Category: Reviews

Happy Hour Heroes: Moe Play Better Than The Dead in Albany Free-For-All

Making the most of an unfortunate and potentially volatile situation, a free moe. concert at the Empire State Plaza in Albany was music to the ears of disappointed Deadheads and plenty of moe.rons on Wednesday, July 6. With many fans already on the road when late afternoon news broke that Dead and Company had suddenly cancelled their show at SPAC, live music lovers didn’t have to look very far to find their fix.

With beloved Buffalo improv icons moe. already scheduled to kick off Albany’s ‘Summer at the Plaza’ concert series on the same night, what was once thought to be tough choice for the competing fanbase suddenly seemed like a blessing a disguise. For the moe.rons, there was never a debate on where to be, but to the dedicated Deadheads still hoping to dance, turning the bus around and detouring it to the Empire State Plaza became an obvious no-brainer.

“I can remember the warm summer nights, drinking cold Gennys, yeah we’d get so tight.” – Lyrics from “Blue Jeans Pizza”

Set in the shadows of the state capitol building and in a sea of tie dye t-shirts, it was more than just the hippies who showed up on this picture-perfect summer evening. Instead, a pleasantly diverse crowd of all ages, genders, colors, hair styles and musical aptitudes packed into the plaza shortly after happy hour. There were kids running around with cotton candy and snow cones, old friends catching up while waiting in the massive beer line, people playing frisbee and walking their dogs, local artists hustling for a buck. All of it helping to create a family friendly, carnival-like vibe bustling with energy and as word got around that moe. was in town, the crowd only seemed to grow larger as the evening went on.

Dead and Company fans flocked from SPAC to the Empire State Plaza after the bands surprise cancellation.

The entire performance felt drenched in nostalgia. While it was a beautiful and surreal scene come showtime, the road to getting there has been long and full of curveballs. You see, while moe is largely considered a “Buffalo band,” die-hard Albany fans still like to consider the guys “homegrown.” Playing some of their earliest shows at legendary local dives like the former Valentine’s off New Scotland Ave, some members of the band even lived in Albany before truckin’ up to Buffalo. Their impact on local culture over the years so significant, that back in 2018 Albany’s mayor, Kathy Sheehan, officially declared February 24^th as “moe. Day” in the city. While little has been made of that fact since then, judging by the amount of people who packed into the plaza for this rare (and free) moe. show, it’s clear that the local love has never wavered. Seeing core members Rob Derhak (bass), Al Schnier (guitar), Vinny Amicio (drums), and Jim Loughlin (percussion) sharing smiles together while taking it all in, you couldn’t help but feel proud of the “happy hour heroes” on stage.

From the thought-provoking summer anthem “Blue Jeans Pizza” opener, to a jammed out 16 minute version of “The Road,” to old-school moe. staples like “Head,” 2001’s “So Long” and an always appreciated “Mexico” set closer, much of the talk during intermission wasn’t about the guys playing on stage, but rather who wasn’t on stage. The conversation was all about Chuck and how much he is missed. For many in attendance, it was their first time seeing the band without moe.’s founding guitarist, virtuoso Chuck Garvey, who has been on the sidelines recovering from a serious stroke since in November of last year. In a truly sentimental moment towards the end of the show, Al read a “get well soon” note from a fan named Nicole, then lead the entire crowd in a “Chuck, Chuck, Chuck” chant.

moe. performing with Suke Cerulo and Nate Wilson at the Empire State Plaza 7/6/22

Stepping up to the plate in Garvey’s absence, the band has enlisted not one, but two world-class players; Suke Cerulo of Schleigho on guitar and keyboard/multi instrumentalist Nate Wilson from Percy Hill. While guitarist Al Schnier handled most of the heavy lifting and soloing during the first set, the improvisation during the second set went long and deep and really allowed Cerulo and Wilson to show what they’re made of. While Cerulo’s headless guitar will take some getting used to, he’s seems to be a natural fit, while Wilson on the other hand, adds a completely new dynamic and versatility to the moe. sound, complete with funk infused keyboards and a flute that plays incredibly well off Jim Loughlin’s xylophone sounds.

Coming out of the gates for the second set with a near 20 minute version of Lazarus, the band would effortlessly segue into a particularly funky 18 minute rendition of “George.” After a brief pause, the band would launch into a massive “McBain” sandwich that saw them jam into a “Starship Troopers”>”Tubing the River Styx” and eventually find their way back into “The Pit.” The true highlight and easily the long jam of the name night came next with the set closing 26 minute moe classic “Brent Black” which brough everyone at the Empire State Plaza to their feet in a standing ovation. With the hard curfew now rapidly approaching, the band would return to the stage for fan favorite “Bear Song” as an encore.

If you liked the setlist of this show, you can thank a kind man by the name of John King. If you didn’t like it, well, blame cancer. Based on King’s generous donation to the American Caner Society, the band gave him the unique opportunity to write the setlist. Considering many of the people who were there went into the night expecting to hear Dead and Company, I think it’s safe to say Mr. King knocked it out of the park in a big way. Before exiting the stage, bass player Rob Derhak addressed the crowd one final time saying, “We had an awesome time, we hope you guys did as well. Thank you so much for coming out. Seriously though, we really do love Albany. We have are own day here in February, it’s moe. day, so you can’t beat that, thank you. Me and some of the guys are gonna be down at The Hollow tonight with Blue Star Radiation, so shameless plug. Goodnight.”

Moe. | July 6, 2022 | Albany, NY | Empire State Plaza (Free Show)

Set 1: Blue Jeans Pizza, The Road, Head, So Long, Mexico

Set 2: Lazarus > George , McBain> Starship Troop Jam > Tubing the Rive Styx* > The Pit> Brent Black

Encore: Al.nouements, Chuck Chant, Bear Song
* with Nate Wilson on flute

Pulling double duty, the fun wasn’t over yet this evening. Directly following moe.’s performance, fans in the know headed further downtown to The Hollow where Guthrie/Bell Productions was hosting an evening with Blue Star Radiation, the side-project which also features moe. drummer Vinnie Amico and bassist Rob Derhak, plus keyboard/multi instrumentalist Nate Wilson and virtuoso guitarist Tim Palmieri of Kung Fu, The Breakfast and most recently Lotus fame.

As you might expect with the pedigree of the players involved, this show was quite the party. A veritable “all-star” band of improvisational, jam band musicians that all share an affinity for classic rock, the show saw everything from highly danceable funk grooves, to tasteful blues-based crooning, to bombastic, over-the-top soloing. It was perhaps no surprise that guitarist Tim Palmieri stole the show however, as he was the only member of Blue Star Radiation that was completely fresh having not played at the Plaza earlier in the night.

Always the consummate showman, Palmieri’s incendiary shredding was on full display from the beginning, almost daring his bandmates to try and keep up. Derhak, who could be seen grinning ear to ear most of the show, was up to the challenge, and even would go head-to-head with Palmieri in an instrumental duel that would send the Hollow howling.

While there appeared to be no formal setlist, obvious highlights included covers of moe. classics like “Opium” and “Mar De Ma” as well as “Biblical Proportions” and an exquisite rendition of the Jethro Tull classic “Locomotive Breath.” Sensing there was something special going on here, about half way through the night, promoter Greg Bell casually worked his way through the crowd to the front of the stage to ask the guys how they felt about playing a second set. Derhak would leave it up the audience, holding his arms out and asking “What do you folks think?” After the resounding cheer, Blue Star Radiation would go on to play all the way till about 1am. While this project is still relatively new, BSR shows are quickly becoming “can’t miss” affairs.

New Yorkers will get their next chance to see the band soon, as Blue Star Radiation makes their NYC debut at the Cutting Room on Friday, July 22. As for moe.’s next New York engagement, the band is set return to beautiful Lake George the first weekend of September for two headlining nights at the Adirondack Independence Music Festival.

Blue Star Radiation | July 6, 2022 | Albany, NY | The Hollow

Setlist (partial): MarDeMA, Opium, Biblical Proportions, Locomotive Breath

July 9, 2022
Wild Times at Woodstock’s Legendary Tinker Street Café Immortalized in New Memoir

Ever since powerhouse music manager Albert Grossman arrived at the dawn of the ‘60s, Woodstock has served as the delightfully laid-back domicile for some of the biggest names in music. With Grossman came his stable of stars – Bob Dylan, Janis Joplin, Paul Butterfield and also non-Grossman managed giants like Jimi Hendrix and, much later, David Bowie. What also arrived was an abundance of top-flight recording studios and informal artist retreats, like The Band’s legendary basement recording space Big Pink, where some of the finest moments in modern music were crafted.

Musicians are perhaps the most social of the creative breeds. These are a seemingly tireless brood who love nothing more than to get together after a long gig or recording session to chat, imbibe and, of course, jam to create even more sonic magic.

Now one of Woodstock’s most legendary musicians’ hangouts of the past, The Tinker Street Café, is coming back to life in a new memoir by one of its owners, Jerry Mitnick, The Music In The Walls: Stories and Anecdotes from Tinker Street Café (HappyLife Productions).

For ten years beginning in 1988, The Tinker Street Café was the place where the biggest names who were living or recording in Woodstock could be found. Locals like Rick Danko, John Sebastian, Mick Ronson, Tony Levin and The B-52s Fred Schneider held court alongside passing-throughs like Gregg Allman, Living Colour, Dave Matthews and many more. And where there are musicians, libations and a stage with a ready backline, there’s sure to be great music. There are also sure to be some unforgettably comic moments courtesy of these toasted and/or tanked music makers – events that are the heart of Mitnick’s slim but richly entertaining memoir.

Mitnick relates these tales in rapid-fire chapters and the captivating banter of a seasoned barkeep, which I assume he was at some point during the Café’s run.

He begins his story in his native Brooklyn, where the seeds of his love of music were sewn – first as a schoolboy devotee of doo-wop, then as a bassist in a series of bands. Jerry was a professional musician from the mid-‘60s through the late ‘80s, one who, like many, also drove a cab to make ends meet. His gigs included everything from playing in showbands at Catskill resorts to a close call with mortality when his band, The Human Condition, flew to El Salvador to play a concert in the middle of its bloody revolution.

A call in 1988 from his friend Freddie Sandell not only forever changes his life, but also rewired the social scene in Woodstock. Sandell invited Mitnick to become a partner in a club on Tinker Street, one that would be in the site of the former Café Espresso. Sandell would handle the bar, Mitnick the music booking and a third partner the restaurant service. Then turning 40 and tiring of the working musician grind, Mitnick eagerly jumped on board.

The author gives some good backstory on the history of the legendary Café Espresso. It opened in 1962 in the former site of another popular hangout dating back to the Roaring Twenties, The Nook. It immediately became a hotbed of music with live performances by Joan Baez, Ramblin’ Jack Elliot and Bob Dylan. The Espresso’s owners, The Pautrel’s, famously let Dylan live in “The White Room” on the second floor during 1963. It was here that he wrote much of the music for his 1964 classic, Another Side of Bob Dylan. The Espresso would also become the site of countless jam sessions featuring Jimi Hendrix and scores of other music glitterati. But after passing through a few owners, it was in a pretty sad state by the mid-‘80s. That was when it earned a new nickname among locals, “The Café Depresso.”

In the book, Mitnick recalls the many Christmas concerts The Band’s Rick Danko played for charity as well as the countless nights he dropped by to try out freshly-penned songs. There’s also a great tale about a legendary jam between Danko and Jefferson Airplane/Hot Tuna guitarist Jorma Kaukonen, another rock luminary who resided in Woodstock in the ‘80s. Jorma and Hot Tuna would also come to hold the record for the “most songs played in a night” according to Mitnick. Another memorable happening was when the Dave Matthews Band took a break from their recording to play a benefit for the family of a girl killed in Kingston in 1995. Even though the event was unpublicized per Matthew’s wishes, the word spread fast and it drew scores who listened to the three-hour plus set from outside the packed club.

Jerry’s own highpoint might’ve been the night Gregg Allman dropped by. That night, Mitnick got to jam with him till the wee hours before a crowd of no more than 30 people. A low point may have been when Hendrix’s bassist Noel Redding came to town. He promptly passed out during the first song, ending his show. Mitnick also recalls other great events witnessed by surprisingly small crowds. This included when Joey Ramone sang “I Wanna Be Sedated” and B-52s Fred Schneider crooned the “Patty Duke Show” theme at an Open Mic night. There’s also a funny yarn about songwriter Loudon Wainwright III overhearing a woman wax poetic about what she’d like to do with his tongue. Loudon tended to poke his oversized licker out while singing, something that seemed to capture the bawdier quadrants of the unnamed woman’s imagination.

Mitnick also describes The Tinker Street Café’s renowned “Wall of Fame.” What the author calls a “Poor Man’s Hard Rock Café” exhibit would grow to include items like John Sebastian’s harmonicas, drumsticks from Steve Jordan, strings from the guitar Carlos Santana played at Woodstock ‘94, Bob Dylan’s handwritten lyrics to “To Ramona” and “It Ain’t Me Babe” and the bass guitar Tony Levin played on Peter Gabriel’s hit “Sledgehammer,” one that was burnt up in a fire before it was gifted to Mitnick for his display.

According to Mitnick, it was the Tuesday Poetry Nights and not the rock events that were the most volatile. Here seemingly peaceful wordsmiths/hosts like Gunga Dean, Les Visible and Max Schwartz, Jim Morrison’s old college roommate, would sometimes come to blows with each other over their strong opinions about their works. And speaking of wordsmiths, legendary metal wild man Ozzy Osbourne would come to the Café during breaks in his recording sessions to sit quietly and write lyrics. Mitnick also discusses the weekly Blues Nights hosted by Orleans’ axeman John Hall, its Sunday Jazz Nights hosted by vibraphonist Karl Berger, the very short-lived Karaoke Nights and its Smoke-Free Women in Music Nights, which featured notables like Jill Sobule and Patti Rothberg and no ciggies. There is also a discussion of the Live from The Tinker Street Café broadcasts on Radio Woodstock. These featured memorable sets by artists like Cracker, Aimee Mann, Garbage and Jewel, a then-unknown who Mitnick found “incredibly boring” and unlikely to be successful in the biz.

The author also devotes a good deal of space to local heroes who are not household names but were beloved. These include the late guitarist/studio builder Ted Orr of the band Futu Futu, singer/guitarist Jim Eppard and even some of the more off-the-wall customers and Tinker staff. There are also testaments to hysterical hijinks like “The Cockateering Club.” This effort, instigated by a Tinker bartender and his well-lubricated customers, erected 7ft. snow penises all along Tinker Street during winter storms. The Cockateers’ ultimate goal was to create a “Dream Field of Cream,” 300 or so of their snow schlongs on the town’s golf course. Sadly, this never came to be.

Mitnick’s book would not have been possible without the assistance and artwork by Mike Dubois of HappyLife Productions. The veteran poster and graphic artist who has worked with artist like Grateful Dead provided the cover art for book, one based on his artwork for a 1994 Tinker Street Café compilation CD, and several more posters within.

Today, Dubois is also playing a role in the revitalization of the former Tinker Street Café, under the direction of its new owner, Lizzie Vann, who also runs the Bearsville Theater complex.

Dubois’ HappyLife art gallery/gift shop has moved into half of the former Tinker Street Café space at 59 Tinker Street. The other half will feature food, drink and some periodic music performances orchestrated by Vann. It will also serve as a satellite to Vann’s popular Bearsville Theater, where folks can purchase tickets to events, merchandise and more.

At present, Jerry Mitnick’s The Music In The Walls: Stories and Anecdotes from Tinker Street Café is available exclusively at the HappyLife Gallery at 59 Tinker Street, Woodstock, and via its website . The gallery will also be hosting a book signing with the author on Saturday, July 16 from 2 – 4 pm.

July 9, 2022
In Focus: Dead & Company Light up Hartford

Dead & Company played a scorching night of music at the Xfinity Theater in Hartford, CT on Tuesday, July 5. What was looking out to be a wet evening proved to be a most enjoyable experience, with official Dead and Company Hartford posters selling out quickly in all concession stands.

poster by Mike Dubois

The band opened with a rocking “Music Never Stopped”. Highlights included “Alabama Getaway”, “Iko Iko”, and Bobby’s performance on “Cassidy” to close out the set.

The second set was opened up with “Jack Straw” and included a well played “Scarlet Begonias” > “Viola Lee Blues” > “Fire on the Mountain” section, an electric “The Other One,” a masterful “The Wheel,” a somber “Black Peter” and a sunshine daydream filled “Sugar Magnolia” to close out the show, without an encore.

The Saratoga Springs show was cancelled the following day. Many had already traveled to Saratoga Springs when they found out about the cancellation. Some decided to go home but some stayed and partied at the legendary Lee’s Campground. Music and good times were not far behind.

Dead and Company – Xfinity Center, Hartford, CT – Tuesday, July 6, 2022

Set 1: The Music Never Stopped,Liberty,They Love Each Other,Loser,Alabama Getaway,Iko Iko,High Time,Cassidy
Set 2: Jack Straw,Scarlet Begonias > Viola Lee Blues > Fire on the Mountain > The Other One > Drums > Space > The Wheel > The Other One > Black Peter > Sugar Magnolia

Entire show with Jay Lane on drums filling in for Bill Kreutzmann

July 8, 2022
In Focus: The Wrecks Sell Out the Rec Room in Buffalo

Alt rock band The Wrecks made a local stop on their Better Than Ever Tour tour in Buffalo on June 29. The Rec Room was flooding with people from front of the venue to back for the sold-out show. Openers Girlhouse and Mothe got an already pumped up crowd ready for the night.

Photo Credit: Maddie McCafferty

The Wrecks are LA-based, however, vocalist and producer Nick Anderson hails from Wellsville, NY, so this show in Buffalo reunited him with friends and family that were alongside him when he first starting building this dream. Nick started this band in the middle of nowhere just making demos on his laptop. He slowly started building an audience and from there connected with others on the internet. It’s from online interactions that Nick connected with future bassist Aaron Kelley. Later he moved out to California where he recruited lead guitarist Nick Schmidt and drummer Billy Nally. A few secret sneak-in sessions into the studio after and the rest is history.

Photo Credit: Maddie McCafferty

The show in Buffalo showed nothing short of this band’s high energy reputation. The Wrecks opened the night with their hit “Out Of Style,” off of their 2020 album Infinitely Ordinary. Nick’s engagement with the crowd opened up some mosh pits followed by some much needed water breaks. The rest of the band cleared out after a few songs as the lead vocalist shared some acoustic versions. They even brought the openers back out to join in.

The Wrecks latest album release Sonder has been what their fans have been most excited about. The crowd proved this when they screamed the lyrics to “Ugly Side,” and “Normal” from the June 10 release. However, nothing compared to the rage that started when the group closed out the night with their #1 single “Favorite Liar.” With Nick running into the audience, crowd surfers from front to back, and belting fans, it made for a finisher to remember.

Photo Credit: Maddie McCafferty

Follow up with The Wrecks latest stops on their tour. Also make sure to check out upcoming shows at Rec Room. Nonpoint performs July 10 and The Acacia Strain will be there July 13.

Setlist: Out Of Style, Figure This Out, I Love This Part, Feels So Nice, Freaking Out, Dystopia, This Life I Have, Ugly Side, Normal, Panic Vertigo, Sonder, Fvck Somebody, Where Are You Now, James Dean

Encore: Infinitely Ordinary, Favorite Liar

Photos by Maddie McCafferty



July 7, 2022
Hearing Aide: Brooklyn Rock Duo Power Pose Release Debut Album, “I’m Looking”

Brooklyn-based rock duo Power Pose have released their debut full-length album I’m Looking, released on July 1, with a fiery first single in the drum-backed “Honey.”

Power Pose

Formed in 2017, Power Pose serves up 90’s infused indie rock with a fresh feminist perspective. Inspired by emotionally evocative performers like PJ Harvey, Sleater-Kinney and Gossip, Jacqueline Bodley (guitar/vocals) and Kelly Rudman (drums) approach their songwriting with fierce candor. Together, this duo has crafted a brash, self-assured sound that commands attention.

Bodley and Rudman share a feminist outlook that informs their art from involved in #MeToo movement, to writing lyrics are both an exploration of self and an examination of the ways that women must work to navigate their environments. Feelings of isolation, desire, fantasy, escapism, and the urgent need to reclaim one’s agency are woven into the fabric of their songs. These feelings are expressed forward with danceable beats and driving guitar riffs in their new songs.

Power Pose “Honey”

Their first single “Honey,” is a DIY, carefree video–an at-home dance party complete with playful colors and wigs as the duo jam together. With a nod to Joan Jett’s anthemic rock-n-roll style, “Honey” kicks off with a pounding drum beat and went along with the thumping rhythm, winding bass groove and infectious guitar riffs. Their sultry vocals added the tune a flirtatious, playful energy as the duo remains carefree, confident and unabashedly themselves.

Setting the tone in the opening verse, Bodley sings, “Saw it on TV / Did I waste my time / Cause it feels like I / Spent all my life / Taking what was offered me.” The track sees the duo unwilling to settle, to get nothing less than what they deserve, and encourages listeners to do the same.

The lyrics for “Honey” originated in a dark place, but the song transforms that darkness into something joyful and empowering. When you aren’t well, it’s easy to lose confidence and feel disconnected from your physical self. “Honey” is about someone living vicariously through the media they consume and plunging into fantasy to escape their reality. Ultimately, the narrator wakes herself up to reclaim her strength and sexual confidence. The song is about shaking off your insecurities and completely letting go. Its danceability celebrates the feeling of moving and connecting with your body.
Bodley

The video, made with an iPhone and shot, directed and edited by Bodley herself, allowed the duo to play with identity, blur reality and fantasy, and act out different personas. They would like to invite the audiences to join the fantasy with the boundary-blurred reality and fiction expressed in this music.

Power Pose I’m Looking

In addition to the single, the duo’s full-length debut album I’m Looking arrived July 1, 2022. Over the seven tracks, the duo finds a new approach to their womanhood as they explore themes like desire, agency, modern romance and everything in between. They are unafraid to confront emotions ranging from rage to carefree joy while they find strength in taking back their space and bodies. Feminist and fearless, Power Pose offer a gritty and honest point of view that brings catharsis during a time of reckoning, which redefined womanhood and reclaimed their agency and femininity as they blaze their own trail.

The tone of the album was heavily influenced by what was going on culturally at the time. MeToo was a huge part of the news when we first started writing music together, and there seemed to be constant think pieces being published that explored women’s perspectives in unprecedented ways. This got us thinking about our past experiences in a new light. The ways that women are socialized to approach desire and pleasure, the ways we are stereotyped and objectified, the ways that we are expected to behave and the coping mechanisms we develop to navigate social pressures. These were all themes that were simmering in our minds when we wrote these songs.
Bodley

Bold, bouncy and confident, “Honey,” out everywhere now, allows Power Pose to assert themselves as they fiercely claim their space and reconnect with their bodies. In a time of a raging pandemic and reproductive rights in question, Power Pose feel reinvigorated and ready to bring forth their fresh perspective with their debut album I’m Looking, out July 1, 2022 and available for pre-order now.

July 7, 2022
The 2022 CGI Rochester International Jazz Festival Fills the City with Music

Live music has been back in Rochester. Jazz has come back as strong as ever. People have been getting out to eat, drink and enjoy merriment. And festivals have returned. But not until the nine days of the 19th edition of the CGI Rochester International Jazz Festival had it all come back together with such a communal celebratory climax. The city was clicking in a way it hadn’t in years.

The sounds of live music filled every street over a few city blocks. From multiple outdoor stages providing free shows. Out of the doors of churches, theaters, ballrooms, halls and bars included in the festival’s Club Pass series. From non-festival sources like street buskers, pizza shops and other music clubs. Every nook and cranny filled with music. Walking down the street it was your best guess if those sweet sounds were reverberating off the buildings or if there was someone actually playing down that alley. Festival attendees wandered around like nomads, searching for musical sustenance.

The Mango Jam

They found an oasis at Parcel 5, a grassy expanse nestled in desirable real estate, that hosted the festival’s headliner series. All headline shows, in the festival’s previous 18 editions held in the beautiful Kodak Hall, were provided for free this year using government COVID grants. By all measures the move was a huge success. Big names provided big crowds with big smiles and big fun. Accessible jazz artists like Chris Botti and Spyro Gyra, newer but not quite in-the-moment sensation Robin Thicke, older nostalgia acts like Sheila E and Prince’s band New Power Generation. Devon Allman, not quite nostalgia, tapped into the sound made famous by his late father Greg, even jamming heftily on the old Allmans hit “Dreams” along with similarly crafted songs of his own. Booker T brought his own bit of nostalgia, providing a running history lesson, recounting his rich history with the Stax label, educating and entertaining alike on recognizable hits from the likes of Otis Redding, Aretha Franklin, Gladys Knight, Albert King and on and on.

But an opening set from Rochester’s native daughter, Danielle Ponder, on the final night, was the big stage set that landed the biggest. The past year has seen Ponder sign her first record deal (debut album arriving later this summer), her first performance on late night television, a set at the Newport Jazz Festival along with shows crisscrossing the country. A star in the making, a hometown hero, playing her biggest Rochester show. Born in a different era she would have certainly been on the list of great Stax artists Booker T rattled off during his set. The voice, the presence, and the songs with which to put it all together. Rather than rehash the past, her set looked to the future, presenting songs from her forthcoming debut like first single “So Long,” “Only the Lonely,” and “Be Gentle.” The crowd was was with her every step of the way, a mutual love affair nearing the end of it’s exclusiveness.

Rochester’s talent pool at the festival didn’t end with Ponder. The free Fusion stage gave local bands two sets on prime festival real estate to draw in the crowds wandering the streets. Creative piano trio The Pickle Mafia arrived weary just off a tour, but were quick to win over the amassing audience. Moho Collective, another trio, teetering in a space between genres, proved as unique and engaging as most any of the national touring artists.

For the festival goers with the Club Pass, nomadic journeys took different paths. Siren songs were waiting to be heeded from inside. People with badges hanging from their necks zigzagged from venue to venue, each space a unique environment, with it’s own beauty, it’s own acoustics. After nine nights of journeying about, paths from one to the other became familiar, their start times an imprint on your brain, and your preferred seat inside like a birthright. Where you were seeing was almost as important as who. And where the artists were playing was almost as important to them as what. Kilbourn Hall had a heavier air of seriousness, even in the loosest of sets. The Big Tent was ready to explode in revelry, even in the quietest moments.

In Hatch Hall, an intimate room with near perfect acoustics, pianist Gary Versace’s trio was careful to fit their more lively combo into the space constructed for the delicate sounds of solo piano and string quartets. Drummer Rudy Royston played with a lighter touch, though still effective and wow-worthy, particularly leading the way in a set-closing “This Thing.” The trio, rounded out on bass by Jay Anderson, found the melody’s through improvised abstractions, like the jazz nomads wandering the streets.

Like the nooks in the streets, spaces that normally wouldn’t be hosting live music, found themselves hosting two sets a night during the festival. The atrium of an office building with a first floor restaurant transformed into a hot city jazz club. Young singing phenom Samara Joy packed the house for her sets there, as hard a seat as there was at the fest, people queued up waiting for a chance to get in up until the final notes. Churches like the Glory House, with the sun spearing through colorful stained glass, and the Temple Theater with it’s soaring ceilings, hosted the holy spirits of jazz instead of prayer.

Respects were paid to the jazz gods, though, secularly. Jeremy Pelt, with his quintet at the Kilbourn, summed up his philosophy through his friend’s words, “Don’t dog the source.” Something that seemed to be understood by his contemporaries across the festival. Arturo O’Farrill, days later in the same venue, would pay respects to his father, Chico, playing one of his compositions and telling family stories. He in turn was passing it on to his sons, Zach, on drums, and Adam on trumpet, both in his band and both getting their music featured in the set. Three generations of O’Farrill highlighted in a thrilling and exciting Afro Cuban set.

Three generations had nothing on Swedish trumpeter Oskar Stenmark, who traced music in his family back 10 generations. In their set at the Glory House Church, his trio played traditional Swedish folk songs dating as far back as the 1700s. The music was passed down both orally, he played a song learned from his grandmother, and pieces he figured out from scraps of found notes, from a minuet to a traditional Swedish polska, akin to a waltz.

Ravi Coltrane carried the weight of his famous name and jazz heritage, but pushed beyond it with his superb trio, featuring Dezron Douglas on bass and Johnathan Blake on drums. The three were equals, sharing near equal time with compositions and solos, but shining brightest when combining in three-way improvisational conversation. Blake’s “Beneath the Rubble” found the three slowly twisting around each other in an arrhythmic tangle. Coltrane blasted through with some fiery playing of his own on his composition “Marilyn and Tammy.”

Each and every set was an hour (give or take some here and there of course), but not every hour lasted the same amount of time. Or at least, the best of the best made their hours fly by in an instant.

Making his record ninth appearance at the festival, Bill Frisell returned to the Temple Theater with his trio. It was another opportunity to see drummer Rudy Royston deconstruct music with a trio. Thomas Morgan rounded out the band, which played non-stop for the full hour, stringing together familiar Frisell themes with spacey and looping interludes and improvisations ranging from swinging to rocking. Royston, not governed by the limits of the acoustics this time around, provided some true fireworks that got the crowd roaring even where no proper break allowed for it.

Happening in an overlapping time slot (even a nine-day festival isn’t devoid of unfortunate overlaps), Danish trio Under the Surface provided this year’s festival with one of it’s few truly left-of-center moments. Comprised of a vocalist Sanne Rambags, guitarist and sound-wizard Bram Stadhouders, and drummer and percussionist Joost Lijbaart, they also made their hour fly with a non-stop full-improv set. Rambags used her voice more as an instrument than a vessel for a message. Most of what she sang were just vocalizations or what seemed at times to be gibberish, ranging from scatting to operatic yowls to rhythmic incantations. Her body contorted to accentuate and emphasize the sounds she created while she also danced and swayed to the playing of her partners. Litbaart’s set up included a wild array of trinkets and he seemed to make use of nearly all of them. When Stadhouders wasn’t pulling interesting sounds from his guitar he was running his partners through a laptop, looping the vocals into an almost whale call or adding an echo effect to the drums. It was a constantly morphing, constantly moving, constantly interesting tapestry of ethereal and spacey sounds. The spiritual space provided by the Glory House church venue was the perfect environment to experience this set.

The day before at the same venue, another artist proved to be a festival highlight with an almost opposite approach. Big, loud and well-scripted. The NYChillharmonic, an 18-piece group including a string section, horn section, along a full rock band, lightly conducted and led by singer and composer Sara McDonald. What others might try to recreate with synthesizers, this band created live, in a more analog way. The music trended toward heavy prog rock more than anything, but it certainly showed range and was engaging throughout. Yet another hour passed by too quickly.

Another songwriter took a different, more traditional approach. Ana Egge’s songs were deeply personal, and fairly stripped down affairs. She rounded out her acoustic guitar playing and singing with Alison Shearer on saxophone and flute and Alden Harris-McCoy on electric guitar. They stripped it down even further for “Rock Me,” playing without mics at the front of the Little Theater stage, the audience attentively receiving her earnest words pure and unfiltered. The tales spun in the songs could seem fictional in their oddities and nuance, such as the story about killing and eating a snake in New Mexico, or the Central Park ranger dubbed the bully of New York, but they were all taken from Egge’s experiences. A stirring set that provided a welcome respite from the train of jazz combos piling up elsewhere.

The only thing young trumpet phenom Giveton Gelin was piling up was accolades though. His quartet delivered a welcome back to Jazz Fest night one performance that set the bar for speeding through an hour. It eased in with a gentle trumpet and piano duet and ended similarly, but sandwiched in between was an impressive display of straight jazzing from all members of the band. The backing piano trio would get well cooking and then Gelin would join in with fiery horn work sending it over the edge. One of the next-generation stars presented at the Rochester Jazz Fest we’ll be remembering years later.

Steel pannist Jonathan Scales elicited about as exuberant a crowd response as we saw all week. Obsessed with Bela Fleck and the Flecktones years ago, he admittedly stalked them, traveling great distances to shows and seeking them out afterward. Until it finally worked and he befriended them. His trio, the Fourchestra, certainly seems to be modeled after them as well, with bassist E’Lon JD taking on the wild bass playing typified by Victor Wooten and Maison Guidry playing equally wildly on his kit. Similarly to Fleck and his banjo, Scales is taking his instrument, the steel pan, to places unheard previously. The instruments usual Caribbean stereotype is nowhere to be seen. The music is varied and melodic and beautiful and exciting. Where Fleck would frequently use a steel drum effect on his banjo, here Scales was playing those types of lines with a real live drum instead. The long repeating melody of “Cry” climaxed with a slow building bass and drums, then a set closing cover of Seal’s familiar “A Kiss from a Rose” brought the house down. The crowd wouldn’t let them leave the stage too easily, so an hour became 75 minutes, but still over too soon.

Our jazz fest ended on another high note, with Immanuel Wilkins’ quartet working through material from his January release Seventh Hand. Similar to Frisell’s set in the same theater, themes wove in and out of free form dissonance in an hour long non-stop set. Mellow contemplative beauty burst into a flourish of action from the four instruments, with Wilkins and drummer Kweku Sumbry building toward a fiery finish. Another hour downed in no time flat. And with music like that, a seeming marathon nine-day festival is over before it started and we are already pining for the 20th edition. See you again on Jazz Street in 2023!

June 29, 2022
Mayan Warrior Takes Over The Brooklyn Navy Yard For 10 Year Anniversary Tour

Mayan Warrior brought their immersive and otherworldly Art Car to The Brooklyn Navy Yard for two shows this past weekend on Friday June 24th and 25th. The legendary music collective has been a part of Burning Man for ten years now and has a long history of bringing the spectacle outside of The Playa for shows in cities across the United States.

These shows are the only chance to see the Art Car this year outside of the festival and also serve as a fundraiser for the collective’s ability to travel to Black Rock Desert and fund their charitable work. June saw the collective stop in Austin, TX as well as New York City and there are two more events in Los Angeles and San Francisco in the months following Burning Man.

Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx

The Mayan Warrior Art Car is one of the most unique music and art installations in the country. “The mutant sound system has attracted hundreds of thousands, blazing a trail of sonic creativity that celebrates the burgeoning underground Mexican electronic scene and pairs ancient art with modern technology.” The car itself is a large bus that has been stripped down and rebuilt with the goal of portraying ancient Mexican art and culture. The front of the bus adorns a large Mayan head and the entire production is laced with vivid lighting, pyro, and laser features. Even in such a large room, the production is mesmerizing no matter your perspective.

Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx

The music for the night came from the Mayan Warrior community and musical curators including Mandrake, Perel, Jenia Tarsol, Dramian, Asaf Samuel, Chaim Avital, Moscoman, Robin Scott, and Lovecraft. While you can not pin down the music to a particular genre, there is a strong deep house background but all of the performers brought unique and interesting elements to their sets. From live guitars, to vocalists, and deeply experimental tangents the music never stopped evolving throughout the weekend.

Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx

Stranger Than partners with Mayan Warrior to design a truly immersive experience around these shows. The Art Car itself is a dominant presence in the room, but there are also art installations, vendors selling jewelry and art, food vendors, and advocates. While the music is certainly a major proponent of the experience, it is far from the whole story. Fully costumed dancers and acrobats are seen dancing and engaging with the crowd. Two dancers on stilts put on a spectacle on the dance floor while fire breathers were seen blowing flames from the Art Car. The fans that Mayan Warrior attracts also contribute with costumes and wearable art of their own. Combined with the Pride celebration in NYC over the same weekend, the energy and atmosphere of these shows was unmatched.

Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx

Next up for Mayan Warrior is The Playa at Burning Man. After that, you can see the Art Car in Los Angeles in October and San Francisco in November. Check out a photo gallery below for more photos from Night 1 at The Brooklyn Navy Yard.

June 29, 2022
In Focus: Queens Live! with Action Bronson, Karen Y Los Remedios, Statik Selektah and Ralph McDaniels

Queens native Action Bronson put on a free show for Summerstage at Flushing Meadows Corona Park on Saturday, June 25th. The show was part of Queens Live thrown by the City Parks Foundation and also featured Karen Y Los Remedios, Statik Selektah and host Ralph McDaniels. Queens Borough President Donovan Richards was also in attendance. Richards said “Queens Live! isn’t just back for a second year, but it’s coming back bigger and better. I couldn’t be more excited to partner with the Capital One City Parks Foundation SummerStage team to bring Queen’s own Action Bronson to his home borough in what should be a fantastic free afternoon of music.”

Action Bronson at Flushing Meadows Park

Ralph McDaniels is the founder and curator of Video Music Box, the first tv show to feature hip-hop videos primarily. McDaniels has also produced over 400 videos for some of the biggest names in hip-hop including Wu-Tang Clan, Nas and Roxanne Shante. He has also produced several documentaries.

Ralph McDaniels at Flushing Meadows Park

Karen Y Los Remedios is a group from Mexico and features singer Ana Karen Barajas , producer jiony and guitarist Z.am.pa. Their latest EP, Recuerdos de Expiacion was released last year and features the songs “Resistencia” and “Permanencia.” In an interview with katacult.com, Ana and jiony said “We have been working through a lot of years together making collaborations. However, when we started the project of “Karen y Los Remedios”, the idea of making music with Latin roots, especially cumbia was the main goal.”

Karen Y Los Remedios at Flushing Meadows Park

Chef, actor, tv host, artist and rapper Action Bronson headlined the concert and performed with pure energy. His setlist was mostly songs from his latest album Cocodrillo Turbo. Griselda producer Daringer was Action’s DJ. The two have also collaborated many times in the past as well. Special guests included Alchemist, Hologram and Yung Mehico on sax. Action’s 2 year old son even made an appearance during the last song “Actin Crazy.”

Action Bronson Setlist: Dmtri, Tongpo, Subzero, Mongolia (feat Hologram), Capoeira (feat Yung Mehico), Jaguar, Terry (with Alchemist), Actin Crazy

June 28, 2022
Goose and Trey Bring Good News During Dark Days At Sold Out Radio City Shows

Seekers and travelers, both aquatic and avian, endured a nauseating sense of moral conflict while making their way to see Goose on June 24th and 25th for the sold out Radio City Music Hall shows. News of the Dobbs Supreme Court ruling was fresh; strong introspective notes of guilt and grieving rang in battle with the plans for a most jovial gathering. Hurdles of planning jumped for months to make those nights happen. Travel high jumps cleared in the last hour. All of this legwork to prepare for two nights when we thought we could finally be animals and move our abdominals for a night, instead receiving news that life for women just got a whole lot scarier.

Good news brought to you by Goose and Trey by Em Walis

Goose’s cover of “Mad World” from the South Farms Halloween show played on repeat the whole drive down. A song which leaned into the darkness in the throws of pod-era guilt stricken live music attendance. It also was a song Doom Flamingo played later that night with powerhouse feminist badass Kanika Moore appropriately addressing this particular moment of darkness.

During moments of self-preservation and protection, the mind for some went to a strange place where the value of innocuous thoughts skyrocketed. Distraction in the form of social anxiety, primal desire to hunt for big game in the form of a limited release poster, and theories of potential setlists and sit-ins began to swarm the mind, blocking out any space for all-out panic about women living in those states.

Empresses by Em Walis

SOS

Shock-driven imagination created a surreal mental image worthy of the “Weird Goose Dreams” facebook group. The line outside of Radio City before Connecticut Indie Groove band Goose played back to back sold out shows at Radio City Music Hall painted the sidewalks like the signs that once were held up only a few blocks away outside of MTVs TRL. Memories of pop-punk fandom long ago trailed while approaching. Opening conversations were mentally rehearsed. Would Dripfield have been hitting #1 on the hit music video countdown show if it were still airing today?

So ready by Em Walis

Why the rehearsals? The typical over-thinker would estimate that of the 6,000 guests, a core group of, say, 10% would be in attendance for every show. Another 20% will go to every run within a day’s driving distance. 30% will see every show where they can return home the same night. 20% could be first-timers and the remainder… It was complicated.

100% Sold by Em Walis

In a landscape of ever-changing risk, evolving life circumstance and financial whirlwinds, that percentage unaccounted for above could be dedicated fans, unable to attend for a solid chunk of time. Thankfully, they were able to continue to follow the band, only from the VIP view of the livestream and rode the rails of the coffee table with company of an active group chat. The poster line was more like reflexes with a Nintendo game, instead of the running of the bulls (or in this case, geese). The importance of a historic night for band and community might have inspired months of preparation in order to attend. The emotions of the prodigal children ran high.

The time they left Scarf the Redeemer in charge of the pit at RCMH – Georgiana Platt

Before crossing the street over to the line, all thoughts were immediately interrupted when a man standing with arms outstretched and body language that shouted, “Welcome!” and “I’m so glad you made it to the show!” Golden light poured over the massive Radio City Music Hall and line as far as the eye could see weaving behind. Scarf draped over the outstretched arms, the bit of fabric which has become a rock relic illuminated with vibrancy from the sun as it set behind.

The scarf danced and waved tirelessly during those early streams where the pods were spaced such that only two people from the crowd could be seen when Marta Goedde switched the cameras to the front of house viewpoint. A symbol of giving it all you’ve got to both thank the band for taking a risk during a dark time and to honor those that were not in a position to safely attend. A symbol of hope when we needed it most. A man whose outstretched arms and scarf draped, larger than life in front of the epic Radio City Music hall could only be described as “Scarf the Redeemer” washed away all doubts with a single hug. Radio City. Goose. Good News. Mood Boosted. Game on.

Start and end with glizzy sacrament by Em Walis

Seekers

Familiar faces full from streams and memes were assembled at the front of the line, taking part in the sacrament known as the eucharist of glizzies. Why show up so early when there are assigned seats? The group up front at Radio City absolutely wanted a poster, but more importantly, value the time waiting on line for doors as part of the community experience. Hours of sharing and connecting before as well as mutual experience up front for every show has created an unbreakable bond and ritual that could not be forgotten, even if their ticket put them somewhere up in the three Mezzanines.

Shine on by Em Walis

Stickers, baklava and pogs were passed around from arms draped in glistening sequin capes to ones with vibrant colors of one specific tie dye maker. Typically a sign on regional representation, these dyes transcend the regions and have been worn by community members hailing from an area much larger than their origins of Western New York.

The patterns on the dyes both thoughtful and ornate, evoked an unconscious mood boost because the coloring seemed to look exactly like the big looks from some most cherished moments from Goose shows past. The Blue Sky Dyes have been worn by members of Goose over the years which have been featured on streams played at home time and time again. Another mood boost.

Travel MVPs by Em Walis

Travelers

Seven missed flights, one broken truck and a marriage proposal later, one couple finally made it to Radio City for the show. Another seated monk figure had converted his van to follow Goose. Coast to coast, Midwest to Southeast. Representations from across the country were assembled together. The mood was cohesive and upbeat.

The Rockdale by Em Walis

Goin Down To The Rockdale

Arriving inside Radio City Music Hall felt like time travel. Lounges, not bathrooms, all had unique mirrored constructions. Water fountains made with artistry that could not look like anything further than the industrial robot fill stations of today. The merch line spiraled down an oval staircase. The surreal feeling seemed to never end as memories of the Resonance set from a few years ago kept appearing when chatter began to spread about what potential this band had. Familiar faces, big long hugs and selfies galore could be witnessed throughout the halls as thousands of people poured into the venue. This was a powerful feeling at a powerful time.

Peter remembering who is important by Em Walis

Gonna Lay It All Down For You

Before Goose began their first song during the biggest night of their careers, Peter took a moment to address the crowd about the devastating news. He stated the value for women’s rights among the band and tears were falling before the first note commenced.

Arms up, or not. You decide. By Em Walis

Leave Your Coat At The Hotel, We’ll Be Hanging In The Old Barroom

The atmosphere differed tremendously depending on location of seating. Each quadrant held a distinctive personality. Under typical circumstance, a Goose crowd would often resemble that of a high school cafeteria. Same people riding the front rails. Tamara, Crepes and Val on Trevor side, Phil, John and Noah in the middle. Binky between Rick and Peter alongside the Carusos forever dedicated to “Pete side, sweet side.” At Radio City Music Hall, everyone was scattered throughout. Some were able to experience the light show for the first time, despite countless shows attended.

Ryan Stasik believes in shenanigans by Em Walis

Orchestra: Elmegs and Empresses

In the Orchestra seating, there appeared to be a near checkerboard pattern of longtime family and friends mixed with first timers and socializers. Similarly dispersed were those that danced hard with those who would fall under a still, hypnotic trance. In the center of it all, fittingly, was the Goblin King. The “George Washington of hot guys in the jam scene,” according to Andy Frasco. Ryan Stasik was in attendance. “So hot right now,” someone whispered from nearby.

Escaped animal by Em Walis

First Level Mezzanine: Animals

The first mezzanine was a different story. These bunch of animals danced hard and could be called rowdy. The view of the stage from the back rows could have been better, but it didn’t matter. Every person of every age sang each word as if it were a church hymn. It was discovered here that amidst a tumultuous emotional experience, it can be extremely healing to let all of that angst out with dance and shouting the words. Catharsis comes in the form of the silly and leaving egos at the door. Appropriately, this quadrant of the venue went all out bananas when Animals came on. Little did they know the amount of banana jokes that would be made after the following night.

A game the animals played was called “Guess When Goedde is in Charge!” The critters up in mezz 1 would try to spot moments when the lights matched what was happening musically and participants in the game would try to guess what they thought Goedde would say through the monitors to the band like a circus ring leader. “Again!” was the most common guess.

Feed the creatures. They will grow. By Em Walis

Second Level Mezzanine: Creatures

The second level was where true entrancement happened. A sensory experience where holding a prism, balloon while adorning 3D Glasses was common ground. The visceral reactions and empathy held by all. The bigger meaning was felt here. The growth of the band and its fanbase. The creature which grows when nourished and loved. When Trey came on, all bets were off and everyone beamed with excitement in celebration of the good news we all finally needed. Conversations afterword consisted of repeatedly exchanging the question “what the actual f?” back and forth to each other for the remainder of the night.

Mezzanine 3: Red Birds

Perched up above, the full view of the light show was quietly enjoyed by those that dedicated their night to doing everything possible to appreciate the small moments of beauty in life. The colorful moments viewed from a safe distance created a space for the Red Birds to begin to heal. In the most heartfelt performance of the new song “Red Bird,” dedication to all of the women struggling with the supreme court ruling. Caring, judgement free words were sang to the Red Birds up in Mezz 3, reminding the rest of the crowd of Peter’s assertion at the start of the run. Attendee Tony Vasile put it best,

“Red Bird was a necessary anthem for women’s rights tonight.”

Leave your coat at the hotel by Em Walis

Going Down To The Rock Dale

All in all, the two night of Goose at Radio City Music Hall were memorable because of the good news it brought. Everyone seemed to get exactly what they needed out of it and left feeling better than when they arrived. For good reason. Fans both streaming from home and in attendance were able to witness their favorite band live out their childhood fantasy. It does not get more proud mother goose than that. One proud parent in the crowd recalled an early rendition of Goose practicing every Friday night for three hours over the course of seven years before they all left for college. With the occasional Saturday and Sunday jam session peppered in, it is remarkable to see the result of dedication as well as a coming of age tale converging during two beautiful nights.

Media team and long time friends Adam Berta and Bryan Murphy perched by Em Walis

One Life To Live For

The spirit of the night was impactful for more than just bands and fans. The crew behind the scenes have all been friends with Goose for years. The amount of tears shed could fill buckets. It was not only a dream come true for the band to collaborate with Trey, or play this venue. Aspiring audio engineers, lighting designers and photographers dream of working Radio City Music Hall. To ice the cake with both musical and photographic heroes sent it over the edge into something that could once only be joked about as a “Weird Goose Dream” facebook group fantasy.

Not The First Time by Em Walis

And The Sun Will Be Rising Soon

Beneath the brightly illuminated city lights and glowing marquee reading the words “Sold Out” and “Goose” common ground established between birds of a feather and fish in the sea. It turns out, they were all just animals. It was phenomenal. Finding an exit path through the boisterous carnival and second consumption of the eucharist of glizzies outside Radio City Music Hall, chirps of praise volleyed between friends old and new.

Glancing upward, the bright white points of St. Patricks cathedral glowed brightly as they peeked out from behind Rockefeller center. Like a scene from a movie, it all clicked. We have been here before. The face tingling sensation from Arcadia was felt this intensely only one other time during the Goosemas livestream performed atop Rockefeller Center amidst the throes of shutdown.

Its a new light creeping out…

This band seems to have made it a habit of there for us when we need it most.

Goose – Friday, June 24 – Radio City Music Hall, NYC

Set One: California Magic, Elizabeth, Jack-a-Roe (1), Turned Clouds, This Old Sea, All I Need

Set Two: Tumble, Borne, The Whales, A Western Sun, Pancakes

Set Three: Madhuvan, Hot Tea (2), Arrow (2)

Encore: Animal

(1) Grateful Dead cover, Goose debut (2) Studio arrangement with Stuart Bogie on saxophone, D. James Goodwin on guitar, Dave Nelson on Trombone

Goose – Saturday, June 25 – Radio City Music Hall, NYC

Set 1: Atlas Dogs, Moonrise, Wake Up(1), Atlantic City(2), Flowdown, Elmeg the Wise

Set 2: Rockdale, Seekers On the Ridge (Part 1)>Seekers on the Ridge (Part 2), Redbird >I’m Writing a Novel(3), Creatures

Set 3: Silver Rising, Hungersite (4), Arcadia(4), Dripfield(4)>Loose Ends(4), Empress of Organos (4)

Encore: Tomorrow Never Knows(5)

(1) “Wake Up” by Arcade Fire (2) “Atlantic City” by The Boss (3) “I’m Writing a Novel” by Father John Misty WITH FATHER JOHN MISTY!!!!! (4) Trey Anastasio Playing with the boys! (5) Jeff on Guitar w/FJM on Drums, Trey has returned) “Tomorrow Never Knows” by The Beatles

Photo Gallery by Filip Zalewski

June 28, 2022
In Focus: Black Sabbitch at Empire Live

On Friday, June 24th, a rock themed night kicked off with Battleaxxx and closed out with cover band Black Sabbitch at Empire Live.

Battleaxxx is an all female rock band originally from the Capital Region. They are a fairly new band emerging from the Capital Region. They have played a few shows in and around Albany, including at The Lost & Found on August 28th, 20221. This show, however, was their first time performing at Empire Live. They released their debut album Adequate in March of 2021. Battleaxxx has upcoming show at Rare Form Brewing Company in Troy on July 5th.

Keeping on theme with women-lead rock, Black Sabbitch is an all female cover band from Los Angeles. They have been doing covers of Black Sabbith songs since 2011. To validate this band position as the Black Sabbith cover band, they were hand picked by Ozzy and Sharon Osbourne to open Ozzfest. Black Sabbitch was originally supposed to perform at Empire Live back in January 2022. Due to COVID surge, that show was postponed; and their next show in May was postponed due to a band member getting COVID ironically. The road to get to Albany was long, but they made it. Their summer tour ends in NYC on June 25th at the Iridium.

Battleaxxx kicked off the show with a growing crowd of about 30-40 people. Their opening song did not grab the attention of the audience, but their song “Slut,” did bring smiles and laughter. If the song was meant to be funny, it was, as people of varying ages applauded the band for calling their mom a slut. The lights did go out during their last song, but it did not stop the music. Battleaxxx’s set lasted for about 30 minutes and they received a warm applause as they left the stage.

The crowd did fill up to maybe about 100 or so people by the time Black Sabbitch took the stage. The audience was filled with a lot of seemingly empty nesters who were probably trying to relive the songs of their youth. A mosh pit of about 3 people did break out at a point, but did not last very long. During the guitar solos, you could see many people in the crowd reach up and out; banging their fist to the beat, resignating which each cord that was struck. A fire alarm did interrupt the set for about 20 mins, as well as a flood both in the dressing room and in the pit to stage left. They came back on stage, brought the crowd down low with Changes, and left on high with the Black Sabbith hit, “Sabbra Cadabra.”

Black Sabbitch did come back out for a one song encore after pump faking an exit with the dressing room door. If you are not able to catch Black Sabbitch in NYC, you can see them at the Psycho Las Vegas Festival on August 20th before they leave the states for their UK tour.

Battleaxxx Set List: Aqua, Eyes, Sex Boys, Biz, Slut, Holy, Oh Yeah, SWTB, Head, Discharge, Top Shelf

Black Sabbitch Set List: War, The Wizard, N.I.B., Sweet Leaf, Tomorrow’s Dream, Lord of the World, Solitude, Supernaut, Into the Void, Cornucopia, Wheels of Confusion, Changes, Snowblind, Sabbra Cadabra; Encore Song: Children of the Grave

June 26, 2022