Brooklyn native, Darro, has returned with his newest single ‘Phoning In’. The pop punk track features artist Michael Meaney.
Produced by Kris Crummett, who has also worked with artists like Dance Gavin Dance and Sleeping With Sirens, ‘Phoning In’ embodies the anxiety of an ending relationship. Darro brings his personal experiences into the writing process, but still allows Michael Meaney to incorporate his own technique.
By incorporating early 2000’s inspired pop punk with electric instrumentals, this relatable single is the perfect addition to your breakup playlist. The deep Paramore influence brings listeners back to their most juvenile breakup to reminisce on the final moments of an ill-fated relationship.
Darro’s 2020 album, Song of Recovery, has received praise and critical acclaim from the likes of Billboard and Medium, as well as ranking #11 on the iTunes Rock Album chart.
Fans can expect Darro’s next album, Accidents, to drop this coming Fall. He will also be going on tour this July and fans can keep up with all his activities here.
Gary Numan stopped by the Town Ballroom in Buffalo on March 12th. Best known from his 1970’s and early 1980’s hits “Are ‘Friends’ Electric?” and “Cars“, Numan is still going strong in support of his newest album Intruder, his 21st solo record.
Though he played a good amount off of his new science fiction soundtrack about the impending climate catastrophe, he also included a good mix of his material throughout the years. Gary still has some dates in America before heading back overseas to continue his world tour.
Gary Numan – Town Ballroom, Buffalo – March 12, 2022
Setlist: Intruder, Metal, The Promise, The Gift, Everything Comes Down to This, Films, Ghost Nation, Love Hurt Bleed, Pray for the Pain You Serve, Bed of Thorns, Down in the Park, Cars, Here in the Black, The Chosen, My Name Is Ruin, A Prayer for the Unborn
Encore: Me! I Disconnect From You, Are ‘Friends’ Electric?
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.
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.”
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.
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.
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.
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.
San Francisco Bay Area drummer/musician Jay Lane gets antsy when he’s not on the road with one of the many bands of which he is a part. So it was not difficult to deduce that Lane, 57, had a tough time adapting to pandemic life, when the world shut down, venues closed their doors and bands put touring aside as we tried to get COVID-19 under control.
And just like so many other musicians trying to adapt to a temporary but new way of life, Lane had to figure out how to keep himself from going insane while essentially being in lockdown. Enter the Blue Bear School of Music, the Bay Area’s “preeminent school rock, blues, jazz, folk and pop music,” as described on its website. Lane, who is a member of Primus, Bob Weir and Wolf Brothers and countless other Grateful Dead associated acts, decided to put his expertise to use by providing online drumming lessons.
“I haven’t been involved in too much outreach or giving lessons in a long time,” Lane said in a recent telephone interview with NYS Music. “I’ve been doing this now for a few months and I love it. I actually used to take lessons as a child at Blue Bear. I felt I wanted to give back to kids and people of all ages.”
Currently, Lane said he is only giving online live video lessons, but said he has no idea what the future holds once COVID is in the rearview. Blue Bear, a nonprofit organization, was founded in 1971 by rock band Wolfgang & Strauss, two brothers who set up shop in San Francisco seeking to build lives. Currently, Blue Bear has about 850 enrollees each quarter, as it aims to help musicians of all skill levels find their calling.
Prior to his time at Blue Bear, Lane said he had never played in an ensemble before, and that experience gave him the desire to learn as many styles of drumming as he could. How else would he so easily transition to the hard psychedelic rock that Primus plays, to the experimental and free flowing sound that the Grateful Dead made famous?
“There’s nothing like the experience (of playing in an ensemble,” Lane said. “That’s what I did as a kid, oon Port Mason, the smell of the rehearsal room was palpable, especially with the other kids.”
Lane was ecstatic when discussing how the country has opened up recently, allowing for live music and other gatherings. Lane, who lives in a condo in the Bay Area, said he loved spending extended time with his family, but added that he was raised on the road, and at times he became very restless without the daily grind of getting ready to play a different show each night.
On March 30, Bob Weir and Wolf Bros bring their cowboy folk/americana act to the Landmark Theatre in Syracuse for an evening of new songs, and their unique take on the Grateful Dead’s repertoire. They follow up the Central New York show with a pair at Radio City Music Hall over April 2-3. These shows will feature several unannounced special guests, including The Wolfpack, which consists of a dedicated strings section.
Weir, who played rhythm guitar with the Dead for 50 years, formed Wolf Bros a few years back and added Lane rather quickly. Lane and Weir have extensive history together including stints together in RatDog and Furthur, just to name a few, and Lane said he looks up to Weir on many levels.
“Bob, he really likes to paint with a long brush,” Lane said with a chuckle. “He does so many things that are not considered the norm, like turning all the stage monitors down at his shows so that he can hear what the audience hears and adapt to it. He’s such a dear, sweet friend to me and he is incredibly generous. His big thing is to gain experience by playing with anyone he can. He’s toying with the idea of performing a concerto, or playing with a symphony, to understand that dynamic. The guy has done everything you can do in rock music, yet he’s still pushing forward toward new and exciting ideas and collaborations.”
Lane couldn’t speak more highly about Weir’s impact on him.
“He constantly challenged me to get better and change up my concepts,” Lane added.
As for returning to the road, Lane said he cannot wait to be doing what he does best, providing the backbeat for several bands.
“COVID felt like a real prison cell,” he said. “After a while I think I began learning to be OK with it, like everyone else, but it’s been hard to make music through all this. Now I just need to find my relevance, my purpose again.”
Lane said he has gotten much better providing lessons online, which was a struggle at first because he still prefers older technology in many ways.
If you’re interested in seeing Lane perform with Wolf Bros in Syracuse, tickets are still available.
Bob Weir & Wolf Bros Spring Tour Mar. 9 – Ryman Auditorium – Nashville, Tenn. Mar. 10 – Orpheum Theatre – Memphis, Tenn. Mar. 14 – Orpheum Theatre – Wichita, Kan. Mar. 15 – Arvest Bank Theatre at The Midland – Kansas City, Mo. Mar. 17 – Riverside Theater – Milwaukee, Wis. Mar. 18 – Chicago Theatre – Chicago, Ill. Mar.19 – Brown County Music Center – Nashville, Ind. Mar. 21– Palace Theatre – Columbus, Ohio Mar. 24 – Thomas Wolfe Auditorium– Asheville, N.C. Mar. 25 – Tivoli Theatre – Chattanooga, Tenn. Mar. 26 – Durham Performing Arts Center – Durham, N.C. Mar. 29 – Roxian Theatre – Pittsburgh, Pa. Mar. 30 – Landmark Theatre – Syracuse, N.Y. April 2-3 – Radio City Music Hall – NYC
Arcade Fire wrapped up an invigorating four-night residency at NYC’s, Bowery Ballroom, on Monday night. The shows come as the band is gearing up to release WE, their sixth studio LP and second from Columbia Records. After a one-off show at Toulouse Theatre in New Orleans on March 14th, Arcade Fire released the first single from the new album, Lightning I, II. The two-part song first features an anthemic ballad with singer Win Butler’s signature voice over soothing guitar and piano chords before picking up the pace into a classic Arcade Fire rock song.
Arcade Fire, Bowery Ballroom 3/20/22. Photo by David Reichmann
On Friday, March 18th, Arcade Fire began the day by announcing a surprise show that night at Bowery Ballroom. Wristbands would be given out at the door on a first come, first served basis after making a “pay-what-you-can” donation to the Plus1 Ukraine Relief Fund. Fans flocked over to Delancey Street and within a couple of hours the show was sold-out. On Saturday morning the pattern was repeated for a second show at Bowery Ballroom; again selling out within a couple hours.
On Sunday, in anticipation of a third night (given the empty day on Bowery Ballroom’s calendar) well over 100 people wrapped around the corner waiting for wristbands. However, a mysterious sign appeared on the venue door and Arcade Fire posted an Instagram message saying that “No wristbands will be available at the door tonight. Keep an eye here for pickup locations.” With many fans having driven and flown into Manhattan, there was sudden confusion and furious speculation about potential pickup locations. The drama was fueled even further when the band posted an even more cryptic message on Twitter claiming “It’s a nice day to go to the park.” Suddenly, the geography of lower Manhattan and the path of least resistance to every park within several miles of Bowery Ballroom were being scouted.
Photo on the entrance to Bowery Ballroom, Sunday March 20th.
Fans had begun to scatter around the Lower East Side once it became apparent that waiting at Bowery Ballroom was useless. A few hours later, five locations throughout Manhattan and Brooklyn were revealed on social media: Washington Square Park, Central Park Northwest, McCarren Park, Maria Hernandez Park, and Ft. Greene Park. Hundreds of Arcade Fire fans suddenly hopped in cars, on bikes, the subway, or flat-out sprinted down the streets to get their wristbands. NYS Music contributor David Reichmann and two of his friends drove to Bushwick and ran full speed through Maria Hernandez Park, managing to get the very last three wristbands in that location, also the last location to sell out. All that after 3 hours of scouring Twitter, Instagram, and Reddit trying to find clues and positioning themselves in the best spot for the location announcements.
For fans who made it inside on Sunday night, there was a collective sense of relief and excitement. They had arrived against all odds and were going to see their favorite band play one of the most unique shows of their career in a very intimate room. On every night of the run, Arcade Fire played a career spanning set, including new songs and cult favorites. At one point on Sunday, Win jumped down into the audience with his guitar, expertly catching his microphone tossed from the stage by his bandmates and handed it to a fan to act as his mobile mic stand while he played and sang amongst the crowd.
Later in the evening, Win dedicated “The Suburbs” to his brother and now former band mate Will: “This is for my beautiful brother Will.” After not appearing with the band for the New Orleans show or the first two nights at Bowery Ballroom, Will officially announced his departure from Arcade Fire via his Twitter. For these shows, and presumably the upcoming tour, Will is being replaced by Wolf Parade’s Dan Boeckner.
Win Butler of Arcade Fire, Bowery Ballroom 3/20/22. Photo by David Reichmann
On night one of the residency, fans heard classic Arcade Fire songs “Haiti,” “Sprawl II (Mountains Beyond Mountains),” and “Neighborhood #1 (Tunnels).” During the encore, the band played the new singles “Lightning I, II” followed by hit songs “Rebellion (Lies)” and “Wake Up.” Night two featured many of the same classics in a different order with the addition of the title track from their previous LP, “Everything Now.” Night three highlight was the first performance on this cycle of the raging Funeral rager “Neighborhood #3 (Power Out).
On the final night, NYS Music contributor Joseph Buscarello managed to get inside. That night, already spoiled fans were treated to a special setlist. The main set contained the same mix of classics from the previous nights. After a short break, Mike Meyers made a surprise appearance onstage for a speech. After some comedic banter with the audience, the message took on a more serious tone as Meyers addressed the war in Ukraine. Reminiscing about his parents who “fought the fascists in WWII,” Meyers implored the audience to embrace democratic governments that strive for the common good and fight against evil and oppression in the world. Doing so, he explained, is the first step towards repelling the evil the Russian government has brought into Europe today.
Arcade Fire, Bowery Ballroom, 3/21/22 – Photos by Buscar Photo
After a thunderous applause, the encore continued with a monstrous “Wake Up” sing-along followed by the live debut of upcoming WE single “Unconditional I (Lookout Kid).” Before playing the new song for the first time, Win asked the crowd not to record the performance to “preserve the surprise for everyone else.” The crowd obliged and we have not yet seen any clips of the performance online.
To close the show, Win introduced David Byrne onto the stage for the last song of the night. Byrne has performed with the band many times throughout their career, but the buzz in the room skyrocketed when he walked to center stage. Win surrendered the stage to the Talking Heads frontman and joined the marching band on the main floor while Bowery staff began tossing dozens of small tambourines and maracas into the crowd. Armed with voices and instruments of peace, 500 sweaty people turned into a single band for a grand rendition of The Plastic Ono Band anthem “Give Peace A Chance.” Byrne did the scatting and we all sang the chorus over and over for a seemingly endless amount of time. Finally, just as the band did on the first night, the show ended with a musical procession out to the sidewalk and down into the Bowery subway station platform. Photos of the subway performance from night one are below from friend of NYS Music Will Oliver.
As of now, the band is idle with nothing officially on the radar. These four shows were a truly unique experience and NYS Music was so fortunate to be able to attend two of the nights. Arcade Fire will sell out dozens of arenas later this year, and while those shows will be spectacles, the intimate energy and passion on display inside Bowery Ballroom will not be matched. Fans who scoured Manhattan and Brooklyn for wristbands saw once-in-a-lifetime performances from one of the most successful indie rock bands of the last 20 years. Keep your eyes focused on the band’s social media as they gear up for this new album cycle. Check out the gallery below for more photos from night three from David Reichmann.
Railroad Earth’s 2022 tour just made a stop in Albany this past Friday, March 18. This was the their first show at The Egg since 2019, and the Capital District crowd showed just how much they missed Railroad Earth the last two years. The folk-centric jam band put on a dynamic show filled with rowdy choruses, dueling solos, and an atmosphere that felt almost like a celebration. The Egg audience was on its feet from the start of the show as folks were in great spirits. When Railroad Earth took the stage, everyone was immediately put in the mood to dance and move around out of their seats.
Among the high energy peaks, the show was also filled with spacious moments that bordered on serene. Fans enjoyed these calm moments by slowing down with the band as they got lost in the music, creating an ambience that allowed the colorful light show to shine. Fans could breath while appreciating the full experience being created before them, before being pulled right back to their feet to continue dancing along to the very next song. And so the show flowed along like this for an hour and a half, with everyone in The Egg seeming to have been transported somewhere far away from Albany.
Railroad Earth have been working in the studio as well, and recently released a brand new single titled “Come and Go Moon.” Back in January, they released another single titled “Runnin’ Wild,” which was their first newly recorded track since “It’s So Good” was released back in 2019. Two new songs in 2022… One could wonder if there may be a new album on the horizon for Railroad Earth. All we can d is wait and see though, so sense speculating. In the meantime, you should listen to what Railroad Earth has been up to in the YouTube video for their new single below.
If you missed your chance to see Railroad Earth at The Egg, then be sure to check out the bands upcoming tour dates as they travel down the east coast through the end of March. After a few weeks off, the band will be hopping all over the country throughout the summer. To see all of Railroad Earth’s upcoming tour dates, visit railroad.earth/tour.
As Benny the Butcher and his Griselda cohorts further entrench themselves in the music industry and the lines between mixtapes and studio albums continue to blur, the Buffalo-bred rapper returns with another edition of his cult-like mixtape series. The array of Tana Talk mixtapes helped lead Benny’s ascension including his breakout third edition, which featured standout tracks like “Langfield,” and “Rubber Bands & Weight.”
Tana Talk 4 is officially Benny’s third studio album and the intro track serves as a reminder of Benny’s current standing within the industry. The lead single — “Johnny P’s Caddy”– features a strong J. Cole verse, while the rest of the appearances remain close to home in the likes of Stove God Cooks, Westside Gunn, Conway The Machine, 38 Spesh and fellow Griselda signee, Boldy James. While Benny commands that street presence throughout his projects, the Tana talk series has always maintained a more personal feel and has seen the Def Jam signee at his most introspective.
This ain’t my story about rags to riches, more about how I mastered physics.
The records opening line sets the tone for the entire body of work as Benny weaves through street tales and the specific details of the drug game, while giving attention to his growth in the music industry and the supposed dissension between Conway and the rest of Griselda records after his departure from the label. Songs like “Johnny P’s Caddy” sees Benny flex his muscles in the rap game, as he went from making street dollars to legitimate rap money.
In the game, I used to train like Rocky catchin’ chickens. I was nice, but they was right when they told me that rap a business.
While once again flexing his loyalty to the ones he entered the game with.
Besides Con’ and West, tell me, who else I gotta respect?
Benny effortlessly exchanges his street and rap personas. His production is composed of Griselda in-house producer Daringer’s grimy, raw, slowed down beats, combining that with famed hip hop producer Alchemist’s soul-samples. On the 38 Spesh assisted, “Uncle Bun,” Benny is raw and unforgiving about his street dealings.
I sold dope to a fiend while she pregnant, emotionless. I’m not a case worker, that’s not the reason I sold the shit.
While the more soulful “Weekends In The Perry’s” featuring Boldy James, sees the Def Jam signee portray himself as simply an author to his own motion picture, which is the sort of bob-and-weave that is displayed throughout the 12-track, 40-minute long project.
Tana Talk 4 isn’t all drug and industry talk, as Benny also addresses the relationship between him, Westside Gunn and Conway The Machine. On “Tyson vs. Ali” featuring Conway The Machine, he addresses the media and fans attempts to pin the former label-mates against each other, while unbeknownst to them, the trio remain tethered.
So confused when ya’ll compare two n**gas from the same movement. Only for ya’ll amusement is funny to me. Ya’ll do it, truth is, while I’m killing shit Conway is somewhere rootin’.
Conway The Machine responds with his own salute to his cousin,
Ayo, Benny, I remember what we used to do to the fiends. That’s why it feel so good to see you doin’ your thing.
As the entire Griselda empire has grown within the past few years, they’ve maintained their model, even as they’ve ventured with bigger labels and entertainment entities. The making of Tana Talk 4 — a renowned mixtape series — into a studio album exemplifies just that. Benny The Butcher continues to elevate and flexes his industry connections with the J.Cole feature, while remaining true to his core fanbase.
Overall, fans of Benny can be left satisfied with this project, as it has plenty of rugged street talk, but more importantly growth, as fans can see the fruits of Benny’s ascension as he rubs elbows with the hip hop industry’s elite.
Capital Region concert goers were emphatically “ready” Sunday night, answering the question that started it all for enduring alt-metal icons Korn. Turning out in droves to the newly anointed MVP Arena (formerly the Times Union Center), it had been several years since local Albany “freaks” had been able to see the Bakersfield, California metal mainstays in this type of setting. Fresh off the release of their 12th studio album Requiem, the pioneering titans silenced anyone who thought they may have gone soft, bludgeoning fans with a career-spanning selection of angsty anthems, radio hits, and OG favorites. Still here, still volatile and still a draw, on this night Korn reminded everyone exactly why, at one point, they were considered the kings of the genre.
Trading in the JNCO’s for black leather trench coats and hitting the road for 19 dates with fellow hard rockers Chevelle and Code Orange, the two-time Grammy award winning band have an ambitious spring lined up. Comprised of vocalist Jonathan Davis, guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy” Arvizu, and drummer Ray Luzier, the sheer level of Korn’s reach over the years transcends accolades and platinum certifications. While it’s easy to make fun of their name and the nu-metal scene they largely helped bring to the masses, Korn has shown they are indeed ‘here to stay’ by continuing to push boundaries and finding ways to connect with a whole new generation. You see, in 2022 there is very little left for them to prove. From conquering the ‘boy band’ craze of the late nineties to selling over 40 million albums, at their peak Korn was arguably the biggest band in the world. Many will remember their star-making TRL and SNL appearances, their Family Values Tours and their infamous headlining scorcher during the first night of Woodstock ’99, before Rome went up in flames. These days, however, you can almost count the number of “heavy bands” who survived that era on one hand. A testament to their longevity, on this night in Albany plenty of people still wanted to see Korn throw down.
They came dressed in black, some with tattoos and eye liner, some covered in body piercings, others with neon-colored hair and sexy go-go boots, and yes, a few “freaks” came swimming in their vintage wide-legged JNCO’s. For the most part though, the fans who turned out were just your typical metalheads; the burly, bearded, beer-drinking guy-next-door type who likely has been “following the leader” for close to thirty years. After solid opening sets from Code Orange and Chevelle, it was finally time for what the Korn Kids came for.
As the lights suddenly went black, a brooding piece of orchestral music began piping into the MVP Arena. After a few moments, a large curtain with Korn’s logo became visible on stage, backlit to reveal silhouettes of the band members taking their signature power-stance positions. As the anticipation reached a fever pitch, the veil suddenly pulled away and fell to the floor as Korn launched into “Forgotten,” the first track off their new album. Fans instantly locked into it, erupting in unison while pumping their fists to the songs heavy chugging riff. The band looking fresh and already feeding off the Albany energy, also bouncing to the groove in perfect syncopation, dreadlocks flying in all directions, bent over at the waists as their instruments practically touch the stage; the thunderous and steady hands of drummer Ray Luzier’s anchoring it all down from his massive kit high above the stage. Off to the races, Korn quickly followed that up with one of their biggest radio hits in “Got the Life” allowing fans to “get their boogie on” and show off their voices to the song’s sing-along chorus.
The thick and sludgy hit single “Here to Stay” came next, followed by a new and relatively untested song off their latest album called “Start the Healing.” Front man Jonathan Davis, who admits he feels most at home when he’s hurting, was in fine form here. Sounding as good as he ever has and just as tormented. His unique, guttural, throaty screams filling the arena as he stalked back and forth across the stage like a starving lion that’s just been unleashed. Closing his eyes and clutching onto The Bitch (his custom made H.R. Giger microphone stand), when watching Davis exercise his demons live, there is no denying his sincerity. The unimaginable pain of his past is obviously still there and is still fueling an unbridled rage. Speculation of abuse aside, whatever happened to Mr. Davis in his younger years clearly had a lifelong impact. The type of torment very few overcome and very few can ever truly understand.
Celebrating the twentieth anniversary of their Untouchables album, Korn would dust off a bit a rarity in the form of “No One’s There.” Davis would then pull out the bagpipes for the iconic intro of 1994’s demented nursery rhyme smash “Shoots of Ladders,” at one point even working in a tease of Metallica’s “One” before returning to its usual structure. Sensing an opportunity to slip in another new tune, Korn upped the heavy with “Lost in the Grandeur,” which saw Brian “Head” Welch really getting into it. If dreadlocks could tell a story, Head’s could write novels. Inches longer than the last time we saw him, the man has become something of an inspiration for fans battling the hopelessness of addiction. After stunning the metal world in 2005 by quitting the band and finding faith, it would be years before fans discovered the reality of the situation. After kicking a life-threatening drug addiction and learning to better manage severe bouts of depression, Welch would rejoin his brothers in the band in 2012. Seeing him look healthy, happily headbanging and throwing souvenir guitar picks at fans, you couldn’t help but respect the guy. Let’s admit it, Korn just isn’t Korn without the chemistry between Head and guitarist James “Munkey” Shafer and if imitation is the sincerest form of flattery, by now this dynamic dreadlocked duo of 7-string ax slingers could have their own monument. The signature sound they fathered was on full display for the next two songs, a pair of radio hits in “Ya’ll Want a Single” and “Falling Away From Me.”
There was a fun moment during “Coming Undone” when the band did a surprise segue into Queen’s classic arena rock anthem “We Will Rock You.” The main portion of the set then concluded with perhaps Korn’s most well-known song “Freak on a Leash,” the breakdown giving bassist Reginald “Fieldy” Arvizu a prime opportunity in the spotlight to showcase his impressive musical chops, resulting in a raucous and sustained ovation from fans of all ages as the band exited the stage.
After a few minutes of soaking in the cheers, Korn happily returned to play a few more. First was a medley of sorts consisting of the opening track 1998’s Follow the Leader, ‘It’s On!’ mashed up with the songs ‘Trash’ and ‘Did My Time.’ From there, one of the most unique and unimitatable songs in Korn’s discography, the Davis-led snarling beat box style scat-rap of ‘Twist’ which flowed directly into a song that’s been on the shelf in recent years, ‘A.D.I.D.A.S.’ The kinkier side of the Capital Region showing itself during the adolescent acronym hit when the entire arena sang together “I don’t know your fuckin’ name, so what? Let’s fuck!” and then simultaneously shouting out that “all day [they] dream about sex.” A truly memorable and somewhat hilarious moment. After an impressive, yet obligatory drum solo from Luzier, Korn thanked fans for all the years of support, promised they’d be back soon, and then sent the crowd home happy with the song that put them on the map, a celebratory rendition of “Blind,” complete with a cannon blast of confetti and party streamers and a massive applause from the Albany Korn Kids who still deeply appreciate and respect this band.
Like stepping back in time, this “freak show” felt like a nostalgic throwback to the glory days of the late 1990’s. Firing on all cylinders and going balls-to-the-wall the entire performance, Korn clearly still has “it” and are showing no signs of slowing down. With their impressive and physically demanding stage presence, unmatched intensity, energy and rage, it was as if Korn found the fountain of youth on this evening in Albany. Musical trends come and go, but this is still rock n’ roll and there will always be an audience hungry for this type of angry, defiant, and cathartic music. On this memorable mid-March night, metal fans got exactly what they paid for.
Korn | March 20, 2022 | Albany, NY | MVP Arena
Setlist: Forgotten, Got the Life, Here to Stay, Start the Healing, No One’s There, Shoots and Ladders, Lost in the Grandeur, Y’all Want a Single, Falling Away From Me, Worst Is on Its Way, Coming Undone Freak on a Leash
Encore: It’s On / Trash / Did My Time, Twish, A.D.I.D.A.S., Drum Solo, Blind
Tampa, Florida natives and metal-core innovators, Underoath, stopped at Brooklyn Steel on St. Patrick’s Day as part of their Voyeurist North America Tour. Voyeurist, Underoath’s ninth LP and second from Fearless Records, showed the band staying true to the hardcore/screamo sound they helped fashion in the early aughts, while also modernizing the production and adding electronic and futuristic elements. The band refers to this enhanced sound as “high-def violence” and are in peak form on this tour.
Underoath at Brooklyn Steel, 3/17/22. Photo by Buscar Photo
Underoath brought some new and long time favorite heavyweights to Brooklyn Steel to fill out an incredible hardcore quadruple bill. Long Island natives, Stray from the Path, opened the show, playing songs from a nearly 20-year catalog including their 2019 LP, Internal Atomics. Next up was Richmond, Virginia band, Bad Omens, who recently released their third LP, The Death Of Peace Of Mind, this past February on Sumerian Records. The penultimate performers were the incredibly exciting, Spiritbox, who released their debut LP, Eternal Blue, last September. Featuring vocalist Courtney LaPlante and her husband Mike Stringer on guitar, the band creates the perfect blend of etherial and melodic post-rock with crushing waves of heavy screaming hardcore. LaPlante stretches the vocal range with stunning beauty on the live stage.
Courtney LaPlante of Spiritbox. Photo by Buscar Photo
Underoath were thought to be permanently retired after their farewell tour in 2013. Founding drummer and clean vocalist Aaron Gillespie had left the band in 2010 and the remaining members went on to release a record without him, 2010s â (Disambiguation). Gillespie ended up performing with the band on the last show of the farewell tour in Florida in January, 2013 but the band seemed finished at the time. A few years later, they returned with Gillespie in the lineup and have since released two records, including Voyeurist, which has instantly become a staple in the band’s catalog.
Underoath at Brooklyn Steel, 3/17/22. Photo by Buscar Photo
The show at Brooklyn Steel was Underoath’s first time playing in New York since August, 2019 when the band played in Saratoga and Wantagh with Korn and Alice In Chains. The Voyeurist Tour is nearly complete as they are set to close the run with two hometown shows in Florida on March 26th and 27th. Find the remaining show details on the band’s website. Spiritbox on the other hand have gained so much momentum with this new album that their tour schedule is just beginning. After these shows with Underoath, they have numerous festival appearances and a European tour stretching throughout the summer. Head over to their website for the full dates and see our photo galleries from Underoath and Spiritbox below.
