On Wednsday, December 28, and for the first time since 2019, Phish took the stage at Madison Square Garden for their annual New Year’s Run.
Performing their 69th ever show at Madison Square Garden, Phish opened the night with a high-energy “Buried Alive” followed by a funk-filled “Wolfman’s Brother.” Set 1 was highlighted by a 14-minute “Stash” that was followed by a 13-minute “Split Open and Melt” to close the set.
Set 2 started off strong with “Free” which gave way to a nearly 20-minute “A Wave of Hope” that segued smoothly into “It’s Ice.” “Leaves” came out swinging after that, with “Simple,” “Plasma,” “Twist” and “Harry Hood” rounding out the set.
For the encore, a surprise “Esther” was performed in the curtain call slot for the first time in its history, with “46 Days” following up to round out the show.
Phish return for Night two tonight. Tune in at Livephish.com to join Couch Tour.
Set 1: Buried Alive, Wolfman’s Brother, Maze, Sigma Oasis > NICU, Steam, Tela, Stash, Split Open and Melt Set 2: Free > A Wave of Hope -> It’s Ice > Leaves > Simple -> Plasma -> Twist* > Harry Hood Encore: Esther > 46 Days *Trey teased A Wave of Hope in Twist
Brooklyn based record label Razor-N-Tape has added 79.5, a disco-dj-dance band also out of Brooklyn, to their label. To celebrate, 79.5 came out with a thrilling single “Club Level” to rival their last instant-classic “Terrorize My Heart” from 2018.
79.5 is a six-piece band, and what sets them apart in the world of dance music is their woodwind section. With Izaak Mills on saxophone and flute, they can’t lose. His saxophone is reedy and penetrating, relieved by the strutting rhythm section — Andrew Raposo on Bass and Caito Sanchez on drums. Riding this superb beat is the hypnotic voice of Lola Adanna; she channels 80s disco with her breathy tone and echoing sound, it’s intoxicating. Kate Mattison, a singer-songwriter and composer created 79.5 back in 2010, with an imaginary radio station in mind for their band name.
The last big hit from 79.5, “Terrorize My Heart” found its way onto Q-tip’s DJ sets and Questlove’splaylists, their co-sign cementing the song’s place in the disco canon. If that’s any indication, “Club Level” will be taking over dance floors everywhere soon.
When you’re on the floor, lights flashing, inhibitions missing, “Club Level” is the perfect song to throw your head back to. Adanna’s sensual voice paired with sharp saxophone is thrilling, it’s a worthy addition to any New Year’s Eve party playlist, and I’m sure you’ll want to bring it into the new year as well.
New York City-based four-piece alternative pop/rock band Kids That Fly have released their newest five-track EP Tracks of the High Line, on December 9. With hopes of recreating their viral 2019 single “Kiss Her You Fool,” the group came up with this nostalgic, genre-blending EP. Along with this, the band has also released a VHS Music video for the song “Talk of the Town,” a catchy pop/alternative hit.
In October, Kids that Fly released the EP’s lead single, “High Line,” along with a vibrant music video to pair. “The synth-y beat and fast drums brought me back…it’s pop with enticing guitar chords and a synth that fits right in…conjures 80’s nostalgia. ‘High Line’ evokes a more technical The 1975, a less sad Backseat Lovers,” said NYS Music contributor Sydney Pollack in October.
Yet their newest “Talk of the Town” showcases the energy of Tracks of the High Line in its entirety, which can be described as a combination of sounds from the early 2000s alt-rock era, 80s synth pop, British alternative, and modern pop/rock.
Nick Smeriglio (vocals/guitar), Blake Henry (guitar/synth), Braden Frandino (bass/vocals) and Ryan Hendry (drums/vocals) make up Kids That Fly. Composed of college comrades, they formed in the fall of 2018 while attending the University of Connecticut. Having all grown up in Connecticut, the crew has had a lot of influence from other Connecticut musicians such as Rivers Cuomo of Weezer and indie/rock duo MGMT.
Tracks of the High Line is the “next logical step in the band’s evolution,” shares Nick. Composed of songs written throughout the heart and tail end of the pandemic. “It’s a reflection of lots of different romantic experiences that the four of us have had,” Nick confides. “On a deeper level though, it deals with the different struggles that came from the pandemic, how the isolation took a toll on people, and the recovery of it all.”
“Throughout the process we’ve been experimenting with different synthesizers and other interesting digital production techniques that give each song a bit of a retro futuristic style,” Braden reflects about the EP’s sounds.
Since the very beginning, the band has always put a focus on their fans, prioritizing the importance of live music. With their electrifying up close and personal performances, Kids That Fly will continue to prove their vast potential. You won’t want to miss out on their newest viral hits on Tracks of the High Line.
On Saturday, December 17th, Kendall Street Company closed their two-night run at Mercury Lounge in New York City. Based out of Charlottesville, VA, the band headlined Friday and Saturday night in the East Village with opening performances from Litz and One Time Weekend, respectively. Kendall Street Company brings a unique flare comprised of deep, genre-fluid compositions and unfiltered silly banter.
The company opened their second night with their reggae groove, “Marty Song.” After warming up the crowd with the sweet slow beats of the song, the band took the jam in a very dark direction, foretelling of the serious improvisation to come the rest of the night.
Next, the band punched into “Board Shorts.” Lead guitarist, Ben Laderberg shredded through ska and funk scales as Kendall Street continued to glide through different genres in their original composition. Following was a cover of Wet Leg’s “Chaise Longue” whose silly spoken-word lyrics fit perfectly in the song repertoire of Virginia’s most whimsical jam-band.
“Lunar Dude” had interstellar jams leading into an extended jam, and a buttery smooth transition into the chorus of “Walking on the Moon” by the Police and back into the resolution of the spacey jam. The next cover of the set was “I Got Stoned and I Missed It” by Dr. Hook & the Medicine Show. Rolling solos from saxophonist, Jake Vannaman carried the fun energy into a rendition of their blissful tune, “Cherry Tree.”
Kendall Street Company then performed one of their newest songs, “California #24” which can be found on their EP, Untitled California Project. This song was written and sung by guitarist Laderberg features spoken-word lyrics and funky guitar solos reminiscent of Frank Zappa.
After this heater, the crowd got to cool down while enjoying the slow acoustic melody of “Lady in Green” from the album The Stories We Write for Ourselves. The waves of energy at Mercury Lounge were brought up with the song “Telephone,” whose extended jam provided a seamless transition into “Say Hey” sung by bassist, Brian Roy before resolving the “Telephone” jam.
Apropos to the holiday spirit, Kendall Street Company played a quick rendition of “Trucking Trees for Christmas” by Red Simpson followed by a cover of the Grateful Dead’s “Bertha” in the band’s signature jazz-grass style. The crowd was then treated to “Katz in ze Haus,” whose techno rave vibes are hilarious paired with a silly and ambiguous European accent from Louis Smith, followed by their most streamed hit, “Cars” which came with a KSC-style medley at the end of “Just a Friend” by Biz Markie and Soulja Boi.
Encoring the show with “Wasted,” the room was filled with rattling klezmer scales from Vanaman, as drummer Ryan Wood solos on his toms and caps off the set, the band went into a quick chorus of their song, “Aged White Cheddar” at the request of a fan up front.
Kendall Street Company’s unique art has gained serious traction in the Jam band scene with future performances opening for bands such as, The Infamous Stringdusters, Twiddle, and Pigeons Playing Ping Pong.
Kendall Street Company – Mercury Lounge, Manhattan – Saturday, December 17, 2022
Setlist: Marty Song, Board Shorts, Chaise Longue [1], Lunar Dude, I Got Stoned and I Missed It [2], Cherry Tree., California #24, Lady in Green, Telephone > Say Hey!, Truckin Trees for Christmas [3], Bertha [4], Catz in Zeh Haus, Cars > Just a Friend > Crank Dat [5] [6]
Encore: Wasted [7]
[1] – Wet Leg [2] – Little Feat [3] – Red Simpson [4] – Grateful Dead [5] – Biz Markie [6] – Soulja Boy [7] – Tease of Aged White Cheddar at end
Foals wrapped up their 2022 ‘Life Is Yours’ Tour this past weekend with a handful of shows in the Northeast. The band passed through NYC’s Terminal 5 on Friday, December 16th for a raucous, capacity show, celebrating their return to the city after nearly four years. Foals have consistently been on of the best live rock bands over the last decade, and successfully harness that live energy into their studio records. No exception to rule was their seventh LP, Life Is Yours, released this past June.
Foals thrive on the live stage, and draw out a crowd eager to dance and sing along as they cruise through a tight 90 minute, career-spanning set. Even though the band leaned heavily into Life Is Yours, the older tracks fit in seamlessly because they have always stayed true to their blend of indie and alternate rock. Intricate layers of guitar arpeggios and vocal melodies soar over the crowd all backed by groovy rhythms perfect for a dance floor. The show opened with Life Is Yours single “Wake Me Up,” which saw it’s debut just over a year ago in 2021. The main set ended with an epic performance of “Mountain at My Gates” off 2015s What Went Down, followed by an encore of “Inhaler” and one of the band’s oldest and most beloved songs, “Two Steps, Twice”.
The current tour concluded this weekend with a final show in Portland, Maine. Foals takes a few months off before making a few stops in the UK ahead of a big run of shows opening Paramore’s upcoming tour. Head over to the band’s website for a full list of shows, and check out the photo gallery from the show this weekend at Terminal 5 below.
Doeke (Jorn Swart), a New York-based neo-classical pianist delivers a great deal on his new album Herinner – he is at times poignant, elegant, delicate, intricate, and vulnerable in this continued exploration of his signature dreamy and gentle piano playing style.
With these sonic reflection of stories from the past, present, and future, the album is all about nostalgia, home, and the strange details remembered from childhood, the music transporting the listener to another time and place.
Doeke was my grandfather’s first name. He played the accordion, which inspired me to pick up that instrument as a kid, and later led me to the piano. All the song titles are in Dutch, and many of the compositions are inspired by memories from the Netherlands.
Doeke (Jorn Swart)
Doeke is shaped by a desire to return to simplicity, with Swart’s piano compositions inviting listeners from all over the world to feel a nostalgia that is both melancholic and comforting. Swart moved to the USA in 2010 as a Fulbright Scholar to pursue a master’s degree in jazz piano in New York City, where he’s been living and performing ever since.
Throughout his career, Swart has been busy not only as a composer and a piano soloist, but also as a bandleader, musical director, and recording artist for other musicians. As he built his name, touring throughout the USA and in Europe and garnering international acclaim, audiences told him that his work sounded like it was telling a story. With Doeke, he leans into this quality, with music that has a narrative and the emotional attributes of a film score.
You know how a certain smell can suddenly evoke something that happened a long time ago, something you thought you’d forgotten, and you become instantly overcome with the same feeling you had back then? Music can also send you on these fleeting time travels and the songs on this album capture such transient visceral experiences. Though these recollections are deeply personal for me, music can transcend this and transform the particular into the universal.
Music allows us to collectively experience the most powerful human states of being — nostalgia, joy, melancholy, reflection, excitement — and take comfort in knowing we all feel this way sometimes. Herinner is about these little moments that can seem insignificant, but still endure. It invites the listeners to join and embrace the nostalgic.
Doeke (Jorn Swart)
Herinner is available for streaming on various platforms here.
Westward expansion. An 80+ year stretch marked by hope, oppression, sorrow, and death. For Ian McCuen, it serves as a provocative metaphor for a life of disappointment and a world of heartbreak on their fifth album, November’s Westward to Nowhere.
It’s not the first record inspired by grief and the idea of travel. Modest Mouse did the same thing twice in the 90s to massive acclaim. What sets the Buffalo indie folk musician’s concept album apart though is its consistent and clear narrative, which progresses towards its natural finish by the end of the project’s behemoth 18-track, 80 minute run.
Cover art for ‘Westward to Nowhere.’
The early going of Westward to Nowhere depicts McCuen’s character as a damaged and traumatized young adult who anticipates and hopes for better things with a change of scene. The lo-fi acoustic opener “Westward” introduces the album’s historical symbolism with the noises of a train and the repeated closing line “westward home, westward home, and I know that I must go,” a phrase which is made a motif via the three interludes found across the record.
Follow-up track “Independence, MO” is a fuzzy but light indie rock song about the “thrill of anticipation” for starting new, coming before lead single “Lonesome Homesteader” (or “Lonesome Dreamer” according to the album listing), a gloomy acoustic ballad spaced out by stretches of organ and banjo. “I walk for miles at a time, daydreaming of a place that’s always mine,” McCuen sings on “Lonesome Dreamer.
This continues onto the waltzy “California Bound,” where McCuen analogizes seasonal change with grief and recovery, hoping that change of scenery will “wash away past trauma.” The same goes for the synth and violin-laden “Beatrice, NE,” where McCuen dreams of traversing the Great Plains and scaling the Rockies. “Goodbye Beatrice, so much world left to see,” they sing on one of several tracks that personally address the pinpointed location on McCuen’s journey.
Musically, Westward to Nowhere is highly consistent and consistently melodic. McCuen’s near whispered falsetto heavily reminisces of Elliott Smith, with their low-key acoustic approach and sentimental subject matter also ringing true of the legendary singer-songwriter. This tonal steadiness doesn’t mean a lack of variety in texture or instrumentation though, with McCuen’s parts on guitar, piano, organ and more being complemented by guest musicians such as Lissa Reed on cello and Sally Schaefer on violin. Reverb-heavy moments of guitar noise add contrast to long stretches of acoustic subtlety on songs such as “American Retreat.” There’s “The Plea,” which closes its six minute runtime with a biting and bluesy guitar solo and hints of trombone. All makes for an experience which sonically conveys McCuen’s sorrow in an affecting and musically accessible fashion.
While primarily personal, Westward to Nowhere has its political moments too, “The Plea” being explicitly so. “Can’t you hear the chanting, ‘no justice no peace,’ how much fucking longer we gonna let Kansas bleed,” McCuen asks on the final verse’s closing line.
There’s also the on-the-nose “Running Still (Worker’s Hymn),” a mostly acapella anthem where they sing in the first person about working class strife with exploitation, and the heartful late-placement ballad “American Retreat” which addresses Native American genocide, abandonment of military veterans, and general lies from “the lofty speak of what an infinite frontier provides.”
Such cynicism defines the rather hopeless back half of Westward to Nowhere. There’s “Letter,” on which Ian McCuen pens letters to a sister, an old friend, and a former lover, detailing fun reminiscence, regret, but most of all, agonizing over the distance created from these loved ones. “I can hardly recognize where I’m heading or from where I came,” they observe over the light drumming of the song’s chorus. “On my shoulders lays the blame.”
McCuen’s journey away from misery has made life even more hopeless, something fully emphasized in the album’s final three tracks. There’s the upbeat organ/violin-driven “Lonesome Drunkard” with its alcoholism play-by-play, followed by the overpowering gloom of nine-minute “Deadwood, SD,” which takes their sadness to suicidal levels.
McCuen forecasts themselves as “face first in the dirt with a bullet in the brain” and “just another number in the morgue,” and reminds of the album’s historical symbolism by alluding to “repeated failed attempts at finally striking gold. In the last few minutes, over a subtly building assembly of piano, guitar, , McCuen echoes frustration with a disgustingly wrong promise, singing “I’m so fucking sick and tired of hearing ‘Westward Home,’ after all this time I still don’t know where the hell I belong.”
No point is more bleak though than the closing track “Nowhere.” The train from the end of “Westward” returns, not to take McCuen on a life changing journey, but to take them out. “My brain and my body have given out on me, so I’m giving in to let these tracks take me,” they sing after two minutes of desolated acoustic guitar playing. McCuen’s echoey vocals and the track’s eerily sparse musical framing make this a haunting self-eulogy, as they talk about an eradicated sense of youthful optimism, reflect on a life of unfulfilled self, and envision a memorial not consisting of any heartfelt tributes, but “just regret for my days.”
Westward to Nowhere begins with a clear point and ends on a resounding personal message: the grass isn’t always greener elsewhere. Change of scene and change of personal direction don’t always lead away from misery. It may lead nowhere, and it might make life more isolating than ever imaginable. Originally aiming for California, McCuen never got farther west than Montana, a testament to the fleeting nature of personally prophesied destinations.
The album bears similarities to 1984 hardcore classic Zen Arcade by Husker Dü, a concept record about a boy who leaves a troubled home to find a world of nothing but. Ian McCuen never comes close to being as loud as Husker Dü, but the emotional ideas and big picture thinking are all there.
This is a long record that doesn’t do anything musically shocking, but within the album’s historical approach, it’s all fitting. Continental travel is long, consistent, and miserable, often like life. On Westward to Nowhere though, Ian McCuen conveys this in a way that ends up being pretty enjoyable to listen to.
It was a splendid evening for mid-week melodies, hump-day harmonies and independent live music in Glens Falls Wednesday, December 7th as fans of all ages filled the Park Theater for a captivating performance by The Ballroom Thieves and Griffin Sherry of The Ghost of Paul Revere. A beautiful and underutilized venue that dates all way back to 1911, the intimate room was the perfect setting for these modern-day master songwriters to pour their hearts out.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Playing his first run of shows since the demise of The Ghost of Paul Revere, Portland, Maine’s Griffin William Sherry surprised both fans and even the venue when he arrived in town with a full backing band of musicians that also included former GOPR drummer Chuck Gage. Sherry joked from the stage how this was more people and more gear than he ever took on the road with his former band while also reassuring the crowd that it is ok to get a little rowdy. “I’m particularly looking at you ladies” he said, while pointing out a table full of much older women. “It’s so good to see you again!” chimed an excited fan from the other side of the room.
Perhaps still grieving the loss of GOPR who played their final show in September, fans were delighted to hear new renditions of some old favorites with “One of These Days” being a clear highlight. Known primarily as an acoustic guitar player, the surprises from Sherry didn’t end there. Using his new solo platform to try new things, longtime fans gasped when he suddenly strapped on a beautiful hollow body guitar and launched into a cover of the classic Pink Floyd song “Fearless.” The ‘electric’ Sherry would also try out several new songs, including “Stephentown” and the hard rocking set closer “Ain’t It Amazing.”
Griffin William Sherry performing at Park Theater in Glens Falls, NY 12/7/2022.
Following a quick pause in the action the lights went dim as the Ballroom Thieves then took their places on stage. Back on the road for the first time in years, the acclaimed neo-americana folk act from Boston were in complete command from the very moment they played their first note. Building up the tension with the hypnotic intro of “Canary,” the Thieves wasted no time in living up to their reputation as one of the most dynamic, energetic and melodic live bands on the independent circuit. Consisting of husband-and-wife duo Martin Earley on guitar and vocals and Calin Peters on electric cello, bass and vocals, the current incarnation is rounded out by John Henry Nolan on guitar and keyboards and drummer Kevin O’Connell (from Rome, NY) who somehow was able to play the show despite suffering a torn meniscus.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Fresh off the release of their latest studio album, 2022’s Clouds, the band has gone through some tough times these last few years and many of their new songs address that head on. A chronicle of desire and despair, trust and betrayal and the importance of mental health, The Thieves would play the albums opening track “Worldender” next, followed by “In the Morning. “ Trading stunning and lush vocal harmonies, the cozy atmosphere almost made you feel like you were getting your own private show.
Switching back and forth between electric cello and bass guitar, Peter’s voice was both beautiful and haunting. Songs like “Almost Love” and “Do Something” put her squarely in the spotlight and it was easy to see she was reveling in it. Smiling, dancing and leaping about the stage, you couldn’t help but be charmed by her performance. Contradicting upbeat melodies with some darker lyrical content provided a powerful juxtaposition that wasn’t lost on the audience. A great example of this was the Earley sung rendition of “Shadow” which would then go into the brilliantly bluesy number “Anybody Else” from the bands 2017 album Deadeye.
Despite serious lyrics, Calin Peters was all smiles on 12/7/2022.
“Most of the time, we’re usually all about love and understanding, but not on this next one, “Peters’ said. “Picture in your mind someone you hate and when we play this song, we want you to think about them. That is, of course, unless they are in this room right now. If they are, sorry, you can’t play this game with us.” And with that thought in mind, Peter’s then crooned out perhaps the most hauntingly beautiful song of the night called “Woman.”
I was your woman And you left me standing Alone in a world that had not heard me use my voice yet You’re just tired of my noise, I guess Hey, we all make our choices and break our own horses Are you hearing me say all this? This is the last one For you
– “Woman”
Following that up with two more older, tender songs “Pendulum and “Bees,” Martin Early would soak in the moment and candidly address the audience by saying “It’s been a tough couple of years, but we never stopped writing songs and you being here to hear them means more than you’ll ever know. This next one is about coming to terms with a crippling depression.” Providing perhaps the emotional highpoint of the evening, “I Lose” hit you like a ten ton hammer.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Showcasing their flexibility, both musically and physically, the chemistry between the Ballroom Thieves was undeniable. Interacting like a tight-knit family, even during the “sad” songs each member of the band was clearly engaged, invested, enjoying themselves. At the peak of all Peters and Earley would lock eyes, meet each in the middle of the stage and get so lost in the music that they’d both end with their backs on the floor. Perhaps the loudest cheer of the evening came during their most rocking song, “Fistfight,” rocking duel-guitar attack of the bands hit single “Fistfight.” After wishing guitarist John Henry Nolan’s Aunt Emma a happy birthday, The Ballroom Thieves would close the set with a powerful rendition of “Wolf.”
The Ballroom Thieves laid it all on the line in Glens Falls on 12/7/2022.
These days you almost expect an encore at every show, but in perhaps the best fake out ever, you could hear the collective letdown when the house music came up. Just then as fans starting getting ready to leave, the music and lights suddenly went back down. Returning to the stage with huge smiles and to a huge ovation, The Ballroom Thieves then treated fans to one more surprise by closing the show with a cover of the Donna Lewis song “I Love You Always and Forever.”
A captivating performance from start to finish. From hushed whispers to cathartic screams to synchronized dance moves, the intimate and thought-provoking show felt truly special. Anyone who wasn’t sure about this band going into it walked out of the Park Theater a full fledged believer. Up next, the Ballroom Thieves will take a little time off for the holidays before Early and Peters return to the road for a brief duo tour this winter.
The Ballroom Thieves | December 7, 2022 | Park Theater | Glens Falls, NY Setlist: Canary, Worldender, In The Morning, Almost Love, Do Something, Shadow, Anybody Else, Woman, Pendulum, Bees, I Loose, Fistfight, Wolf Encore: I Love You Always Forever (Donna Lewis cover)
Griffin William Sherry | December 7, 2022 | Park Theater | Glens Falls, NY One of These Days, Stephentown, Me and My Shadow, Fearless (Pink Floyd cover), Ain’t it Amazing
From Paris to New York City, Lizzy Young emerged to the scene in 2020 with her debut CooCoo Banana, a visual album of 10 tracks confronting mortality. In celebration of the upcoming release of her song Not that Bad, Lizzy has just unveiled a new video for the track “Everything is Beautiful.”
Lizzy explains, “Everything is Beautiful reflects the intangible in life, the little things we overlook and the big things we take for granted.”
Lizzy’s second album is centered around the experiences of women; “This album is my love letter to everyone who identifies as a woman. I find it complicated to be a woman, even in 2022, and I need to talk about what I know best.”
Not That Bad is not only an empowering tribute to women, it is also an album that at times captures the heady pulse of a night out; “something that people would want to play in a sweaty club,” she says. “A little different from what I’ve been hearing the last couple of years. Something that fits the times: dark, groovy, slightly funny, and a little apocalyptic.”
Work on this album began back in 2020, but then Young ended up at a friend’s farm for 6 months. “I barely took anything with me and wasn’t able to record until getting back to Brooklyn,” she says. “I wanted this album to be a Brooklyn baby and after finishing the demos I looked for someone local to work with to make it spicier.”
The opener “Cigarettes are good for Pain,” Young marries wonky pop with a charging techno beat, while the following “Shit Never Stops” takes a turn with snapping trap beats and merges them with subtle melodies. Young’s inimitable vocals are slow, considered, breathy.
To Listen to “Everything Is Beautiful,” click the link here.
A flocking good time was had in downtown Albany as two of the jam scenes hottest acts – Pigeons Playing Ping Pong and Dogs in a Pile – teamed up for an unforgettable evening of ‘bird-dogging’ at Empire Live on Friday, December 9th. Packing out the venue and lighting up the crowd with a healthy dose of high energy funk, top-shelf improvisation, psychedelic dance grooves and plenty of good old-fashioned shredding, the evening also served as birthday celebration for Dogs’ keyboardist Jeremy Kaplan.
Pigeons Playing Ping Pong performing at Empire Live in Albany (12/9/22)
Flanked in tie dye and smothered in patchouli, fans flocked to the venue early enough to catch the opening act Dogs in a Pile. One of the most talked about up-and-coming bands around, 2022 has been a huge year for the young New Jersey quintet. Consisting of Jimmy Law and Brian Murray on guitars, Sam Lucid on bass, Joe Babick on drums and the Jeremy Kaplan on keys, the exciting group wasted no time showing everyone what all the buzz is about.
Dogs in a Pile performing at Empire Live in Albany (12/9/22)
Launching into the song “Look Johnny” and seamlessly transitioning into “Frosty” and “Fenway” before coming up for air, it was clear the Dogs were determined to make the most of their allotted time. Weaving together a tapestry of colorful sound with an undeniable charisma, Albany fans were then treated to the live debut of “Let U Go.” Rounding out the short, but impressive set was “G Song” followed by “Bent Strange,” but it wouldn’t be the last time we’d see members of the dog pound on stage this night.
The dogs were back in town on 12/9/22
After a brief break in the action, it was finally time for the long-awaited return of Pigeons Playing Ping Pong who had not played in Albany since March of 2019. Now celebrating 15 years as a band and touring in support of their sixth independent full-length album Perspective, some longtime fans could be heard reminiscing about seeing their first P4 show at the significantly smaller Red Square (now the Public Parish House) just down the block back in 2012. One of the most fan-friendly and hardest working bands going, their continued growth and popularity should come as a surprise to no one.
Pigeons Playing Ping Pong performing at Empire Live in Albany (12/9/22)
Taking the stage and genuinely thanking everyone for coming out before even playing a single note, front man ‘Scrambled’ Greg Ormont was all smiles while giving his customary pre-show p-p-p-pep talk. Reassuring everyone that they were in for some serious fun, the party on North Pearl Street kicked off with “Porcupine” from the band’s 2017 album Pizazz. All warmed up and feeling good, things fell into place nicely when “Fall In Place” landed on a surprise Beatles cover of “While My Guitar Gently Weeps” that boasted an absolutely gorgeous guitar solo from ax-man Jeremy Schon and a lengthy “Babe I’m Gonna Leave You” (Led Zeppelin) tease for good measure.
Jeremy Schon of Pigeons Playing Ping Pong performing at Empire Live in Albany (12/9/22)
Now calling on a little help from their friends, it was at this point the band invited “the other Jeremy” out, welcoming Dogs in a Pile keyboardist and the birthday boy himself, Jeremy Kaplan back to the stage to sit on “Sunny Day.” Adding a whole new dynamic to an already funky sound, Kaplan’s contributions were huge here and he seemed like a natural fit, finally answering a question that’s been dogging P4 fans for years: “What would they sound like if they added some keys?” Quite the way to ring in your 24th birthday indeed. Keeping the dance party going strong, the one-two punch of “Move Like That” into “Live It Up” had the crowd worked up into a sweaty frenzy as the band brought the lengthy opening set to a close with “Elephante.”
Jeremy Kaplan sits in with PPPP on his 24th birthday (12/9/22)
Back with more positive vibes, Pigeons started the second frame with “Live Life” before going all in on an “Upfunk” sandwich that featured a jaw dropping drum solo from Alex “Gator” Petropoulos smack dab in the middle. Always clever with their setlists, a bit of an aquatic theme seemed to emerge as “Beneath the Surface” gave way to fan favorite “Poseidon” resulting in one of the biggest peaks of the evening courtesy of Schon’s incendiary shredding.
Ben Carrey of Pigeons Playing Ping Pong keeps it heady in Albany (12/9/22)
Master of disguise and purveyor of cool, bassist Ben Carrey was keeping it heady all night long, but perhaps his bass bombs were never more physically felt than on the next combination of songs, “Twitch” and “Water.” A scorching “High As Five” would bring the second set to a close and leave fans begging for more. Giving it 100 percent max effort and always happy to please “the flock”, Pigeons would take flight one final time, returning for an encore of” Schwanthem” and sending the hot crowd into the cold night with huge feelings of satisfaction. A fantastic evening of live music, song and dance, shared joy and vibe that quite simply downtown Albany hasn’t seen since before the pandemic.
Melting Lights: Pigeons Playing Ping Pong performing at Empire Live (12/9/22)
Up next for the band, Pigeons Playing Ping Pong will head to Harrisburg, PA next weekend for a pair of shows at XL Live before closing out the year with a two-night New Year’s Eve celebration in Pittsburgh with the Magic Beans.
Pigeons Playing Ping Pong | 12-9-2022 | Empire Live | Albany, NY
Set 1: Porcupine, Fall In Place > While My Guitar Gently Weeps* > Sunny Day^, Move Like That > Live It Up, Elephante
Set 2: Live Life > Upfunk > Drums > Upfunk, Beneath The Surface, Poseidon, Twitch > Water, High As Five
Encore: Schwanthem
* w/ “Babe I’m Gonna Leave You” and “25 or 6 to 4” teases ^ w/ Jeremy Kaplan (Dogs In A Pile) on keys
Dogs in a Pile | 12-9-2022 | Empire Live | Albany, NY
Setlist: Look Johnny, Frosty, Fenway, Let U Go*, G Song, Bent Strange *Live Debut
