NYS Music 202​2

Category: Reviews

  • Hearing Aide: A Fragile Tomorrow “It’s Better That Way”

    A Fragile Tomorrow released their new album It’s Better That Way on July 15th via MPress Records. This album combined many of the band’s musical interests and new tryouts which included Krautrock-psychedelia, indie rock swagger, Crowded House-esque pop songcraft, British folk and hip-hop-influenced sampling.

    Members of A Fragile Tomorrow are founders Sean Kelly, Brendan Kelly, and Shaun Rhoades, as well as new additions Josh Kean and Peter Holsapple. They released 5 albums including their independent Music award winning debut album Make Me Over and have shared stages with artists including Indigo Girls, Drivin’ N Cryin’ and Matthew Sweet.

    Musically the main theme of the new album from A Fragile Tomorrow is trying not to be boxed in. Brendan Kelly summarized this from their experience that they scrapped almost half of completed songs, and re-approached the production to jump out of the very specific sound in mind previously.

    Lyrically, there are a few themes threaded throughout in this political record. It includes being worn down by capitalism, feeling disillusioned with the music industry and struggling to adjust, and anxiety about grief, isolation, politics, religion, or the state of the world.

    “I would say that this album is really just a summary of who we are as a band. We embraced our roots as a pop band, but continued exploring our more experimental side like we did on our last album, Generation Loss, and tried to take that further (in different ways). It covers everything from riff rock, to hip hop production, to post punk, power pop, psych rock, and even folk. I’m really proud of the production on this album and the way we were able to tie everything we love into what I think feels like a cohesive unit.”

    Brendan Kelly

    “All Signs To Amsterdam” decipted anorexia, “Another Club” tells a story of losing a mother, and “Sandy” tributes to Sandy Denny to critical current social/political issues. “Fraying Wire” responded to January 6th, “For An Eye” looks at the prison and military industrial-complexes that are backed by a harsh capitalistic system, “Look Out” supports salt-of-the-earth union workers, and “Lost In Art” conveys a message of resistance to the conformity of mainstream music and the music industry.

    “All Signs to Amsterdam” was reworked after the departure of previous member. It starts with electronic guitar strum, and vocal and drum come in later. The melodies were inspired by 70s British folk like Fairport Convention. It didn’t have a chorus progression but the chorus are big and fuzzy which injected the song an exciting vibe. Lyrically, this song is about anorexia, relates to their 2013 European tour where Sean Kelly’s eating disorder really started getting serious.

    Another Club described a story of being in the “club” of losing mother at a relatively young age. Inspired by the album ‘Comet, Come To Me’ of Meshell Ndegeocello, the verse has a vibe of soul music with a peaceful sorrow. It also combines several different musical pieces that both Brendan and Kelly wrote, while Peter’s organ solo stoodout as is his harmonica playing. These infusion added more elements with different feelings to the song. 

    “Fraying Wire,” one of the centerpieces of the album, was written and recorded on Kelly’s Fender Jaguar in a made up open tuning. The opening drum which feels like hitting a jar is like a reflection of the political mess on January 6, 2021. Then the guitar brings an interesting chord progression and tuning as the added vocal harmonies provided a holy sound to the song. 

    For An Eye is a direct criticism of the prison industrial complex and the death penalty. The “percussive” drum beats from a double floor tom is a great example of some of the rhythmic direction the band were trying to go in early on. Peter’s synth strings as well as Brendan’s messy, noisy solo built a stream-of-consciousness style.

    Look Out! is a pro-union, anti-capitalism song that also criticizes the hypocrisy of Washington. The bassline was a looped line with added chord changes and dynamic shifts around. The real drums inject life to the song. Peter’s cascading arpeggiating synths and thingsturned it into something pretty amorphous and genre nonbinary, despite it originally being something sort of Clash and The Specials influenced. 

    “Collapsed Catholic” is currently the favorite song of the Montgomery-born guitarist, songwriter, and pedal master Brendan Kelly. This song feels like a journey and was originally intended to be the opening of the album. Therefore, it tied together a lot of the different elements that appear throughout the record. Introduced with psychedelic noise, a big guitar riff and some frantic drums, hip hop-inspired sampling in the bridge, the song also includes a little dreamy synth breakdown, and a great guitar solo.

    “It’s really an amalgamation of everything we love and everything we’re interested in exploring. It’s probably best described as “art rock,” which is a term I shouldn’t like but really do. I think it’s a term that throws genre out the window, which is something that appeals to me.”

    Sean Kelly

    Produced by A Fragile Tomorrow, with additional production by Peter Holsapple and mastered by Grammy winning mastering engineer Alan Silverman, this experimental album included unusual but wonderful thinking of members and enjoyable music compositions.

  • Mitski Brings Laurel Hell to Radio City with Two Sold Out Shows

    Following the release of her latest full-length studio album, “Laurel Hell,” beloved indie musician Mitski returned to New York City the weekend of July 22, 2022 for two sold out nights at Radio City Music Hall. Originally scheduled for March, these and a few other tour dates were postponed due to COVID. Canadian indie folk band the Weather Station opened for Mitski both nights at Radio City.

    Mitski performs at Radio City Music Hall, Photography by David Reichmann

    The Weather Station mentioned “This show is by far the biggest venue we’ve ever played,” and thanked Mitski for bringing them along. Their signature soothing tones and melodies rang through the historic Manhattan hall. The crowd ate it up, anticipation for Mitski’s set rising as the energy in the room increased by the minute.

    The Weather Station performs at Radio City Music Hall, opening for Mitski, Photography by David Reichmann

    Mitski’s set began with her hit single, “Love Me More,” a pounding rhythmic anthem of desperation and desire. The crowd screamed as the first notes played, and screamed again when the track concluded.

    Mitski at Radio City Music Hall, Photography by David Reichmann

    Mitski’s hypnotic and intense dances were inspired by Butoh, a form of Japanese dance theater, and featured exaggerated motions and physical storytelling through dance. The stories of her songs came alive in her dances, especially with her second song of the night, “Working for the Knife.” The Butoh influence also made an appearance in the song’s music video.

    Mitski performs “Working for the Knife” at Radio City Music Hall, Photography by David Reichmann

    “Working for the Knife” was the first preceding single leading up to the release of “Laurel Hell.” This also marked her first major release since 2018, when she had taken a hiatus following the release of her last full-length album, “Be the Cowboy.” The album would go on to be a huge hit, but in interviews at the time Mitski had expressed discomfort with the massive mainstream attention the album had received, and she announced her hiatus from music at a concert at Central Park in 2019. “Working for the Knife” addresses these issues directly, illustrating the struggle between her artistic desire to create and the overwhelming demands of the music industry and capitalist work culture in general. The song is a hard-hitting and thoughtful meditation on the struggles of artists to stay creative and productive, and her vivid and evocative dance choreography captures just that.

    Mitski waves hands with crowd at Radio City, Photography by David Reichmann

    Despite saying very little to the audience throughout the evening, Mitski did open up about her experience as a New Yorker towards the end of the show. “I wrote a lot of these songs in New York,” she said. “I was unhappy here. It was so hard. And realized it didn’t have to be so hard, so I moved. But every time I come back, I realize, ‘God damn it, I miss it.’” She added, “You don’t have to be unhappy. You can change it.”

    Mitski at Radio City, Photography by David Reichmann

    Her massive 23-track setlist included many hits and deep cuts from her six-album catalog. Fans sang along at every opportunity and danced through every moment. Standout tracks included “Washing Machine Heart,” “Nobody,” “Should’ve Been Me,” and “The Only Heartbreaker.” For her encore, she performed “A Pearl,” and left the stage with a bow. The crowd cheered wildly and screamed their love for her. Mitski’s Laurel Hell Tour continues, and you can buy tickets for remaining dates here. Her catalog is available to stream here. And you can listen to the Weather Station here.

    Photography by David Reichmann

  • Lucy Dacus Plays Central Park with Strings, Bubbles, and Support from Hop Along

    Acclaimed indie star Lucy Dacus played Central Park’s SummerStage in New York City as part of the final leg of her ongoing Home Video Tour on Thursday July 21, 2022. She played with support from indie rock band, Hop Along. Lucy last headlined New York in November of 2021 for three sold-out shows at Brooklyn Steel, following the release of her critically acclaimed third studio album, Home Video.

    Lucy Dacus at Central Park with bubbles, Photograph by David Reichmann

    Dacus also recently joined Phoebe Bridgers onstage at Forest Hills Stadium in June. Known for her lyrical depth and often heartbreaking narratives, Lucy Dacus has become a phenomenon in the indie scene. Her return to New York comes hot on the heels of her Spotify Singles release just a few days before, which included a cover of Cher’s “Believe.”

    Lucy Dacus at Central Park, Photograph by David Reichmann

    The day began with sweltering New York City heat and humidity, scattered thunderstorms, and heavy showers in the early afternoon. Fans who had lined up in the early morning endured some rain and heat, but were rewarded with spots near the front of the barricades. As the venue filled up, the crowd’s anticipation rose, frequently cheering at random intervals whenever they felt the need to express their excitement. Security and event staff worked hard to distribute bottled water and spray mist over the crowd to cool them down, which drew yet more cheers.

    Event staff misting audience at SummerStage, Photograph by David Reichmann

    Hop Along opened the evening, playing their energetic rock set as the sun lowered and the shadows of Central Park lengthened. The heat didn’t seem to slow their performance down, and the night gradually grew less hot as they played. The band played several tracks from their three-album catalog and a cover of Tears for Fears’ “Everybody Wants to Rule the World.”

    Hop Along at Central Park, Photograph by David Reichmann

    Hop Along walked off the stage to enthralled applause as golden hour approached. The crowd reveled in the cooling shade as the sun lowered and Lucy’s set approached.

    Hop Along at Central Park, Photograph by David Reichmann

    With the last few moments of sunset at hand, Lucy Dacus took the stage to a booming chorus of cheers. In addition to her regular ensemble band, most of the set was accompanied by strings. Lucy mentioned that her older records included tracks with strings, and she was excited to bring them to the show.

    Lucy Dacus with her full band and Strings Section playing at Central Park, Photograph by David Reichmann

    Lucy’s set had a false start when a crowd member required brief medical attention. She stopped the song and patiently waited. She praised the crowd for giving space for staff to help out and playfully posed for the photographers. After getting a thumbs up from the crowd, she got right back into it, and restarted the opening song.

    Lucy Dacus posing for the cameras at Central Park, Photograph by David Reichmann

    She opened with “Triple Dog Dare,” followed by “Addictions” and the hit single “Hot & Heavy” from her latest full-length album.

    Lucy Dacus with a burst of bubbles, Photograph by David Reichmann

    Lucy’s massive 17-song set included many more fan favorites and charting tracks, such as “I Don’t Wanna Be Funny Anymore” and “Brando.” Several times throughout her set, the air filled with bubbles to punctuate a chorus or hook, which drew huge applause each time. The most diehard fans packed at the front of the audience were showered in bubbles and screaming with joy.

    Bubbles in the air, Photograph by David Reichmann

    Hop Along joined Lucy and her band onstage for a rendition of “Going Going Gone.”

    Lucy Dacus and Hop Along performing together, Photograph by David Reichmann

    Lucy mentioned her bassist, Dominic Angelella, was a founding member of Hop Along.

    Dominic Angelella performing, Photograph by David Reichmann

    Before Lucy played “Kissing Lessons” she cheerfully asked the audience, “I’ve been surveying, and I was wondering – who here is gay?” The crowd responded with a huge cheer. She laughed and replied, “This is our newest and probably gayest track.”

    Lucy Dacus at Central Park, Photograph by David Reichmann

    “Yesterday we put out two songs,” Lucy told the crowd. She then played her Spotify Singles cover of Cher’s “Believe.” “What a bop,” she quipped, to laughter and applause.

    String Section for Lucy Dacus on couches, Photograph by David Reichmann

    Lucy introduced the last track of her set by saying “Don’t you realize what a big deal this is? It’s so cool.” She thanked each member of her band, including the strings section, and thanked the audience. She closed the set with fan favorite, “Night Shift,” from her acclaimed sophomore record. “Thank you New York City, y’all are the best.” She disappeared backstage for a few moments, and then reappeared to another great wave of cheers. Before beginning her encore, Lucy mentioned that her father was in the audience. “Whenever he’s at one of my shows, I have to play this song.” She then played her cover of Bruce Springstein’s “Dancing in the Dark.”

    Lucy Dacus at Central Park, Photograph by David Reichmann

    Lucy’s bandmates took their bows and walked off to cheers, but Lucy remained on stage unaccompanied, a singular spotlight illuminating her. “Last time I was here was in 2019, opening for Mitski,” she told the crowd, remarking on how special it felt to return to Central Park as a headliner. “I’m going to play an unreleased song I wrote yesterday,” she said. “This is just for me. Pretend the show is over.” She then asked the crowd not to record this song. “I like to play new music at my shows, so please don’t record this.” Lucy punctuated her emotional performance by playing this final song unaccompanied under a beam of light, to an absolutely silent audience. They listened intently. The song will surely become a fan favorite upon release, but until then we won’t spoil the surprise by revealing any details.

    Lucy Dacus playing an unreleased track solo, Photograph by David Reichmann

     “I will remember this forever, thank you so so much. Until next time.” She walked off the stage to a crying, cheering, and screaming crowd in Central Park. The house lights came on and the crowd walked off, scattering through New York back into the warm summer night. Lucy’s catalog can be streamed here, and you can follow her ongoing North American tour here. Hop Along’s catalog can be streamed here as well. Check out our full show gallery by David Reichmann below.

    Photography by David Reichmann

  • Phish Return to Jones Beach for First Time in 9 Years

    Phish continued their 2022 Summer Tour as they performed their first shows since 2013 at Northwell Health at Jones Beach in Wantagh. The pair of shows were heaters and displayed no lack of jamming prowess or song selection, as fans got a healthy dose of deep jams and surprises over the two days.

    The parking lots and beaches were full of fans, with a Lot scene that brought our vendors of food, clothing, art, merchandise, fresh coconuts with rum, and everything else you’d expect to find at a Phish show under the Long Island summer sun.

    Night one began with “The Curtain” and featured a deep “Stealing Time From the Faulty Plan” well worth seeking out on LivePhish.com. “Roggae” as the sun set behind the venue hit the spot and gave way to fan favorite “Pebbles and Marbles.” The fiery “Maze” led into a set closing “Squirming Coil,” in perfect time for the sun to completely set and envelop the crowd in darkness (save for Chris Kuroda’s ever-impressive light show).

    The second set provided an enormous opening segment with pandemic tune “I Never Needed You Like This Before” leading the way and giving space for “Leaves,” which to some may look like the energy was sapped out of the room but instead developed into the jam of the run, with a beautiful, ethereal mediation ensuing. The segue from “Everything’s Right” into “The Mango Song” was as smooth as they come, and a trio of high energy songs closed the set with “Most Events Aren’t Planned” > “Chalk Dust Torture” > “Julius.” An encore of “Harry Hood” was as fitting as it gets, the band extending the third section of Hood as Fishman hit his ‘Moo’ samples to drive the peak of the jam home.

    Night two brought a show-encompassing “Mike’s Groove” that featured an set 1 opener of “Mike’s Song” and a show closing “Weekapaug Groove.” A hefty “Wolfman’s Brother” stood out as the highlight of the first set, along with the second ever performance of the Sci-Fi Soldiers tune “Something Living Here.”

    Set 2 never seemed to let up as the energy flowed from “No Men In No Man’s Land” into “Down with Disease” for 25 minutes of fist-pumping, head-nodding grooves. Another Sci-Fi Soldiers tune, “Don’t Doubt Me” was performed for two fans in the front row wearing ‘Genuine Asshole,’ a reference to the song’s lyrics. After “Golden Age” jumped into the mix, the softest landing possible came in the form of the ever rare “Lifeboy”. Before getting back into the “Weekapaug Groove,” “Fluff(head)” came to New York, and an encore of “Slave to the Traffic Light” paid fans safe travels as they headed to the next stops in Raleigh, NC and Columbia, MD.

    For those heading to Atlantic City for Phish, Anchor Rock Club has added two free, interactive daytime events to its weekend programming during Phish’s three-night Atlantic City run on Sat. Aug. 6 and Sun. Aug. 7 from 2-4 p.m. The Helping Friendly Podcast (HFPod) is hosting The Disco Biscuits’ Jon Barber on Saturday and Phish lyricist Tom Marshall on Sunday. Fans can catch it streaming live, or register for free with the venue to attend in-person.

    Setlists via Phish.net

    Phish – Northwell Health Jones Beach – Tuesday, July 26, 2022

    Soundcheck: All of These Dreams, Don’t Doubt Me -> Billie Jean, My Soul

    Set 1: The Curtain > Say It To Me S.A.N.T.O.S. > Stealing Time From the Faulty Plan -> NICU, Roggae, Pebbles and Marbles, Bathtub Gin > Maze, The Squirming Coil

    Set 2: I Never Needed You Like This Before > Leaves > Everything’s Right -> The Mango Song, Most Events Aren’t Planned > Chalk Dust Torture > Julius

    Encore: Harry Hood

    Phish – Northwell Health at Jones Beach – Wednesday, July 27, 2022

    Soundcheck: My Soul (incomplete)

    Set 1: Mike’s Song > Wolfman’s Brother > Ya Mar, 46 Days > It’s Ice > All of These Dreams, Something Living Here > Axilla (Part II) > When the Circus Comes > Run Like an Antelope

    Set 2: No Men In No Man’s Land > Down with Disease > Don’t Doubt Me -> Golden Age > Lifeboy > Fluffhead > Weekapaug Groove

    Encore: Slave to the Traffic Light

    photo gallery by Rob Tellerman

  • Fantastic Cat Release Debut Album “The Very Best Of Fantastic Cat”

    ‘New NYC supergroup, Fantastic Cat, are a new instrument-swapping rock/alt-country/folk band made of singer/songwriters Anthony D’Amato, Brian Dunne, Don DiLego, and Mike Montali. Their debut album The Very Best Of Fantastic Cat just came out on July 29. Likewise, they’ll also be celebrating at NYC’s Bowery Ballroom with an album release show the same day. 

    So far, their newest record has been praised by Atwood Magazine, No Depression, The Boot, Bluegrass Situation and more; the singles have been added to multiple 1M+ Spotify playlists including Fresh Finds and All New Indie. The band also have a CBS Saturday session confirmed for the end of July which will air in early/mid-August. 

    The first single, “C’mon Armageddon”, is an incredible A24-style music video featuring Marc Geller who plays Kier Egan on the hit AppleTV show Severance. Along with this, the music video for the single “The Gig” shows the band playing a gig on The Staten Island Ferry after being told by their sleazebag manager he booked the band on “one of those concert cruises that are all the rage.”  

    Fantastic Cat Supergroup Release Newest Album "The Very Best Of Fantastic Cat"

    Captured in the wilds of the Pocono Mountains, the album shifts between genres and different decades of music. By mixing electrified 60’s folk and 70’s AM radio gold with 80’s heartland rock and 90’s alt-country, it encompasses a raw feel of longtime friends making music for the sheer joy of it.

    “Their music is at once fun, freewheeling, achingly intimate, and beautifully honest. They can joke about themselves and the state of things while tapping into deeply meaningful and relatable emotions… Fantastic Cat’s songs are a reminder that, even in our darkest moments, we can find a little light and love to hold onto.” 

    – Atwood Magazine

    Along with the great music the band produces, they have a very fun and humorous vibe in all their videos and photos. Particularly, the photos and videos where they wear the giant cut out cat heads. Fantastic Cat has impressively made its way into the spotlight collectively. Through the four transcend their respective roots, they have emerged as an instrument-swapping, harmony-trading, tear-jerking, wise-cracking rock and roll cooperative far greater than the sum of its parts. 

    Key Tracks:

  • Dave Matthews Band Continues Summer Tour With Stop at Bethel Woods

    On a hot steamy Hudson Valley night, the Dave Matthews Band summer tour 2022 made a stop at Bethel Woods Center for the Arts. The pavilion and its extended grass area were filled to the max on July 20 with excited fans who were treated to three glorious hours of DMB.  

    The band behind Dave included: Tim Reynolds on guitar, drummer Carter Beauford, Jeff Coffin on the saxophone, Rashawn Ross was the trumpet play, Stefan Lessard on the bass and Buddy Strong on keyboards. Beauford demonstrated incredible dexterity with his arm movement while on the cymbals while simultaneously keeping a heavy beat with his double drum pedals. Tim Reynolds demonstrated why he has been part of Dave’s crew for years with his guitar prowess. The horn section of Ross and Collins sprinkled jazz grooves taking previously released records in new directions. 

    If having a talented band was not enough, Dave Matthews Band audio tech Joe Lawlor joined the band on stage for “Cornbread”.  As soon as Lawlor plugged in, he cranked out the opening notes of “The Star Spangled Banner”, ala Jimi Hendrix, to pay homage to the hallowed grounds of the Woodstock festival.   

    With little to no banter from the stage, Matthews would occasionally speak directly to the crowd offering his humble thanks to everyone for spending the evening with them. The set of 21 songs was filled with DMB staples “Crush,” “Funny the Way it is” and “Stay or Leave.”  Throwing in a wild card, Dave pulled out Peter Gabriel’s “Sledgehammer,” which proved to be a crowd pleaser.

    For the encore, Matthews came out solo to play “Some Devil.” The band then joined him to close out the night with “Ants Marching.”

  • Rage Against the Machine’s Tour Rips Buffalo to Shreds

    On Monday July 25th, Rage Against the Machine (RATM) stopped in Buffalo for one of their many stops on their current tour. After an eight-year hiatus, Rage Against the Machine announced in November 2019 that they were reuniting for a world tour, which was initially scheduled to start in 2020, but was ultimately postponed to 2021, and then to 2022, due to the COVID-19 pandemic. The opener of the show was Run the Jewels, an American hip-hop super-duo comprised of EL-P and Killer Mike.

    photo credit- Mike Miller

    Rage Against the Machine is an American rock band formed in Los Angeles during 1991. RATM consists of vocalist Zack de la Rocha, bassist and backing vocalist Tim Commerford, guitarist Tom Morello, and drummer Brad Wilk.

    It has been many years since RATM has played in Buffalo, but on their current tour they just played Toronto, Canada on July 23. A fan jumped on stage and security tackled the guitarist Tom off the stage in error. Luckily for everyone he was ok and able to continue playing shows. Earlier in the tour the singer Zack injured his foot and has had to sit during each performance now. This tour will be visiting 12 countries, 40 cities and 51 shows in total.

    photo credit- Mike Miller

    The whole night the crowd was filled with energy and singing along to all of their hits. “Testify”, “Killing in the Name Of”, and “Bulls On Parade” were some of the songs the crowd was seen screaming along and head-banging to.

    photo credit- Mike Miller

    August 8th through the 14th, Rage Against the Machine will be playing as MSG in New York City

    Rage Against The Machine – Keybank Center, Buffalo – July 25, 2022

    Setlist: Bombtrack, People of the Sun, Bulls on Parade, Bullet in the Head, Testify, Take the Power Back, Wake up, Guerrilla Radio, Close Your Eyes, Down Rodeo, Know Your Enemy. Calm Like a Bomb. Sleep Now in the Fire, War Within a Breath, The Ghost of Tom Joad, Freedom, Township Rebellion, Killing in the Name

  • In Focus: Phish Cast A Wave of Hope in Hartford

    Phish tour rolled on from Bethel to Hartford on Sunday, July 24, as thousands of fans flocked to Central CT with the mantra ‘Never Miss a Sunday Show’ proving true once again.

    The first set began with “Cars Trucks Buses,’ a nod to the Traffic that surrounded the former Meadows Music Theatre. A surprise Big Boat track ‘Breath and Burning’ followed in the two-slot, taking more of a stroll that fans may have expected. The sustained energy from the next four tunes – “The Final Hurrah,” “Free,” “Yarmouth Road,” and “Plasma” – made way for thr highlight of the set, a 17 minute-plus “Sigma Oasis” that before closing with “Limb x Limb” and “Sand.”

    Set two was a tale of two halves. The first half of “A Wave of Hope” > “A Song I Heard the Ocean Sing” > “Blaze On” clocked in at a combined 55 minutes, with the first two songs blasting off with heavy Type II improvisation and magnificent drumming from Jon Fishman who propelled the band through the jam. The second half of the set kept the energy going with “The Wedge,” “Farmhouse,” “Backwards Down the Number Line” all of which on paper may seem like a snoozfest but when the heat is set so high, a cool down is in order. Yet the heat was ramped up again to close the set with “Character Zero” and a rare “Tube” > “First Tube” encore.

    Phish rolls into Jones Beach on Tuesday and Wednesday for the first time since 2013

    Setlist via Phish.net

    Phish – Xfinity Theatre, Hartford, CT – July 24, 2022

    Set 1: Cars Trucks Buses, Breath and Burning, The Final Hurrah, Free, Yarmouth Road, Plasma > Sigma Oasis, Limb By Limb, Sand

    Set 2: A Wave of Hope > A Song I Heard the Ocean Sing > Blaze On > The Wedge, Farmhouse > Backwards Down the Number Line > Character Zero

    Encore: Tube > First Tube

    Trey teased Mr. P.C. in Tube

    Photo gallery by Filip Zalewski

  • Widespread Panic Perform Long Awaited Beacon Theatre Run

    Widespread Panic held their long-awaited 5-night residency at New York City’s Beacon Theatre this from Thursday, July 21st to Monday, July 25th. The Athens, Georgia band had performed in February and March 2020 just before the pandemic set in, and this new run of shows had been long anticipated and originally scheduled for September, 2021. The shows were pushed to January 2022 then again to July. NYS Music was there on opening and closing night – check out photos from Night 1 and show as well as the setlists and video.

    widespread panic beacon theatre
    Widespread Panic, Beacon Theatre, 7/21/2022. Photo by Buscar Photo

    The atmosphere of the historic theater was electric at the start of the residency. The sidewalks were filled with small vendors selling all sorts of fan art, jewelry and merchandise. Fans were walking up to groups of people handing out stickers and fliers. The official merchandise table was as busy as can be, even with all the competition with numerous t-shirt options outside on the street. Fans were piling in, excited to see what songs would be played on night one.

    widespread panic beacon theatre
    Widespread Panic, Beacon Theatre, 7/21/2022. Photo by Buscar Photo

    The setlist for night one was just what you would expect from Widespread Panic: a surprising career spanning set with various covers and extended jams. After playing “Goodpeople”, the band played “Dark Star” with a “Goodpeople” reprise at the end. Set two featured covers from War (Four Cornered Room), The Beatles (You’ve Got To Hide Your Love Away), and Bloodkin (Henry Parsons Died).

    widespread panic beacon theatre
    Widespread Panic, Beacon Theatre, 7/21/2022. Photo by Buscar Photo

    The run continued at the Beacon Theatre on Monday, with a compact first set featuring huge versions of ‘Hatfield’ and ‘Tie Your Shoes’ which segued cleanly into the set closing “Blackout Blues.” Set 2 was straight fire from the get-go with a party starting “Disco” that pushed into ‘”Big Wooly Mammoth” and from there things only got hotter. A long sandwich of “Chilly Water” > “Surprise Valley” > “Arleen” > “Surprise Valley” > “Chilly Water” was as fulfilling as it sounds, with the crowd letting loose as the run came closer to the end. A stand alone “Airplane” by Jerry Joseph preceded two more fiery tunes to close the show, “Postcard” > “Conrad.”

    What followed was a 5-song encore – only the fourth five-song single encore in Panic’s 36 year history – and the song selection could not have been finer. Paying tribute to old friends, legends and inspirations, they began with Col. Bruce Hampton, and his song “Basically Frightened” (also the name of a great documentary on the Colonel) before shifting into an unexpected “Mountain Jam.” Panic does not cover Allman Brothers Band tunes very often, maybe a tease here and there, but a proper “Mountain Jam” with former ABB guitarist Jimmy Herring leading the charge, is as Georgia as you can get in NYC short of eating a peach at the same time. John Bell picked up his mandolin for Bloodkin’s “End of the Show,” which normally would be the final song of an encore but on this final night of the run, two more surprises were in store. Black Sabbath’s “Fairies Wear Boots” got a proper southern rock treatment, with David Bowie’s “Heroes” closed the set, a fitting bookend to the run that began with Panic’s own song “Heroes,” a nod to the audience who stuck it out amid a pandemic and three reschedules and brought the love to the Beacon Theatre once again.

    Listen to Monday’s show and all others from the run via Panicstream.com.

    Widespread Panic next heads to Atlanta for a four-night run at The Fox Theatre starting August 10th.

    widespread panic beacon theatre
    widespread panic beacon theatre

    Setlists via Panicstream.com

    Thursday, July 21st

    Set 1: Heroes, Rebirtha, Papa Johnny Road, Goodpeople, Dark Bar, Goodpeople, Papa’s Home, Shut Up And Drive, Blue Indian, Wondering

    Set 2: Cease Fire, Henry Parsons Died, Time Zones, Happy, Jamais Vu (The World Has Changed), Four Cornered Room, Impossible, Worry, Hide Your Love Away, Ain’t Life Grand

    Encore: Down, Makes Sense to Me

    Friday, July 22nd

    Set 1: From The Cradle, Please, One Arm Steve, Stop Breakin’ Down Blues, Can’t Get High, I’m Not Alone, There Is A Time, Holden Oversoul, Sleeping Man.

    Set 2: Little Kin, Action Man, Better Off, Jack, Love Tractor, Drums, Goin’ Out West, Stop-Go, Walk On, Imitation Leather Shoes.

    Encore: Gimme, Give, No Sugar Tonight / New Mother Nature

    Saturday, July 23rd

    Set 1: Pigeons, Sharon, Junior, Up All Night, Christmas Katie > Radio Child, Glory, Greta > Cream Puff War

    Set 2: Flicker, Tall Boy > Fishwater, A of D, Driving Song > Machine > Barstools and Dreamers > Zambi Jam > Driving Song > Happy Child > Dear Prudence, Climb to Safety

    Encore: Time Waits, Travelin’ Man > The Waker

    Sunday, July 24

    Set 1: Send Your Mind, All Time Low, Bear’s Gone Fishin’ > Ride Me High > You Got Yours, Space Wrangler, Walkin’ (For Your Love), Protein Drink / Sewing Machine

    Set 2:Rock > Party At Your Mama’s House > Ribs and Whiskey, Halloween Face, Me and the Devil Blues, Bust It Big > Drums > One Kind Favor > Bust It Big, North

    Encore: Red Hot Mama

    Monday, July 25th

    Set 1: Saint Ex > Hatfield, Pilgrims, This Part of Town, Thought Sausage, Honky Red, Tie Your Shoes > Blackout Blues

    Set 2: Disco > Big Wooly Mammoth > Chilly Water > Surprise Valley > Arleen > Surprise Valley > Chilly Water, Airplane, Postcard, Conrad

    Encore: Basically Frightened, Mountain Jam, End of the Show*, Fairies Wear Boots, Heroes

    w/ JB on mandolin

    ‘Spanish Moon’ tease during ‘Tie Your Shoes’

    ‘Day Tripper’ tease by JoJo after ‘Airplane’

  • Phish Make A Triumphant Return To Bethel Woods

    Phish made their much anticipated and welcomed return to Bethel Woods this weekend. Two packed shows on Friday and Saturday, not far from the original Woodstock grounds, saw the band delight fans with song selections that covered every facet of their ever-growing musical catalog. Phish first played Bethel Woods eleven years ago, with three legendary shows that seemed to serve as prime examples that the band was fully engaged again after reuniting two years prior. Although it was only two shows this weekend, they certainly didn’t do anything to ruin the mystique between Phish and these hallowed grounds.

    Friday night’s show had a discernable old school feel to it right from the get-go, courtesy of a “Golgi Apparatus” show opener, the first one of those in nearly seven years. The “Sample In a Jar” that followed reached heights that few “Samples” have seen, fueled by a monstrous jam that evoked memories of The Baker’s Dozen and is a must hear. The rest of the first set featured other older songs like “Timber” and a “My Friend My Friend” > “Guelah Papyrus” sequence. And it wasn’t just limited to originals, with “My Soul” and a raucous and much welcomed “Walk Away” to close out Bethel’s opening set.

    In typical fashion, Phish stretched things out a tad in the second set with a boisterous “Mr. Completely” to start that set the stage for an incredibly captivating “You Enjoy Myself.” Bassist Mike Gordon shined on a cover of “Boogie On Reggae Woman” later on which preceded a harmonious “Scents And Subtle Sounds” with a wonderfully slow build in emotion. The closing sequence on Friday night reverted back to the ‘classic’ format with a trifecta of “Wilson” > “Possum” > “Cavern.”

    Phish Bethel Woods Center For The Arts – Bethel, NY 7/22/22

    Set 1: Golgi Apparatus > Sample in a Jar, My Soul, Gumbo[1] -> Saw It Again > Timber (Jerry the Mule) > Meat, Lawn Boy > My Friend, My Friend > Guelah Papyrus, Brian and Robert, Walk Away

    Set 2: Mr. Completely > You Enjoy Myself > Fuego > Joy, Boogie On Reggae Woman, Scents and Subtle Sounds > Wilson > Possum > Cavern

    E: A Life Beyond The Dream

    [1] Unfinished

    Phish returned to Bethel Woods on Saturday night for one more go ’round and the old school vibes were thrown out the window right away with a show opening “Evening Song,” a tune from the band’s recent Sigma Oasis release and only the fourth one ever performed live. Next, the band dusted off some Kasvot Vaxt material with “Turtle In The Clouds” and Gordon and Trey Anastasio’s signature dance moves on full display. The emotional peaks of the opening set were handled by a “Fast Enough For You” that fed right into the ever majestic “Divided Sky.”

    Phish made the last set, and certainly the encore, count before heading out of Bethel Woods. A somewhat surprising “Prince Caspian” began the proceedings before Phish injected a mega-dose of funk with a sterling cover of The Talking Heads’ “Crosseyed and Painless.” A mid-set “Miss You” served as a needed breather before the set later concluded with two more vintage jam staples in a “Twist” > “Carini” combination. To cap things off for a memorable two-night Bethel run, Phish played not one but five songs, clearly not wanting to leave just yet. A “Horse” > “Silent In The Morning” traditional pairing kicked things off, followed by “Fuck Your Face” and the grand return of “Buffalo Bill,” the first one in three years, close behind. Fittingly, on the grounds of Woodstock, the show came to end with a raging cover of “Fire” that saw Anastasio channel his inner Hendrix, replete with an instrumental run through of “The Star-Spangled Banner.”

    Phish Bethel Woods Center For The Arts – Bethel, NY 7/23/22

    Set 1: Evening Song, Turtle in the Clouds, Vultures, My Sweet One, Undermind > Fast Enough for You > Divided Sky, Suzy Greenberg > Ghost

    Set 2: Prince Caspian > Crosseyed and Painless > Miss You > Set Your Soul Free > Prince Caspian > Twist > Carini

    E: The Horse > Silent in the Morning, Fuck Your Face, Buffalo Bill, Fire

    Set Your Soul Free contained a short Crosseyed and Painless jam with quotes from Trey. Trey also quoted Crosseyed and Painless in Twist. Trey played The Star-Spangled Banner in its entirety during Fire.