Andy Frasco & The U.N. played two new songs, overcame an early fiasco and threw a raging party over a two and a half hour long set with many old favorites on Friday, August 19. It marked his his first time playing at Lincoln Hill Farms in Canandaigua, NY.
The band also announced plans for its New Year’s Eve show at the Town Ballroom in Buffalo on Dec. 31.
Photo by Carla R. Coots
The band was rocking from start to finish; it seemed like everyone else was surely amped up on plenty of energy drinks or something. Except they hit a snag right into the second song “Blame it on Me” when the power went out on some speakers and Frasco’s microphone was cut. The band quickly improvised, as Ernie Chang on saxophone played as loud as he could while he and guitarist Shawn Eckles traded licks back and forth and drummer Daniel Avila kept the tempo going. Frasco pulled out the signature bottle of Jameson whiskey out and it seemed like an appropriate time to have a drink. Whatever technical difficulty happened, it was enough for the whole band to take a break and get off stage.
When they came back, they finished “Blame it On Me” and Frasco and the band seemed like they were ready to get past that mishap and crush the rest of the night.
Frasco shared some new music with the crowd as he went into “I Miss Getting High Just to Get By,” then he played another new one right after with “High On Our Own Supply.”
He then played another two rocking songs with “Love, Come Down” and “Slam Piece” and the band did not slow down one bit. Frasco said, “Let’s get the party started,” and cracked open a beer to dump all over himself. He then took a moment to chat with the crowd and get everyone pumped up as they teased the deep riffs of AC/DC’s “Thunderstruck” and went into a short version of Van Halen’s “Running with The Devil” which fit the band with their wild energy and crazy hair.
“Pay to See Your Smile” then slowed things up a bit along with the song “Better Day” that gave the band a chance to catch their breath and wipe the sweat off their faces. Chang played keys for the song and the slow start built up into an epic climax with guitarist Shawn Eckles giving it 110 percent.
Photo by Carla R. Coots
They played “Baby, Take the Day Off” and then Frasco said he always wanted to play drums on a farm, so the entire band changed which instruments they were playing. Everyone was still rocking, and it seemed like everyone knew what they were doing on each instrument. Guitarist Eckles continued to crush it on every instrument he played form the keys to drums. Frasco ended up on the bass and it looked good on him.
Back on their normal instruments, and before the next song, Frasco had some jokes for the crowd and then they went into a cover of Sublime’s “Caress Me Down.” They played “Make It Work” and then he said they wanted to play some older songs since this was the first time they played in the area, The band proceeded to go through “Good Man,” “Kind of Crazy” and “It’s Been a Struggle.” Afterwards, they went into a classic rock cover of Foghat’s “Slow Ride” and Frasco said they were going to improvise and play more random songs and then went into “Sunny Day Soldier.”
Next, they had a singing contest, and every member had their chance. Frasco said that Chang never sings in these, but even he participated this time around. The night was also filled with references to the Buffalo Bills, getting the crowd pumped at every mention of Josh Allen and aspirations for a Super Bowl. Frasco will surely be a favorite in New York when the band returns for their NYE show in December.
Photo by Carla R. Coots
They then went into “Smoking Dope N Rock & Roll” and if things weren’t already turned up, the band heated it up even more with a “Blame It On The Pussy” that got everyone back in full rage mode. Frasco then played the fan favorite “What More Can I Say” as the crowd sang all the lyrics along with him. He then got into the crowd to kick off the Shabbat with a Hora as the band played “Hava Nagila” as the crowd went left and right according to Frasco’s instructions.
The band closed the set with “Dream” and came back out for an encore starting with “Change Of Pace.” Frasco had a heart-to-heart with the crowd and sent us off with his positive song “Keep On Keepin’ On.” But before things were over, he sent everyone back into full rage mode with a cover of Rage Against The Machine’s “Killing In The Name Of.” The crowd knew what they were in for as a circle opened up and it turned into a hardcore show for the last few minutes.
Organ Fairchild opened the show and Andy Frasco’s main bassist Supa Man was not at the show, with Chris Lorentz filling in.
Andy Frasco & The UN Lincoln Hill Farms – Canandaigua, NY Aug. 19, 2022
Setlist: Find A Way, Blame It On Me, I Miss Getting High – (First Time Played), High On Our Own Supply (First Time Played), Love, Come Down, Slam Piece, Running With The Devil (Van Halen cover), Pay To See You Smile, Better Day, Baby, Take The Day Off, Caress Me Down (Sublime cover), Make It Work, Good Man, Kind Of Crazy, Make It Work, It’s Been a Struggle, Slow Ride (Foghat cover), Sunny Day Soldier, *Singing contest*, Smoking Dope N Rock & Roll, Blame it on the Pussy, What More Can I Say?, Hava Nagila, Dancing Around My Grave, Dream
Encore: Change of Pace, Keep On Keepin’ On, Killing In The Name Of – (Rage Against the Machine cover)
On Aug. 19, Anthrax was set to play their 40th-anniversary tour at the Armory in Rochester. With support from the Black Label Society and Hatebreed, but that did not fully happen. Only Hatebreed got to play a part of their set before ending early. They were supposed to play 17 songs but only played 13 of them. Then almost an hour later, it was announced to the fans there was an issue and the rest of the show would be canceled.
Due to unforeseen production issues, the show tonight at the Main Street Armory in Rochester had to be canceled by both ANTHRAX and BLACK LABEL SOCIETY as it was unsafe for the bands to perform. ANTHRAX and BLACK LABEL SOCIETY do not cancel shows lightly but we could not put the health and safety of the bands and crew at risk. All of the bands tonight apologize for the inconvenience and disappointment. We will be back to Rochester to rock another time. Refunds are available at the point of purchase starting Tuesday, August 23.
Statement from the band
ANTHRAX’s guitarist Scott Ian also took to his personal Twitter to write: “Rochester we didn’t want to cancel, we had to. The stage was broken, the venue did not fix it and it was not safe to continue the show. It’s shitty for you, it’s shitty for us. We’ll be back my friends, on a real stage.”
Hatebreed
Drummer Matt Byrne. Photo credit- Mike Miller
Hatebreed is an American metalcore band from Bridgeport, Connecticut, formed in 1994. The band released its debut album Satisfaction is the Death of Desire in 1997, which gave the band a cult following. The band signed to Universal Records and released Perseverance in 2002, which hit the Billboard 200. Combining elements of hardcore and heavy metal, the band is often described as metalcore, hardcore punk, and beatdown hardcore band. They have played a major role in the Connecticut hardcore scene.
On the eve of the 53rd anniversary of the 1969 Woodstock Music and Art Fair, blues/rock artist Kenny Wayne Shepherd brought with him living blues legend Buddy Guy and up-and-coming blues man Christone “Kingfish” Ingram to the Bethel Woods stage for three sets of incredible music. The showcase of three generations of blues musicians is the inaugural edition of the touring Backroads Blues Festival. In addition to a remarkable evening of music, Shephard spoke with us about the tour and the entire interview can be seen at the end of this article.
The Backroads Blues Festival’s inaugural run is visiting six venues between the Northeast and Virginia and included two stops in New York. Christone Ingram, a Mississippi native who goes by the nickname Kingfish, has had an impressive career so far for only being only 23 years old. While he has a bit of a name for himself, the show was a fantastic introduction for new fans. Though a younger musician, he blazed through his guitar work with emotion as if the blues were his primary language.
Kenny Wayne Shepherd, who conceived the idea of this festival and curated the show, took the stage with his own band between Kingfish and headliner Buddy Guy. Shepherd is a musician who knows the business and how to draw his audience in to his music and guitar with his stage presence. Shepherd’s set included not only his own work, but concluded with a hat tip to the legendary B.B. King with “You Done Lost Your Good Thing Now.” Headlining the show was Buddy Guy, who celebrated his 86th birthday over the summer. There is a lot to be said for seeing and hearing Buddy perform which is why his shows are not just a performance, but an experience. He works the crowd with his wit, humor, and a sharp sense of being in the moment with his band to deliver pure, unfiltered blues.
Before the evening concluded, both Shepherd and Kingfish joined Buddy Guy on stage to trade solos and do some call and response traditional to the style. As Buddy Guy usually does at the end of his shows, he set his guitar down and let his band (along with Shepherd and Kingfish) jam and play him out while he paraded around the stage to toss some guitar picks into the crowd.
The Backroads Blues Festival was a unique experience of listening to three generations of musicians fit into a touring concert format. The crowd was left energized by the music with conversations about each of the three performers drifting through the air when the lights came back on. While the festival tour is wrapping up this weekend, we’re looking forward to the future versions of the Backroads Blues Festival coming back around to New York.
Interview with Kenny Wayne Shepherd
Steve Malinski: You mentioned during the show that the, this touring festival’s kind of been a dream of yours for a few years. So what inspired that dream to bring a few gen generations of blues musicians together like that?
Kenny Wayne Shepherd: Well, I felt like there’s something, you know, there’s an opportunity for something like this. There’s kind of a void and I was looking to fill it. When I was a kid, there was an annual touring blues festival that B.B. King did. And, you know, I went to it several times over the years as a spectator, as a fan and saw some of the greatest talent in blues from Etta James, B.B. King, Joe Cocker, Stevie Ray and Jimmy Vaughan, Robert Cray, Buddy Guy. I mean, the list goes on and on, right. And then not too long after I joined it as an artist and did the tour myself with my band several times over the years. So, I mean, I just have a lot of really fond memories of that festival and those kinds of experiences. And I think I wanted to give the fans the opportunity to have their own experience like that, you know? I also think the genre still needs something like that. The multi-generational approach where you had three different generations of kind of the hottest names in blues. But I mean, the goal is just to have the best bands that are out there right now. I mean, it doesn’t necessarily always have to be representative of three generations, but I thought that was a really perfect way of kicking off the tour.
SM: Yeah, it’s kind of a neat way of doing that.
KWS: Yeah, I think it was good. I mean, Kingfish, he’s one of the big up and comers, he just won a Grammy. I mean, he’s kind of really blazing a trail and making a name for himself. And then, I’m the generation before and then Buddy’s, obviously the generation before that and everybody’s kind of at the top of their game. And so, it was a really strong lineup.
SM: So how’s the experience been so far with it having a few shows in the books already?
KWS: I think it’s great. I mean, to be honest with you the first night in Providence was completely packed. And it was a really great opening night. Bethel had a great crowd as well, but, you know, we were getting constant feedback. My people who were out in the merch area and the crew that was scattered throughout the venue and even myself at the end of the night… all the people that were working at the venue as they were leaving were just extremely complimentary about the show, said it was one of the best shows that they had there all season.
So you know, that’s great. I mean, obviously, this is my project and it’s very important to me, but I mean, I’m telling you every single person that walked outta that venue that walked past me told me how great the show was. So that’s really satisfying. It’s very encouraging, especially because we’re trying to establish the brand here, because we want to move forward with this on an annual basis. They said they would love to have us come back again.
SM: Yeah. One of the things I was going to say is I see huge potential for this growing into something more than just the limited run of shows you’re doing this summer.
KWS: Yeah, this tour is more to get the word out, establish the brand and kind of like a proof of concept for lack of a better term. But back in the day the B.B. King fest would have around four headlining acts and then they would also have local acts that would perform, you know early on in the day. I mean the whole thing would start, and the local act was playing at like 4, 4:30 in the afternoon, you know? So it was a bit of a longer event and I’m hoping that we can grow into that. And the goal is to be inclusive. We’re gonna have, the hottest women of the blues, the hottest artists. Also, it’s like everything doesn’t always have to be electric either. There might be, you know, some more acoustic driven blues artists that will be included in the bill going forward and things like that. But regardless, it’s gonna be the top performers in the genre for sure.
SM: Awesome. So I’ve seen Buddy Guy a handful of times, and he always talks about learning, not from the book, but just from what he hears and picks up from others. What have you kind of picked up on as inspirations from working with Buddy Guy and Kingfish as you’ve gotten ready for this tour?
KWS: Well, I mean, I’ve learned a lot from Buddy Buy. And so has any other guitar player in the past, you know, 50 years probably. I mean, Jimi Hendrix was a huge fan of Buddy Guy’s. So Buddy influenced, you know, the guy who’s regarded as the greatest guitar player of all time. So people, whether they even realize it or not have been influenced and affected by Buddy Guy and who he is and what he does. So, I mean, the main thing is he’s just incredible at age 86, you know, that he can perform at the level that he’s still performing at. And he’s a true show. And I just, I try and absorb that to the best of my abilities and, and take, things from people like that and incorporate them into what I do. And, that’s the tradition for all of us.
SM: As you know, the Woodstock anniversary is this week. So being on that historic site, were any special feelings that you had performing at Bethel Woods?
KWS: Yeah. You know, I’ve gotten to play this venue more than a few times over the course of my career. And, I’ve been to the site and done that whole thing. It’s certainly cool. I mentioned it earlier on, I think on one of my social media posts, especially because we are doing a music festival and launching a music festival… It’s like that place is sacred ground for music festivals. It was one of the biggest of all time, one of the most historic music festivals of all time took place there. So I thought it was an amazing opportunity to try and do the inaugural run of my festival and play one of our dates at that location.
SM: I noticed you have a tour coming up leading into next year to celebrate the 25th anniversary of your album Trouble Is…. So looking back to 1997 and before, when you signed your first record deal at a six as a 16 year old kid in the early 90s, how do you reflect back on that?
KWS: The first album [Ledbetter Heights] came out in ‘95, right after I graduated high school. I had recorded that one when I was 17. And then the one that we’re celebrating is the second album Trouble Is…, and that came out when I was like 19 years old in 1997. I mean, you know, I was young by any means. To compare to anything that’s a very young age to start a career and have that kind of success. And now I’m 45 years old and certainly, you know, a lot of time has passed. I mean, I think one of the most satisfying things we have accomplished a lot – we’ve sold millions of records. I’ve got several golden platinum albums hanging on the wall, awards on the shelf, all of those great things that any artist could ever hope for. But to me, the biggest accomplishment is the fan base that we have acquired over the years. You know, because people that are fans of this music, the music is timeless. It’s not stuck in an era. So, it’s not like pop music that has a certain sound from a certain era which then people move on from that. This is timeless music. And generally people who become fans of this kind of music kind of dig it for life, you know? And so as a result, that’s why 30 years later I’m out here and we’re still accomplishing things and we’re still making new achievements and we’re still, you know, selling tickets to concerts and selling out venues and moving into bigger venues, into new markets and things like that. That’s the biggest accomplishment because without the fan base that we have, then, none of it would be possible. And so they’ve stuck with me and they’ve kind of hung in there with me for 30 years now and they continue to make it possible for me to pursue, my dreams.
SM: Going off of that, have you run into a lot of younger musicians who are looking up to your middle generation of blues musicians as inspiration?
KWS: So, everybody knows that I started so young. I mean, over the entire 30 years of my career, I’ve run into a lot of younger musicians that come because they heard about my story and, you know, they’re aspiring young guitar players and, and things like that. And so, there’s no shortage of young people that are interested in music and there’s never any void of young people that are interested in blues and for some, it’s a stepping stone and they move on to other genres. And for some people like Kingfish, they try and make a life’s career out of it. But, my job is to be a good example and to be encouraging to them and just kind of do what I can do while I’m here and make my contribution, you know, as solid as possible.
The state of the jam scene is currently solid. Not since Pigeons Playing Ping Pong and Twiddle playing Garcia’s in 2014 has the infusion of infectious improvisational music been so exciting. With Goose, and now Dogs in a Pile, the ascending acts in today’s foray are strong. Dogs in a Pile performed a sold out show at Garcia’s on Thursday, August 11 and it was a storied affair. Becoming grizzled veterans quickly, the show served as the band’s ninth performance at the famed space.
Formed in 2018, (guitarist Brian Murray joined the lineup in 2019) Dogs In A Pile consists of Sam Lucid (bass), Jeremy Kaplan (keys), Joe Babick (drums), Brian Murray (guitar) and Jimmy Law (guitar). Based out of Asbury Park, NJ, the band is blowing up – having already performed at a gamut of respected festivals including Peach Music Festival, Summercamp, Domefest, ADK fest and Beardfest. DIAP is influenced by a wide range of esteemed acts including The Grateful Dead, Steely Dan, Phish, Frank Zappa, Dopapod, Twiddle and Jade Cicada. They have dropped a full-length studio album called Not Your Average Beagle, which is available on all streaming platforms. They also have live recordings that have been released through platforms such as Bandcamp, Nugs.net and YouTube.
Starting their career by playing Grateful Dead music together, they evolved into composing original material – everyone writes and composes the material, but Brian and Sam are the primary songwriters. They currently have a catalog of 51 original songs. The band hopes to release their next studio record in the upcoming months and it is currently untitled. The group’s name derives from the Grateful Dead classic “He’s Gone.” Bassist Sam Lucid, one of the many Berklee School of music grads in the band, exclaimed, “There are lots of exciting future plans, including the release of a new studio album, tour dates across the country as well as some exciting supporting tours that have yet to be announced!”
It was hard to remember Garcia’s being so crowded. The energy was palpable before the start with partygoers crowding the stage – it reminded one of DIAP’s most popular songs, “Can’t Wait for Tonight” (45,000+ streams on Spotify) with the lyrics, “Let’s go to the show, I hear the Dogs are back for more!” It’s hard to choose just a few highlights from all the offerings. Dogs In A Pile still shares a penchant for playing the Grateful Dead and this was demonstrated with a first set highlight of a delightful take on the obscure Grateful Dead ditty, “Dupree’s Diamond Blues.” Sang by Kaplan, it was a fast, fun and infectious romp. Any list of the band’s assets begins with the vocals – a smooth and rich sound that reminds one of a close friend coming over for dinner. The jams were tight and took one on a stellar journey to the unknown.
The familiar chords of “Bubble” marked the beginning of the highlight of the second set – a song from the band’s studio album. A jam laden tune, it builds to crescendo and shows intricate guitar interplay between the members before seamlessly segueing into “EDM.” Three songs debuted on this night: “Frosty,” “Appleseed,” and a bombastic cover of the Rolling Stones “Shine a Light.” The harmonies were lush and layered and offered an exquisite depth of sound The set was festive with rambunctious high-energy and one could hear the influence of Phish in some of the improvisational jams. When the show concluded, the venue was still packed. It was as if no one wanted to leave. With an impeccably crafted two sets of exploratory music, Dogs in a Pile left satiated revelers and left them with “nothin left to do but smile, smile, smile.”
Dogs In A Pile Garcia’s – Port Chester, NY 8/11/22 Set 1: Crazy, Westward, Blues for Brian > Snow Day, Thomas Duncan Part 2, Dupree’s Diamond Blues, G Song Set 2: Stranger, Frosty, Bubble > EDM Song, Bent Strang), Spun > Appleseed, Shine A Light, Charlie
Keep Flying headlined at Nail Creek Pub & Brewery in Utica on Aug. 18. The band was excited to perform following their recent debut EP Revival. When stepping on stage most performers work hard to encourage the crowd to stand up and dance, this wasn’t quite the case for Keep Flying.
Northeast six-piece punk-rock band, Keep Flying features a horn component and revealing lyrics that hit close to home. Although it was the band’s first show in Utica, they plan to make a reappearance soon. Keep Flying is currently touring the United States.
Nail Creek Pub & Brewery has an outdoor stage. The pit and seating area were at maximum capacity. Opening performances from Pepper on the Salad and Career Mode warmed up the large crowd.
Keep Flying began their set promptly at 9:30 P.M. Moments after the group began, a mosh pit formed and others in the crowd who didn’t participate were jumping and fist-pumping. Several people surfed throughout the set, even the show host, AJ Bates. The precise sound of the saxophone played by singer, John Ryan, was played with a significant amount of high energy as he danced and jumped around the stage while playing.
At the tail end of the show, the crowd cheered “another song!” repeatedly. With their final burst of energy, Keep Flying played an encore. The group is an absolute must-see act that left all in the crowd desiring more.
The Knitting Factory in Brooklyn will be closing its doors at the end of this month. Benny The Butcher’s Black Soprano Family played one of the final shows at the venue on Aug. 15. In a statement posted to Instagram, the venue’s management wrote “it is time for the Knit to (once again) reinvent itself.” The last show will be on Aug. 21.
BSF at the closing Knitting Factory
The Black Soprano Family (BSF) consists of Heem, Rick Hyde, El Camino, Loveboat Luciano, Fuego Base, and founder Benny The Butcher. The collective has been gaining a lot of momentum lately. Benny had released Tana Talk 4 back in March which included one of the best hip hop songs of the year, “Johnny P’s Caddy” featuring J. Cole and produced by Alchemist. On Sept. 9, Benny and the BSF crew are releasing Long Live DJ Shay, a tribute to their mentor and collaborator who died of Covid-19 in August of last year. The first single from that project is a song produced by DJ Premier called “Times is Rough.”
Their show at the packed Knitting Factory on Monday night was full of energy and emotion. Benny opened with 3 songs from his solo work including “Raw,” “97 Hov,” and “Survivor’s Remorse.” After that each BSF member had a chance to shine. Rick Hyde got into a track from his debut album called “Pandemic Flow” before he and Heem traded verses on “Da Mob” and “It’s Over” off the Respected Sopranos album. Then Rome Streetz made an appearance to perform “Poza” and “Peri Peri.”
Next Loveboat Luciano stepped up to perform “Grams In Da Water,” “Lovey,” and “Parole.” Fuego Base got to show off his skills on three of his tracks “First Day Out,” “9.37,” and “Narcan.” Then newest BSF member El Camino came out to perform “India” with Benny and “Josh Allen” off his collaboration album with Chase Fetti titled Bethlehem.
Next Benny brought out the “first lady” of Griselda, Armani Cesar. She performed “Drill A Rama” and Mac 10s for Everybody” off her album The Liz. Armani is releasing the sequel to this album titled The Liz 2 on Sept. 2. Stove God Cooks also made a quick appearance to perform “Back 2X ” with Benny. The show ended with a few more Benny songs including “Legend” from his Burden of Proof album produced entirely by HItboy, “5 to 50” and “Johnny P’s Caddy.”
BSF Knitting Factory Setlist: Rubber Bands and Weight, 97 Hov, Survivor’s Remorse, Pandemic FLow, Da Mob, It’s Over, Poza, Peri Peri, 430, The Realest, Fell In Love With the Streets, Grams in Da Water, Lovey, Parole, Shine, Madonna, Wins & Losses, First Day Out, 9.37, Josh Allen, Money Feel Better, Drill A Rama, Mac 10’s Sunday School, Back 2X, Times is Rough, 18 Wheeler, Legend, One Way Flight, 5 to 50, Johnny P’s Caddy
Just two days removed from the Here and There Festival bringing four female-fronted bands to Beak and Skiff Apple Orchards, The Wild Hearts Tour landed with three more incredible women artists: Sharon Van Etten, Angel Olsen, and Julien Baker. All three would have fit perfectly well in Courtney Barnett’s lineup, but they were on their own mission with it’s own purpose.
There’s was borne of a common bond, a post-pandemic search for connection to like-minded souls. The cross-country trip brought them closer together and felt “like summer camp,” the bands enjoying a game Scattergories pre-show. More importantly lifetime bonds were solidified.
Before the show could begin, the ashes and destruction left behind after Barnett’s barn-burning set Sunday night needed to be washed away. Mother Nature obliged with an afternoon deluge. The rains delayed the venue’s opening, cancelled Quinn Christopherson’s opening set and everyone else’s soundchecks. The crews worked hard to get the show prepped regardless and they were thanked profusely throughout the night.
Sharon Van Etten was blown away by how many came out to see them play in LaFayette New York, in what was likely her first ever show at an apple orchard. The feelings were mutual, and the crowd was also feeling enormously lucky to get the opportunity, repeated opportunities in the grander scheme, to see such world-class talent in an area that isn’t known to consistently draw bigger shows.
The rain subsided, the sun was on its way toward the distant hills, the crowd assembled, ears pricked, and the stage was set and ready to go, a grey velvet curtain draped along the back, ready to absorb whatever light came it’s way.
Julien Baker got the Wild Hearts night rolling with her emotive indie-rock. “Heatwave” and “Ringside” were early opportunities for Baker to show her vocal range, her mouth gaping open as her keenly observant lyrics spilled out like she was saying them for the first time. She allowed herself to let loose in short bursts on her guitar, but finally burst the dam on set-closing “Ziptie,” her instrument finally meeting the power of her voice. She prepared us for the rest of the evening, “Sharon and Angel will come melt your faces… in a tasteful way.” She wasn’t wrong.
Olsen and her band arrived next. Guitar, bass, drums, keys, cello and fiddle all there to help color in Olsen’s beautiful songs, and each outfitted brightly to emphasize that. “Right Now” filled in the blue from the organ and backing vocals. “Shut Up And Kiss Me” getting a splash of green guitar. “Lark” with streaks of hot pink and lavender from the string section before getting ignited with color as it all builds together. Olsen, in bright yellow, brought a palette all her own, her buttery voice melting into each song. A country twang coming through in “Big Time,” sultry and soulful on “Go Home,” deep and rich like the darkening and colorful hues in the skies around the venue.
Contrasting with the Angel Olsen’s colorful display, Sharon Van Etten arrived to a darkened stage, only illuminating once the band fully launched into “Headspace.” Van Etten stood out like a flame in the midst of her all black clad band. Distant lightning strikes provided a nice addition to their more extensive light show.
Van Etten showed off the range of her songwriting throughout the set. The funky crunch of “No One’s Easy to Love” gave way to the slow drawn out “Used To It.” The nice slow build in “All I Can” contrasted with the upbeat and poppier “Every Time the Sun Comes Up.” The set burst into a dance party by the end, on stage and off, closing out with the disco beat of “Mistakes” and infectious “Seventeen.”
The night ended with Van Etten bringing Olsen back on stage to join on their co-written song “Like I Used To.” A wonderful way to close out the show, though it did leave us regretting that the camaraderie between the three leading ladies offstage didn’t produce more sparks on it. Perhaps we’ll have to wait for the Wild Hearts Tour 2023?
The second ever Catskill Mountain Jubilee took place this past weekend. Nestled within the Catskill Mountains at the Blackthorne Resort, the festival provided a great mix of nature and comfort. There was a pool with DJs playing throughout the weekend, several stages, including a late night rave hangar, lakes, cabins, even a haunted house!
Aqueous & Friends ft Craig Broadhead at The Hangar Stage
The music was phenomenal throughout the whole weekend. Sit ins included Aqueous & Friends featuring Craig Broadhead, DJ Logic & Friends as well as Star Kitchen featuring James Casey and Natalie Cressman, and DrFameus featuring Glyfiks were the musical sets that stood out to me. Put a saxophone in my face and I’m hooked!
Craig Broadhead
Dark Star Orchestra played four sets over the course of both nights with the first night being a recreation of 6/3/76. Highlights included a “Might As Well” opener, “Lazy Lightning,” “Dancing in the Streets,” and a thumping two-song encore featuring “The Wheel” and “The Golden Road (To Unlimited Devotion).” The second night proved to be much slower and the “Drums” jam was going nowhere. An incredible “White Rabbit” encore brought life back into the crowd, but not without the sound dropping out for a bit.
Dark Star Orchestra
After the main shebang there was much to do, late night shows were aplenty. DJ Logic with Craig Broadhead, James Casey, & Natalie Cressman was my favorite late night shindig but I also enjoyed Baked Shrimp at 3 a.m.
Marc Brownstein with Natalie Cressman during Star Kitchen
Laura Lee’s gospel set was soul touching and right during that Sunday morning church time. Marc Brownstein made a funny crack about how shorts aren’t showbiz appropriate as he mustered through the hot sun in jeans at the Star Kitchen set.
James Casey sitting in with Star Kitchen
Catskill Mountain Jubilee has something going for it; the grounds are really enjoyable. With every event there’s issues and problems that need to be solved but seeing how well it’s done for it’s second year, I think this festival has a bright future ahead. It has a good mix of live and electronic music, activities, chill spots, amenities, and a good crew.
Australian rocker Courtney Barnett has long dreamed of curating her own music festival. As a kid she crafted mix tapes of fantasy lineups, and designed t-shirts for the fantasy merch tent. With 2022’s Here and There Festival, she has finally realized her dream.
The title comes from a lyric from “Scotty Says,” an early Courtney Barnett song about touring around Australia: “I got lost somewhere between here and there / I’m not sure what the town is called.” With that as the inspiration, booking the tour stop in Syracuse, specifically LaFayette, seems quite appropriate. No offense to our beloved Syracuse.
Each stop of the tour features a different lineup, handpicked by Courtney Barnett, featuring friends new and old. For this gig, at Beak and Skiff Orchards, Hana Vu opened the night up with “Aubade,” a punkish rocker. Her quartet played in front of static and slightly distressing images of an eye, mouth and ear. “My House” followed and it was immediately apparent that Vu’s voice would carry the set, searing and soaring. Accentuating the strong point, she employed a cool echo at times, doubling her voice with a slight delay. The band squeezed a quick eight songs into their 30-minute slot, from the slow and groovy “Everybody’s Birthday” to the more powerful rocking closer “Public Storage.”
To Barnett’s credit, the festival, on this night at least, and we suspect across the board, was very well curated. The crowd seemed to be only there for whoever was on stage at that time. Singing all the lyrics, calling out the obscure requests, pumping all the fists, screaming during all the breaks. For a four band bill to keep the crowd thrilled throughout a five hour show is no small feat.
Next Faye Webster brought her quintet to the stage. The music was more demure, but no less exciting. They were accompanied by a large blow up bust of a woman, a bit ostentatious which didn’t quite match the music, but Webster was full of interesting surprises. The band glided through the set, pedal steel riding the crest of light slinky grooves, with Webster’s distinct nasal and airy voice getting her points across with complex repetition. A combo of “I Know I’m Funny Haha” and “Johnny” highlighted the band’s strengths. Then the crowd was hit with a massive left turn as they then played a piece of music from Pokemon. A catchy and dreamy 8-bit sounding instrumental that was equally fun and intriguing. An indie-pop band that features a pedal steel and a fiddle without much of a glint of country is sure to keep things interesting.
Opening with “Heat Wave,” Lindsey Jordan’s Snail Mail immediately amped the energy back up, returning to Vu’s punk trend and adding a layer of 90’s grunge. Another distinct female voice to fall in love with, Jordan emoted her lyrics, dropping to her knees even during “Madonna.” “I consecrate my life to kneeling at your altar,” she sang, guitarless. Bass-heavy melodies and rhythms were interesting on their own, but unfortunately tended to drown out the rest of the band. Switching out guitars on every song, Jordan kept her roadie busy, who swapped her out with the swiftness and stealth of a tennis ball boy. A cover of Muse’s “Starlight” fit into the set’s originals nicely. Near set’s end, the crowd was polled for the last song. “Pristine” beat out “Valentine” in a hands-in-the-air landslide. Fortunately, there was time for both. It would have been a shame to skip “Valentine,” what with Cupid projected on the screen and the roses wrapping Jordan’s mic stand. Though the fans vote proved justified and the catchy synths of “Pristine” and its and powerful bass closed out the set in style: “This feels like the same party every weekend.”
With her hand-picked festival mates paving the way, young and vibrant artists one and all, Courtney Barnett and her trio took the stage for the final set with their work cut out for them. With the sun fully down, the video screen and lights in full effect, and with the help of three guitar amps, they flexed their headliner muscle immediately. Her set opened as her latest release does, with “Rae Street,” singing, “Time is money / and money is no man’s friend.” She dove back into her catalog with “Avant Gardener” previewing everyone’s next morning with the line “It’s a Monday, it’s so mundane.”
Barnett’s music is the rare beast that combines incredible wordplay behind a driving raw rock power. Fans were eager to sing along and did so with gusto, keeping up with the at times rapid fire lyrics.
“Small Poppies” was a rock beat down, a slog through the mud with a heavyweight, Barnett’s searing guitar noise cutting through the bass and drums bombast. The thrashing continued with “Turning Green,” Barnett playing a classic rock staple cowbell simultaneously with her guitar, before tossing it aside and letting loose on the six string.
Faye Webster, in another welcome surprise, returned to the stage to provide some added guitar and vocals to “An Illustration of Loneliness” late in the set. Her fuzzy guitar tone fit in musically while her royal blue shirt and pants blended perfectly with the lighting scheme on stage.
Courtney Barnett knocks your socks off, stuffs them down your pants and then proceeds to kick them repeatedly for an hour. A relentlessly and powerfully good set from her power rock trio. And she proved to be a damn good festival producer as well, proved to be a great way to spend a Sunday evening at an apple orchard that may not have been here or there.
On August 4, the iconic Papa Roach came to Syracuse with the Rockzilla tour at the St Joseph’s Health Amphitheater at Lakeview. The tour consisted of Falling In Reverse, Hollywood Undead, and Bad Wolves. The Amphitheater has been host to a long list of big shows, like Foo Fighters, Slipknot, and Shinedown, who is coming back. The venue was host to Incubus and Sublime the night before. The weather could not have been any more perfect but that wasn’t the case for the Rockzilla tour, as many fans were parking and lining up, a rain delay was called for a hour due to passing storms, many stayed out as to not lose their spot. The gates opened a hour and 15 minutes later than originally planned.
First band to get the show going was Bad Wolves, who formed in 2017. Up after them was Hollywood Undead who is a treat to watch, with members switching instruments during songs. To Follow after Hollywood Undead was Falling In Reverse. The singer Ronnie Radke was on a set of risers that spanned most the stage and was moving swiftly back and forth.
To close out the night, is Papa Roach, who has been around since 1993 and still rocking on with the release of their latest album, Ego Trip back in April. When the band hit the stage, the crowd went into a roar. Jacoby disappeared from the stage during one of the songs and many were looking around, then behind the pit, you could seen phones in the air and the spot lot on him as he went through the crowd. Then for one song song, he was up in the pit the barricade, with the barrier between him and the fans.
Though the show started off with bad weather, It wasn’t enough to stop it from going. They have many other concerts lineup of various genres, so head over to their site to see who’s coming next!
