Over July 8 and 9, Dave Matthews Band (DMB) played two hot shows at Saratoga Performing Arts Center (SPAC). Sold out crowds packed the parking lot and Saratoga Spa State Park each day before heading into the show.
The city of Saratoga Springs welcomed back DMB fans with open arms, as the economic infusion from the fan base is undeniable. Jambase noted the Friday performance was the 41st show for DMB to headline at SPAC, and thus opened the show with “#41.” Additionally, the band also began their encore on Saturday with “Pay For What You Get,” which had not been performed in nearly seven years, last performed on August 1, 2015.
Dave Matthews Band – Saratoga Performing Arts Center (SPAC) Saratoga Springs, NY – July 8, 2022
Setlist: #41, Seven, #27, Grey Street, Funny The Way It Is, Don’t Drink the Water, Typical Situation, The Only Thing, Dancing Nancies, Fool In The Rain, So Right, Madman’s Eyes, Improv Intro*, You and Me, Say Goodbye, Everyday, So Damn Lucky, Drive In Drive Out, Two Step
Encore: Some Devil*, The Maker, Shake Me Like a Monkey * Dave Solo
Dave Matthews Band – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY – July 9, 2022
Setlist: Bartender, Cant Stop, Proudest Monkey, Satellite, Louisiana Bayou, Sweet, Recently, Warehouse, Walk Around The Moon, Break Free, Seek Up, Sledgehammer, Come On Come On, Minarets, Lie In Our Graves, Crush, Rooftop, Ants Marching
Encore: Pay For What You Get, Too Much (Fake), Halloween
For the first night of their two-night run, Conor McMahon was on hand to photograph the band in action.
On July 16 and 17, The Foundation for New American Art will present the Festival of Possibilities to the Lower East Side at The Clemente Solo Velez Cultural & Education Center.
Over the course of the two-day event, audiences can experience performances from artists all over the world, including from Africa, Latin America, and Asia. The festival is family-friendly and free for all to attend. On Saturday, July 16, the event will run from 7 pm to 10 pm and Saturday programming will run from 11 am to 5 pm.
The first day of the festival includes Tamir Hargana, a Mongolian Throat Singer, Columbian vocalist Maria Raquel, and Salieu Suso, an “edu-tainer” from Africa. After each of the performances, Phoebe Legere, the President of the Foundation for New American Art, will interview the artists in Spanish and English as well as act as Master of Ceremonies during the entirety of the event.
On Sunday, the festival continues with a full day of programming. There will be fun and educational activities and workshops for all. Some of the programs include Mongolian singing, Cumbia Villera, art workshops, drumming, Zen tango, puppets, dancing, and more. The finale of the event will see a performance from a pan-Latin Dance Orchestra.
Foundation for New American Art in NYC is using the arts as a source of strength, a path to well-being, and providing access and opportunity for people to connect and find joy through the arts.
-NEA Acting Chair Ann Eilers
The Foundation for New American Art is a nonprofit organization in NYC that is passionate about providing spaces for the artists of tomorrow. The multi-cultural arts, music, and educational Festival of Possibilities is a great way to do just that. For a full list of programming and more information, visit the organization’s website.
Making the most of an unfortunate and potentially volatile situation, a free moe. concert at the Empire State Plaza in Albany was music to the ears of disappointed Deadheads and plenty of moe.rons on Wednesday, July 6. With many fans already on the road when late afternoon news broke that Dead and Company had suddenly cancelled their show at SPAC, live music lovers didn’t have to look very far to find their fix.
With beloved Buffalo improv icons moe. already scheduled to kick off Albany’s ‘Summer at the Plaza’ concert series on the same night, what was once thought to be tough choice for the competing fanbase suddenly seemed like a blessing a disguise. For the moe.rons, there was never a debate on where to be, but to the dedicated Deadheads still hoping to dance, turning the bus around and detouring it to the Empire State Plaza became an obvious no-brainer.
“I can remember the warm summer nights, drinking cold Gennys, yeah we’d get so tight.” – Lyrics from “Blue Jeans Pizza”
Set in the shadows of the state capitol building and in a sea of tie dye t-shirts, it was more than just the hippies who showed up on this picture-perfect summer evening. Instead, a pleasantly diverse crowd of all ages, genders, colors, hair styles and musical aptitudes packed into the plaza shortly after happy hour. There were kids running around with cotton candy and snow cones, old friends catching up while waiting in the massive beer line, people playing frisbee and walking their dogs, local artists hustling for a buck. All of it helping to create a family friendly, carnival-like vibe bustling with energy and as word got around that moe. was in town, the crowd only seemed to grow larger as the evening went on.
Dead and Company fans flocked from SPAC to the Empire State Plaza after the bands surprise cancellation.
The entire performance felt drenched in nostalgia. While it was a beautiful and surreal scene come showtime, the road to getting there has been long and full of curveballs. You see, while moe is largely considered a “Buffalo band,” die-hard Albany fans still like to consider the guys “homegrown.” Playing some of their earliest shows at legendary local dives like the former Valentine’s off New Scotland Ave, some members of the band even lived in Albany before truckin’ up to Buffalo. Their impact on local culture over the years so significant, that back in 2018 Albany’s mayor, Kathy Sheehan, officially declared February 24th as “moe. Day” in the city. While little has been made of that fact since then, judging by the amount of people who packed into the plaza for this rare (and free) moe. show, it’s clear that the local love has never wavered. Seeing core members Rob Derhak (bass), Al Schnier (guitar), Vinny Amicio (drums), and Jim Loughlin (percussion) sharing smiles together while taking it all in, you couldn’t help but feel proud of the “happy hour heroes” on stage.
From the thought-provoking summer anthem “Blue Jeans Pizza” opener, to a jammed out 16 minute version of “The Road,” to old-school moe. staples like “Head,” 2001’s “So Long” and an always appreciated “Mexico” set closer, much of the talk during intermission wasn’t about the guys playing on stage, but rather who wasn’t on stage. The conversation was all about Chuck and how much he is missed. For many in attendance, it was their first time seeing the band without moe.’s founding guitarist, virtuoso Chuck Garvey, who has been on the sidelines recovering from a serious stroke since in November of last year. In a truly sentimental moment towards the end of the show, Al read a “get well soon” note from a fan named Nicole, then lead the entire crowd in a “Chuck, Chuck, Chuck” chant.
moe. performing with Suke Cerulo and Nate Wilson at the Empire State Plaza 7/6/22
Stepping up to the plate in Garvey’s absence, the band has enlisted not one, but two world-class players; Suke Cerulo of Schleigho on guitar and keyboard/multi instrumentalist Nate Wilson from Percy Hill. While guitarist Al Schnier handled most of the heavy lifting and soloing during the first set, the improvisation during the second set went long and deep and really allowed Cerulo and Wilson to show what they’re made of. While Cerulo’s headless guitar will take some getting used to, he’s seems to be a natural fit, while Wilson on the other hand, adds a completely new dynamic and versatility to the moe. sound, complete with funk infused keyboards and a flute that plays incredibly well off Jim Loughlin’s xylophone sounds.
Coming out of the gates for the second set with a near 20 minute version of Lazarus, the band would effortlessly segue into a particularly funky 18 minute rendition of “George.” After a brief pause, the band would launch into a massive “McBain” sandwich that saw them jam into a “Starship Troopers”>”Tubing the River Styx” and eventually find their way back into “The Pit.” The true highlight and easily the long jam of the name night came next with the set closing 26 minute moe classic “Brent Black” which brough everyone at the Empire State Plaza to their feet in a standing ovation. With the hard curfew now rapidly approaching, the band would return to the stage for fan favorite “Bear Song” as an encore.
If you liked the setlist of this show, you can thank a kind man by the name of John King. If you didn’t like it, well, blame cancer. Based on King’s generous donation to the American Caner Society, the band gave him the unique opportunity to write the setlist. Considering many of the people who were there went into the night expecting to hear Dead and Company, I think it’s safe to say Mr. King knocked it out of the park in a big way. Before exiting the stage, bass player Rob Derhak addressed the crowd one final time saying, “We had an awesome time, we hope you guys did as well. Thank you so much for coming out. Seriously though, we really do love Albany. We have are own day here in February, it’s moe. day, so you can’t beat that, thank you. Me and some of the guys are gonna be down at The Hollow tonight with Blue Star Radiation, so shameless plug. Goodnight.”
Moe. | July 6, 2022 | Albany, NY | Empire State Plaza (Free Show)
Set 1: Blue Jeans Pizza, The Road, Head, So Long, Mexico
Set 2: Lazarus > George , McBain> Starship Troop Jam > Tubing the Rive Styx* > The Pit> Brent Black
Encore: Al.nouements, Chuck Chant, Bear Song * with Nate Wilson on flute
Pulling double duty, the fun wasn’t over yet this evening. Directly following moe.’s performance, fans in the know headed further downtown to The Hollow where Guthrie/Bell Productions was hosting an evening with Blue Star Radiation, the side-project which also features moe. drummer Vinnie Amico and bassist Rob Derhak, plus keyboard/multi instrumentalist Nate Wilson and virtuoso guitarist Tim Palmieri of Kung Fu, The Breakfast and most recently Lotus fame.
As you might expect with the pedigree of the players involved, this show was quite the party. A veritable “all-star” band of improvisational, jam band musicians that all share an affinity for classic rock, the show saw everything from highly danceable funk grooves, to tasteful blues-based crooning, to bombastic, over-the-top soloing. It was perhaps no surprise that guitarist Tim Palmieri stole the show however, as he was the only member of Blue Star Radiation that was completely fresh having not played at the Plaza earlier in the night.
Always the consummate showman, Palmieri’s incendiary shredding was on full display from the beginning, almost daring his bandmates to try and keep up. Derhak, who could be seen grinning ear to ear most of the show, was up to the challenge, and even would go head-to-head with Palmieri in an instrumental duel that would send the Hollow howling.
While there appeared to be no formal setlist, obvious highlights included covers of moe. classics like “Opium” and “Mar De Ma” as well as “Biblical Proportions” and an exquisite rendition of the Jethro Tull classic “Locomotive Breath.” Sensing there was something special going on here, about half way through the night, promoter Greg Bell casually worked his way through the crowd to the front of the stage to ask the guys how they felt about playing a second set. Derhak would leave it up the audience, holding his arms out and asking “What do you folks think?” After the resounding cheer, Blue Star Radiation would go on to play all the way till about 1am. While this project is still relatively new, BSR shows are quickly becoming “can’t miss” affairs.
New Yorkers will get their next chance to see the band soon, as Blue Star Radiation makes their NYC debut at the Cutting Room on Friday, July 22. As for moe.’s next New York engagement, the band is set return to beautiful Lake George the first weekend of September for two headlining nights at the Adirondack Independence Music Festival.
Blue Star Radiation | July 6, 2022 | Albany, NY | The Hollow
Ever since powerhouse music manager Albert Grossman arrived at the dawn of the ‘60s, Woodstock has served as the delightfully laid-back domicile for some of the biggest names in music. With Grossman came his stable of stars – Bob Dylan, Janis Joplin, Paul Butterfield and also non-Grossman managed giants like Jimi Hendrix and, much later, David Bowie. What also arrived was an abundance of top-flight recording studios and informal artist retreats, like The Band’s legendary basement recording space Big Pink, where some of the finest moments in modern music were crafted.
Musicians are perhaps the most social of the creative breeds. These are a seemingly tireless brood who love nothing more than to get together after a long gig or recording session to chat, imbibe and, of course, jam to create even more sonic magic.
For ten years beginning in 1988, The Tinker Street Café was the place where the biggest names who were living or recording in Woodstock could be found. Locals like Rick Danko, John Sebastian, Mick Ronson, Tony Levin and The B-52s Fred Schneider held court alongside passing-throughs like Gregg Allman, Living Colour, Dave Matthews and many more. And where there are musicians, libations and a stage with a ready backline, there’s sure to be great music. There are also sure to be some unforgettably comic moments courtesy of these toasted and/or tanked music makers – events that are the heart of Mitnick’s slim but richly entertaining memoir.
Mitnick relates these tales in rapid-fire chapters and the captivating banter of a seasoned barkeep, which I assume he was at some point during the Café’s run.
He begins his story in his native Brooklyn, where the seeds of his love of music were sewn – first as a schoolboy devotee of doo-wop, then as a bassist in a series of bands. Jerry was a professional musician from the mid-‘60s through the late ‘80s, one who, like many, also drove a cab to make ends meet. His gigs included everything from playing in showbands at Catskill resorts to a close call with mortality when his band, The Human Condition, flew to El Salvador to play a concert in the middle of its bloody revolution.
A call in 1988 from his friend Freddie Sandell not only forever changes his life, but also rewired the social scene in Woodstock. Sandell invited Mitnick to become a partner in a club on Tinker Street, one that would be in the site of the former Café Espresso. Sandell would handle the bar, Mitnick the music booking and a third partner the restaurant service. Then turning 40 and tiring of the working musician grind, Mitnick eagerly jumped on board.
The author gives some good backstory on the history of the legendary Café Espresso. It opened in 1962 in the former site of another popular hangout dating back to the Roaring Twenties, The Nook. It immediately became a hotbed of music with live performances by Joan Baez, Ramblin’ Jack Elliot and Bob Dylan. The Espresso’s owners, The Pautrel’s, famously let Dylan live in “The White Room” on the second floor during 1963. It was here that he wrote much of the music for his 1964 classic, Another Side of Bob Dylan. The Espresso would also become the site of countless jam sessions featuring Jimi Hendrix and scores of other music glitterati. But after passing through a few owners, it was in a pretty sad state by the mid-‘80s. That was when it earned a new nickname among locals, “The Café Depresso.”
In the book, Mitnick recalls the many Christmas concerts The Band’s Rick Danko played for charity as well as the countless nights he dropped by to try out freshly-penned songs. There’s also a great tale about a legendary jam between Danko and Jefferson Airplane/Hot Tuna guitarist Jorma Kaukonen, another rock luminary who resided in Woodstock in the ‘80s. Jorma and Hot Tuna would also come to hold the record for the “most songs played in a night” according to Mitnick. Another memorable happening was when the Dave Matthews Band took a break from their recording to play a benefit for the family of a girl killed in Kingston in 1995. Even though the event was unpublicized per Matthew’s wishes, the word spread fast and it drew scores who listened to the three-hour plus set from outside the packed club.
Jerry’s own highpoint might’ve been the night Gregg Allman dropped by. That night, Mitnick got to jam with him till the wee hours before a crowd of no more than 30 people. A low point may have been when Hendrix’s bassist Noel Redding came to town. He promptly passed out during the first song, ending his show. Mitnick also recalls other great events witnessed by surprisingly small crowds. This included when Joey Ramone sang “I Wanna Be Sedated” and B-52s Fred Schneider crooned the “Patty Duke Show” theme at an Open Mic night. There’s also a funny yarn about songwriter Loudon Wainwright III overhearing a woman wax poetic about what she’d like to do with his tongue. Loudon tended to poke his oversized licker out while singing, something that seemed to capture the bawdier quadrants of the unnamed woman’s imagination.
Mitnick also describes The Tinker Street Café’s renowned “Wall of Fame.” What the author calls a “Poor Man’s Hard Rock Café” exhibit would grow to include items like John Sebastian’s harmonicas, drumsticks from Steve Jordan, strings from the guitar Carlos Santana played at Woodstock ‘94, Bob Dylan’s handwritten lyrics to “To Ramona” and “It Ain’t Me Babe” and the bass guitar Tony Levin played on Peter Gabriel’s hit “Sledgehammer,” one that was burnt up in a fire before it was gifted to Mitnick for his display.
According to Mitnick, it was the Tuesday Poetry Nights and not the rock events that were the most volatile. Here seemingly peaceful wordsmiths/hosts like Gunga Dean, Les Visible and Max Schwartz, Jim Morrison’s old college roommate, would sometimes come to blows with each other over their strong opinions about their works. And speaking of wordsmiths, legendary metal wild man Ozzy Osbourne would come to the Café during breaks in his recording sessions to sit quietly and write lyrics. Mitnick also discusses the weekly Blues Nights hosted by Orleans’ axeman John Hall, its Sunday Jazz Nights hosted by vibraphonist Karl Berger, the very short-lived Karaoke Nights and its Smoke-Free Women in Music Nights, which featured notables like Jill Sobule and Patti Rothberg and no ciggies. There is also a discussion of the Live from The Tinker Street Café broadcasts on Radio Woodstock. These featured memorable sets by artists like Cracker, Aimee Mann, Garbage and Jewel, a then-unknown who Mitnick found “incredibly boring” and unlikely to be successful in the biz.
The author also devotes a good deal of space to local heroes who are not household names but were beloved. These include the late guitarist/studio builder Ted Orr of the band Futu Futu, singer/guitarist Jim Eppard and even some of the more off-the-wall customers and Tinker staff. There are also testaments to hysterical hijinks like “The Cockateering Club.” This effort, instigated by a Tinker bartender and his well-lubricated customers, erected 7ft. snow penises all along Tinker Street during winter storms. The Cockateers’ ultimate goal was to create a “Dream Field of Cream,” 300 or so of their snow schlongs on the town’s golf course. Sadly, this never came to be.
Mitnick’s book would not have been possible without the assistance and artwork by Mike Dubois of HappyLife Productions. The veteran poster and graphic artist who has worked with artist like Grateful Dead provided the cover art for book, one based on his artwork for a 1994 Tinker Street Café compilation CD, and several more posters within.
Today, Dubois is also playing a role in the revitalization of the former Tinker Street Café, under the direction of its new owner, Lizzie Vann, who also runs the Bearsville Theater complex.
Dubois’ HappyLife art gallery/gift shop has moved into half of the former Tinker Street Café space at 59 Tinker Street. The other half will feature food, drink and some periodic music performances orchestrated by Vann. It will also serve as a satellite to Vann’s popular Bearsville Theater, where folks can purchase tickets to events, merchandise and more.
Blues singer-songwriter Davide Pannozzo released his new single, “Be Blessed” on July 8, produced by Rolling Stones’ drummer and Grammy award-winning producer, Steve Jordan.
The emotional five-minute ballad celebrates the love between a father and son with soulful instrumentation to carry the listener through. Contributors on the single feature Will Lee (bass), Clifford Carter (keys), and Davide Rossi on strings for a terrific combination of sound.
Of the song, Pannozzo shares, “the song wants to be a message to anyone: an invitation to live without fear, embracing the constant changes in our lives with courage and boldness.” Even without relying on lyrics, audiences can get lost in the calming sound and understand the powerful message behind the piece.
Davide Pannozzo is a NY-based artist with three albums and an EP available on Spotify. Some of Pannozzo’s musical influences include Eric Clapton, Jimi Hendrix, and Jeff Beck, among others. The musician has studied classical guitar since the age of six, and critics have previously said he is one of the contemporary blues’ most interesting artists.
The message of love is clear on a track that is beautifully arranged and carefully crafted and is a great addition to the artist’s discography. The talented guitarist is also active on social media, posting content for audiences to listen to and enjoy.
The Cooperstown Summer Music Festival returns for its 24th season with five shows throughout August, following a two-year hiatus due to the pandemic.
Founded in 1999 by flutist Linda Chesis, the Cooperstown Summer Music Festival has been bringing world-class chamber music performances to the Cooperstown area. The festival has featured performances by the American, Juilliard, St. Lawrence, Jupiter and Jasper, String Quartets, and more.
This season, we are offering the Cooperstown community a collection of performances spanning an exceptionally wide range of musical styles and traditions.
Festival Founder and Artistic Director Linda Chesis
Grammy-nominated quintet Imani Winds are famous for their innovative programming and dynamic performances. They bring fresh energy and technical expertise.
The Verona String Quartet are multi-award winners and are returning to the festival with a program of Puccini, Beethoven, and Dvorak’s beloved “American” Quartet.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from The Great Pacific Garbage Patch, Eastern Highs, Gracies Paris and many more.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
The Eastern Highs – “Redwood Trees” & “One More Star”
The Troy NY quartet The Eastern Highs produces a captivating soundscape which combines classic & modern sounds reminiscent of The Band, Wilco, Pink Floyd and Radiohead. Two songs will be featured this week on EQXposure, “Redwood Trees” & “One More Star.”
The Great Pacific Garbage Patch – “waiting”
The Great Pacific Garbage Patch features Jordan Demarest on drums, Dan Haggerty on bass, and Will Kachidurian on guitar and vocals, who call Albany home. Their newest song “waiting” will premiere on EQXposure, for now listen to Game of the Year Edition below.
Gracies Paris – “Baby Now”
On original power pop rock band from Albany, Gracies Paris is a hook-oriented group formed in 2007 featuring Carl Ferritto (vocal and guitar), Eric Buechner (drums), and Randy Rose (bass). Together, Gracie’s Paris will keep you yearning for more, as each new song pushes them in a different direction.
Staten Island-born singer-songwriter Louyah dropped his newest music with a single release called “Peter Pan” on June 24.
Growing up in southern New Jersey, Louyah, also known as Louis Attillio Vigorito, found his passion for music. He began as a vocalist and guitarist in popular metal bands and now is breaking away to form a solo career with a growing fanbase.
The artists’ music blends together with alt-pop, rock, and elements of R&B is something completely Louyah’s own. “Peter Pan” brings listeners over a two-minute journey of energetic beats, empowering lyrics and vocals, a catchy melody, and leans more into incorporating hip-hop.
Peter Pan is honestly a shot at the labels. I’ve been ducked/pushed and always set back as an artist. I’ll never let anyone judge me for what I am and who I’m supposed to be. It’s fine they don’t want the music now. I’ll keep pushing and making my dreams come true!
-Louyah
The track deals with Louyah’s want to live life unapologetically, with uplifting and empowering lyrics clearly sharing that message. He firmly sings that’s just how I roll / putting on for my team, we gone / lost you in the smoke on the closing lines.
With music influences such as Young Pwavy, Kevin Boris, Gervs, Dakun and Nick Zullo, as well as the people he surrounds himself with, Louyah has crafted an impressive career thus far. His recent 13-track debut LP, 6FEET hit No. 4 on the iTunes Pop Charts, and based on this new single, this is just the start for the up-and-coming artist.
The Queens Rising celebration that took place during the month of June has come to an end with much success. The first annual initiative in Queens celebrated the borough’s culture and creativity across the entire month. Nearly 250 events and exhibitions were held for the entire community to enjoy.
Photo Credit: Lizzie Butler
Queens Rising brought together more than 70 organizations – each showing diverse programs and interests. Programs such as dances, film screenings, street fairs, Juneteenth events, Pride programming, and more were offered in multiple languages for audiences of all ages to participate in.
Each week Queens Rising also offered a networking happy hour for members of the borough’s arts and cultural community to connect throughout Queens. The last networking event was a success and took place on June 30 at the Culture Lab LIC.
Photo Credit: Lizzie Butler
The success of this initiative is truly a tribute to our mutual commitment to amplify the cultural vitality of our borough’s arts organizations and artists, and to draw local, national and international audiences to venues throughout Queens.
-Jeffrey Rosenstock, Assistant Vice President for Governmental Relations & External Affairs at Queens College, and member of the Queens Rising Planning Committee
The celebration is already looking forward to the future with plans for 2023. Although much of this June’s programming was free, Queens Rising is partnering with Howard Gilman Foundation to further promote the celebration in Queens.
Our foundation believes in the importance of a thriving and vibrant arts ecosystem in New York City, and Queens Rising’s vision and work is a terrific match with our mission … Queens Rising has had an amazing first year, and we’re very proud to support the initiative’s efforts in 2023 as it continues to grow and strengthen the arts community in the fabulous borough of Queens.
-Laura Aden, President and CEO of the Howard Gilman Foundation
Photo Credit: Lizzie Butler
For more information about the June celebration, or ways to get involved in the future, click here.
2022 Queens Rising Collaborators:
A Better Jamaica | AIMI | Allure Art Studio | American Folk Art Museum | APAC | Art House Astoria | Artist for Artist | Art Retail Therapy | Astoria Music Collective | Astoria Park Alliance | Back to the Lab | Bayside Village BID | The Blue Bus Project | Bowne House Historical Society | Center for the Women of New York | The Chocolate Factory | The Church-in-the-Gardens | Culture Lab LIC | Dance Entropy/Green Space | Diverse Streets Initiative | Dancing Classrooms | Eckerd Connects | FitzgeraldArt | Flushing Town Hall | Forest Hills Choir | Forest Hills Stadium | Friends of Crocheron & John Golden Park | Friends of Maple Grove | The Garage Art Center, Inc. | Glow Community Center | The Godwin-Ternbach Museum | Greater Astoria Historical Society | Indo-American Arts and Cultural Forum | Jamaica Center for Arts and Learning | Juneteeth in Queens | King Manor Museum | Kings County Fiber Festival | Korean Community Services of Metropolitan New York, Inc. | Kupferberg Center for the Arts | LaGuardia Performing Arts Center | Lewis Latimer House Museum | Local Project Art Space | Long Island City Partnership | Louis Armstrong House Museum | Make Music New York | Maspeth Squash | MoMA PS1 | Museum of the Moving Image | Musica Reginae Productions | New York Hall of Science | NYC Department of Transportation | QED | The Queens Borough President’s Office | Queens Botanical Garden | Queens Chamber of Commerce | Queens Economic Development Corporation | Queens Historical Society | Queens Museum | Queens Night Market | Queens Public Library | Queens Symphony Orchestra | Queens Theatre | Queens Tourism Council | Queens Underground International Black and Brown Film Festival and The Artist Market NYC Live | Queens World Film Festival | Queensboro Dance Festival | Queensborough Performing Arts Center | Random Access Music | RISE Rockaway | School of Rock Queens | SEQ Cleanup | Socrates Sculpture Park | South East Queens Artist Alliance| South Queens Women’s March | Thalia Spanish Theatre, Inc. | Theatre Beyond Broadway | Voelker Orth Museum | VP Music Group | Wild Heart Performing Arts Studio | Woodhaven BID | Women in Comics Collective International | Yeh Art Gallery, St. John’s University
Dead & Company played a scorching night of music at the Xfinity Theater in Hartford, CT on Tuesday, July 5. What was looking out to be a wet evening proved to be a most enjoyable experience, with official Dead and Company Hartford posters selling out quickly in all concession stands.
The band opened with a rocking “Music Never Stopped”. Highlights included “Alabama Getaway”, “Iko Iko”, and Bobby’s performance on “Cassidy” to close out the set.
The second set was opened up with “Jack Straw” and included a well played “Scarlet Begonias” > “Viola Lee Blues” > “Fire on the Mountain” section, an electric “The Other One,” a masterful “The Wheel,” a somber “Black Peter” and a sunshine daydream filled “Sugar Magnolia” to close out the show, without an encore.
The Saratoga Springs show was cancelled the following day. Many had already traveled to Saratoga Springs when they found out about the cancellation. Some decided to go home but some stayed and partied at the legendary Lee’s Campground. Music and good times were not far behind.
Dead and Company – Xfinity Center, Hartford, CT – Tuesday, July 6, 2022
Set 1: The Music Never Stopped,Liberty,They Love Each Other,Loser,Alabama Getaway,Iko Iko,High Time,Cassidy Set 2: Jack Straw,Scarlet Begonias > Viola Lee Blues > Fire on the Mountain > The Other One > Drums > Space > The Wheel > The Other One > Black Peter > Sugar Magnolia
Entire show with Jay Lane on drums filling in for Bill Kreutzmann
