony sessions during the Covid quarintine.
Bellowing from a Balcony
The live steam balcony sessions started out as a daily routine as his followers on Facebook and social media began to grow. The marketing and business acumen of his wife Jessica, helped propel them into the stratosphere of notoriety, allowing this humble podcast host to take notice.
With my suburban mindset, I asked Dante, how did his neighbors react to the sessions? He said they started their queries, when his sessions became less frequent, as they hope for more. It appears the community was not only building on the Internet, but locally as well.
Dante and Jessica were recent guests of mine on the Long Island Sound podcast, and I began to digest his music in preparation for the conversation. I became intrigued by the depth of his lyrics, especially in the song, Blue and Gold. Dante seems to be very prolyfic in his songwriting, hitting the studio every six weeks or so to nail down more tracks and recently written songs. We explored the song Hey Mama, which made me reminisce about the musings of Hank Williams, as Dante painted his landscape in lyric and melody, accented by an old soul in a young man.
Dante is a multi-instrumentalist, covering the gamut of styles that we now call Americana. His music is comforting and warm, as he seems ready to pick up the guitar anytime, anywhere to entertain or just hang out. Here’s what Jessica had to say about his songwriting:
“And, and I think in all of Dante’s music when it does have a positive spin, which he’s doing a lot more lately, there is this dose of reality.”
Jessica Gerono
Prior to Covid, Dante would perform over sixty shows a year, Mazzetti has been featured on radio stations throughout the world, has opened for several major artists, such as Ben Folds, Guster, and America, and was chosen to star in Levi’s “What’s True” national television commercial campaign. Ten years into his formal musical career, I believe he is on the brink to set things ablaze with his music.
As an active New York City Fireman, the reality of the day hits you in a moment’s notice. Each call to respond could just be an unintended alarm or chance to save a life from a burning inferno. Dante’s development of the muse is both tangible and sensible, calling us to be present in the moment, with the promise of igniting an interest to know more about this artist, and reminding us that maybe it’s time to just hang out on the balcony.
Jocelyn and Chris returned to rock Syracuse with a show at the King of Clubs on Saturday, October 8. The show, which served as a launch party for Syracuse’s new streaming radio station, SGNL, also featured All Poets & Heroes.
Jocelyn Arndt at King of Clubs
Born in nearby Fort Plain, NY, Jocelyn & Chris have become favorites across the Upstate New York music scene. The band recently returned home from an extensive cross-country tour, which included notable stops at the NYS Blues Festival, as well as the Bourbon & Beyond Festival in Louisville, Kentucky. The band features siblings Jocelyn (vocals) and Chris (guitar) Arndt, along with Dan Zavadil (bass guitar) and Dave Bourgeois (percussion).
The event served as the official launch party for Syracuse’s new web-based streaming radio station, SGNL. SGNL, which started broadcasting in late August, features a mixture of both national indie rock artists as well as local Central New York talent. Advertised as “radio without the radio,” the station can be found online or through the SGNL app.
All Poets & Heroes at King of Clubs
Syracuse’s own All Poets & Heroes appropriately opened the evening. The band, who recently released the Colorful Lungs, Pt. 2 EP, played a 45 minute set made of up tracks off their previous releases as well as a few unreleased songs. The dark, blue lit stage was a perfect scene for the bands dreamy, psychedelic rock. The band have already built a passionate following in the Syracuse music scene, and that following is sure to grow as more people see them play.
Jocelyn & Chris at King of Clubs
Up next was Jocelyn & Chris. The set opened with an instrumental jam before Jocelyn took to the stage and the band launched into Outta My Head. The energetic, blues-rock track set the tone for the remainder of the first portion of the set. Rocking tunes, dominated by Jocelyn’s fierce and passionate vocals, which blended in synch with Chris’ powerful and dynamic guitar riffs. The band’s set leaned heavily on tracks off their latest release, Favorite Ghosts, and they were visibly excited to share these tracks with the audience. With strong lyrics and catchy melodies, such as on songs like Popcorn and So Far To Fly, it is easy to see why.
Dan Zavadil at King of Clubs
On an evening of many highlights, perhaps the pinnacle occurred about midway though the set, when the band took a seat on a bright orange couch to perform a mini, acoustic set. Their weekly “Couch Concerts” where a tradition during the Covid pandemic, where the band would live stream acoustic concerts from their basement. The acoustic set on this night featured covers of songs by Duran Duran, Captain & Tennille, and Jewel. This collection of covers, paired with the bands stripped back acoustic accompaniments, allowed Jocelyn’s vocals to soar.
If you missed Jocelyn & Chris in Syracuse, don’t fret! The band will perform at Lark Hall in Albany, NY on December 30.
Setlist: Outta My Head, Make a Move, Jagged, So Far To Fly, Kill in the Cure, Popcorn, Save a Prayer (Duran Duran), The Western, Love Will Keep Us Together (Captain & Tennille), Who Will Save Your Soul (Jewel), Witness, Run Away, Sugar & Spice, Skeleton Key
Sunday, October 9th brought progressive metal heavyweights to Buffalo. John Petrucci, considered by many as the greatest guitarist of his generation, has just released his first solo effort in 15 years, Terminal Velocity. For the first time in 12 years, he is joined by his longtime musical collaborator, one of his closest friends, and undoubtedly one of the greatest drummers on the planet, the incomparable Mike Portnoy. At the risk of sounding hyperbolic, moments like this don’t come around all that often, and for longtime fans of Dream Theater and Liquid Tension Experiment, this moment could not have come soon enough. If you’re reading this review because you’re wondering if JP and MP were able to recapture their storied musical chemistry, catalogued on over a dozen classic Prog Metal albums, then let me make it clear that they did indeed—and then some. Dave LaRue joins them on bass for the tour. He has played many times with JP and MP on past G3 tours.
What is special about this tour is their three wives are in the band Meanstreak, opening for Petrucci and company every night. Formed in 1985, Rena Petrucci is on lead guitar, Marlene Portnoy is on rhythm guitar, and their bassist Martins Myung is the wife of John Myung who plays bass in Dream Theater. The band also consists of singer Bettina France and drummer Yael Rallis.
The atmosphere of the show had a very calming presence to many fans in attendance. The floor of Town Ballroom which is usually standing only, had 40 chairs for fans to watch the show, while the rest of the upper level was standing room only. Fans watched with their jaws dropped when Rena Petrucci shredded solos just as well as her husband John Petrucci does. It was an amazing sight to see for sure.
Rena Petrucci
Meanstreak’s set was 45 minutes in length where they played eight songs from the album released in 1988 titled Roadkill.
Petrucci/Portnoy/LaRue
John Petrucci
After a 30 minute changeover, John Petrucci and company took the stage to the Sopranos theme music. The crowd screamed intensely as the band took the stage. Mike Portnoy counted off the title track “Terminal Velocity” and that went into “The Happy Song.” John Petrucci then spoke to the crowd and said “How about that number 17?,” referencing Josh Allen of the Buffalo Bills and their big win earlier in the day. All of the fans cheered in excitement for the local connection.
Mike Portnoy
“Jaws of Life” was next on the setlist. From his original album Suspended Animation. This song is a nonoffensive and rather straight-beat opener that at least lets unsuspecting listeners know what kind of guitar trio this is; the players are pros. Other memorable songs played were “Damage Control” and encore “Glassgow Kiss.”
Dave LaRue
Shredding and art tend to be mutually exclusive by nature, since too many chord crunchers refuse to let the music be more important than they are. It often doesn’t help when a member of a well-known group undertakes a solo project, since standing out becomes even more urgent. John Petrucci avoids the land mines and delivers more depth than many listeners will likely appreciate.
Setlist: Terminal Velocity, The Happy Song, Jaws of Life, The Oddfather, Gemini, Out of the Blue, Tunnel Vison, Damage Control, Snake in the Boot, Temple of Ciracida
Meanstreak- Photo credit- Mike MillerPortnoy/Petrucci/LaRue- Photo Credit- Mike Miller
John Petrucci’s 2022 North American Tour Dates: 10/13 – New York, NY @ Town Hall 10/14 – Glenside, PA @ The Keswick Theatre 10/15 – Washington, DC @ Lincoln Theater 10/17 – Richmond, VA @ The National 10/19 – Atlanta, GA @ Buckhead Theatre 10/20 – Nashville, TN @ CMA Theater 10/21 – Charleston, SC @ Charleston Music Hall 10/22 – Clearwater, FL @ Capitol Theatre 10/23 – Orlando, FL @ Hard Rock Café 10/26 – New Orleans, LA @ House of Blues 10/27 – San Antonio, TX @ Charline McCombs Empire Theatre 10/28 – Houston, TX @ Stafford Centre 10/29 – Oklahoma City, OK @ Tower Theatre 10/30 – Dallas, TX @ Factory Deep Ellum 11/02 – Phoenix, AZ @ Celebrity Theater 11/03 – San Diego, CA @ The Magnolia 11/04 – Los Angeles, CA @ Ace Hotel 11/05 – Anaheim, CA @ House of Blues 11/07 – San Francisco, CA @ Palace of Fine Arts 11/12 – Minneapolis, MN @ Pantages Theatre 11/13 – Chicago, IL @ The Vic 11/14 – Milwaukee, WI @ Pabst Theater 11/16 – Cleveland, OH @ House of Blues 11/17 – Toronto, ON @ Danforth Music Hall
Moderat are in the midst of their first tour since 2017 and the German electronic outfit made their way to Brooklyn’s Avant Gardner on Friday, October 7th. Back in May, the group ended their 6 year hiatus with the announcement of their fourth LP More D4ata, via Monkeytown Records. Moderat’s triumphant return to New York City attracted fans from all over the world, packing into the cavernous warehouse and creating a noticeable buzz of excitement.
Moderat is the collaborative project between Gernot Bronsert and Sebastian Szary (a.k.a. Modeselektor) and Sascha Ring (a.k.a. Apparat). All three provide various electronic, textures, and vocals, with Sascha Ring providing lead vocals, guitar, and bass. Moderat’s music has also been a a blend of melodic electronica with funky bass rhythms and ethereal vocal play, and More D4ata (an anagram for Moderat 4) leans heavily into their signature style while dabbling in a more abstract backing. Lead single and album opener “FAST LAND” features a swirling synth loop with a heartbeat pulse in the background that slowly builds in suspense, reminiscent of Mezzanine-era Massive Attack. This leads into “EASY PREY” which is a sporadic electronic array you might hear on a number of Thom Yorke solo projects.
At Avant Gardner on Friday night, Moderat played songs from all four of their LPs, including a Jon Hopkins cover. After coming on stage for the encore, the band thanked the crowd for their support over the years, especially after such a long hiatus. Before bursting into a passionate rendition of their most popular song “Bad Kingdom”, Sascha Ring admitted that he has so much fun performing that song no matter how many times they play it. The packed warehouse of Avant Gardner sung in harmony with Moderat, and the band was visibly invigorated by the response.
Moderat continue on tour in Europe with a lengthy run of dates through November. Head over to their website for all of the tour dates, including what will be two very special hometown shows in Stuttgart and Hamburg, Germany. Check out the full photo gallery from the show at Avant Gardner from Joseph Buscarello below.
