Ween closed 2022 with a bang on Sunday, December 11 at The Fillmore in Maryland, busting out rare gems and fan favorites to a packed house. The end-cap to a three-show early winter mini-tour, Ween crushed the year like The Hulk, with a couple shows at The Met in their hometown of Philadelphia, ending in the devastation of Silver Spring, with a line over four blocks long to get in.
Kicking off with their most popular opener, “Buckingham Green,” Ween pulled songs off nearly every album, with hugely popular tracks like “Take Me Away,” “Doctor Rock,” “Spinal Meningitis,” and “Bananas and Blow” deftly delivered into the eager ears of their ardent fans, along a few personal favorites, “The Golden Eel,” “Polka Dot Tail,” and “Ocean Man.” Most of their songs were fierce, with a few mellow trippy interludes, such as “Albino Sunshine Girl” (with heavy phase effects on Gene’s vocals) and “Ice Castles,” with its chilly harpsichord and melodic bass & guitar interweaves. It was abruptly followed by a slamming “Final Alarm,” with Dean delivering sonic whiplash on his Alembic (named “El Cabron”, which he rarely breaks out, except for special shows). They ended their long set with the venge-core anger-fueled ballad, “You Fucked Up,” thanking the audience for their commitment.
Rarer tracks had more play last night than their last few shows, such as the chainsaw guitar-driven “Mononucleosis” (30 times ever played), “Pollo Asado” (very rare – only 8 times ever played, with Gene sitting on a stool to deliver the drive-in monologue), “Cornbread Red” (only 12 times ever played), and the rarest of the night, “Flies on My Dick,” which has only been played 5 times ever, not played in over 250 shows.
Brooklyn native Dave Dreiwitz hopped back and forth across stage, often joining Gene and Dean in a tight circle on the same mic, or whispering “yes…” and “no….” at the blissfully quiet audience during “The Mollusk.”
After sinking a monster setclocking in at nearly 3 hours, Ween resurfaced for a 4-song encore, starting with the raucously speedy “Wavin’ My Dick in the Wind,” a shredtastically intense “Licking the Palm for Guava,” trippy screaming in “Mushroom Festival in Hell” (with Gene on megaphone), ending with an absolutely explosive rendition of Motorhead’s “Ace of Spades” to close out the night and the year in classic Ween fashion.
Ween is certainly not everyone’s cup of blue tea. They are a special kind of weird, highly accomplished musicians and songwriters with a massive repertoire and a devoted fanbase. Because of the pandemic, Ween only played 14 shows in 2021. However, they’ve played a total of 28 shows in 2022, which along with rare gems suggests they may ramp up in 2023, as one can only hope.
Ween – The Fillmore, Silver Spring, Maryland – Sunday, December 11, 2022
Setlist via Brownbase.org: Buckingham Green, What Deaner Was Talkin’ About, Light Me Up, Piss Up a Rope, Take Me Away, Gabrielle, Sweet Texas Fire, Mononucleosis, Touch My Tooter, The Golden Eel, Your Party, I Don’t Want It, Sorry Charlie, With My Own Bare Hands, Ice Castles, The Final Alarm, Albino Sunburned Girl, Bananas and Blow, Cornbread Red, Stroker Ace, Doctor Rock, Pollo Asado, Vallejo, You Were the Fool, Spinal Meningitis (Got Me Down), Polka Dot Tail, Flies on My Dick, Roses Are Free, The Mollusk, Loop de Loop, Ocean Man, You Fucked Up Encore: Waving My Dick in the Wind, Licking the Palm For Guava> Mushroom Festival in Hell, Ace of Spades
On Sunday December 11th, the musical duo FRENSHIP sold out Brooklyn’s Baby’s All Right for their “Big Boys in Small Rooms” tour. The members, Brett Hite and James Sunderland, and their lively drummer fortified a comforting atmosphere on stage. With soft synth sounds and lyrics paying an ode to friendship, love, and the sweetness of relaxing on the weekends, the band hosted an electric night full of dancing and new memories.
Members of FRENSHIP: James Sunderland (left) and Brett Hite (right).
Before the band formed, Hite and Sunderland met while working at sportswear store Lululemon in Los Angeles, CA. Their friendship developed as they shared their mutual affinity for music. They started producing together and uploading songs to the music platform SoundCloud. Their song “Knives” produced with Matoma in 2015 earned FRENSHIP a large following. Shortly after their growth spurt, they released their hit “Capsize” with singer/songwriter Emily Warren in June 2016. Their EP “Truce” followed suit in September 2016.
The opener for FRENSHIP, Kate The Dreamer, made a magical first impression on the crowd. Her lyrics spoke to the uncertainty that follows someone throughout their twenties into their thirties. Kate is crafting an insightful conversation with break-ups, career choices, and the youthful creativity she gracefully holds onto.
Kate The Dreamer.
Towards the end of the show, Kate came back onto stage to perform an acoustic version of FRENSHIP’s “Capsize” with Hite and Sunderland. Afterwards, Sunderland recalled Kate’s origin as a FRENSHIP fan who shared her work with them after a show she attended, which they took an immediate liking to. Hite then told the crowd to expect a single with Kate The Dreamer to come out during the new year.
After Kate’s short but dreamy set, FRENSHIP kicked off their performance with one of their eldest hits, “1000 Nights,” released in 2016. A perfect introduction to their sound with powerful percussion and soulful guitar riffs. The setlist rolled through with songs old and new: their newest single “Songs for The Weekend” seemed to be a crowd favorite, for the energy on the floor was contagious. The space was alive with electronic grooving and loving embraces. There was no choice but to dance with strangers, because FRENSHIP’s music undeniably surfaces a kindness within those listening.
James Sunderland (1:2 of FRENSHIP)
The band found it hard to leave the stage, as the crowd begged for more songs. Chants requesting their song “Swim,” released in 2019 on their album “Vacation,” echoed amongst the audience. Hite and Sunderland happily deviated from their setlist, and gave the song their all. When it came time for them to conclude the show, it felt like saying goodbye to dear friends. After all, their voice is founded on the intimacy of friendship.
Setlist: 1000 Nights, Carpet, Alright, Hurricanes and Sugar Highs, GMGB, Wide Open (acoustic), Anywhere but Here, Songs for The Weekend, Capsize, Remind You, How a Man Dies, Meet Again, Swim**
The Paramount Hudson Valley Theater in Peekskill is a big stage to fill for anyone. Over the decades, the historic theater has been graced by the music greats the likes of B.B. King, Toto and Patti LaBelle, as well as high-profile comedians such as Tracy Morgan and Sinbad. However on this particular night, the stage was shared not by star-studded celebrities but instead by four Westchester and NYC based bands, Platinum Moon, No Grudges, Lovehoney and The Bluechips.
Paulie Beladino guitarist and singer of The Bluechips, performing at the Paramount in 2019
The event, advertised simply as a “rock n’ roll show” was a definitive, but not unwelcome departure from the Paramount’s usual lineup. For local bands struggling to make it on the scene, this was a unique opportunity to transcend from dive bars to the big stage. For audience members, this was a chance to experience their favorite local bands in a new light or to discover brand new artists for themselves.
The show was put together by River Towns Music Group, a local music production and event company who has taken the live music scene by the storm over the past few years, hosting widely popular battle of the bands competitions as well as previous shows at the paramount.
First up was Platinum Moon, featuring vocalist Ava Anduze (21), lead guitarist Anton Klettner (19), keyboardist and rhythm guitarist Joseph Klettner (17), drummer Ethan Grosman (20) and bassist Toby Dorfman (18). The young band earned their spot on the Paramount stage by winning River Towns Music Group’s Battle of the Bands completion in the fall. Composed of members from Mt. Kiscoo, Lewisboro, Chappaqua and Putnam Valley, the group has played all throughout Westchester and built up an impressive resume opening for the band X Ambassadors at the Pleasantville Music Festival this summer and winning various other music competitions across the tri state.
Platinum Moon featuring Ava Anduze, Anton Klettner,Joseph Klettner, Ethan Grosman and Toby Dorfman
Platinum Moon came out with something to prove, jumping around stage amidst a flurry of power chords as they launched into their first song “Into A Minefield.” Anduze demanded the audience’s attention with growling vocals worthy of Axl Rose and a fiery swagger as she moved across the stage. The next number “Hey Beautiful,”- the band’s most popular song with over 100,000 streams on Spotify – showcased every member with a mix of funky bass solos, bright keys and searing guitar licks.
The young guns closed out the set with their newest single Lockdown NRG, a Black Keys-esque song with pounding kick drum, grungy guitars and a punchy chorus. Overall, the band brought an abundance of energy to the stage with incredible synchronicity rivaling that of veteran rock bands.
No Grudges featuring Crystalla Gonzalez and Gabriel Castellar
No Grudges, was next, a funk/punk duo influenced by the likes of Jimi Hendrix, Red Hot Chili Peppers and Iggy Pop. The band brought maturity in sound and vocals to the stage, further rounded out by the addition of bass and drums. Frontwoman Crystalla Gonzalez dominated with charismatic vocal runs and a dramatic flair reminiscent of Amy Winehouse, while guitarist Gabriel Castellar echoed her vocals with wah-induced solos and screaming bends. The two had undeniable chemistry having performed together for over 10 years and having dated since high school. This connection was further highlighted with a vocal duet of their song “Put It Together,” that navigated funky guitar chords in the verse and a more metal hook in the chorus. The band’s cover of Jimi Hendrix’s Foxy Lady was another crowd pleaser that highlighted Gonzalez dynamic personality and raspy vocals along with Castellar’s distorted guitar solos..
Lovehoney, was the first of the two main acts composed of Aly Quinones on vocals, Tommy White on guitar, Tom Gelhaus on drums and Meghan Rose on bass. The band clearly took influences from 60’s psychedelic rock and blues. White’s guitar solos were reminiscent of a man possessed with face-melting distorted solos a la Hendrix. Meanwhile, Quinones kept the audience entertained with playful banter and strong, diverse vocals capable of smooth and soulful melodies as well as throaty growls.
Lovehoney featuring Aly Quinones, Tommy White, Tom Gelhaus and Meghan Rose (not pictured)
The band also stood out with its slower R&B and soul-inspired ballads like “Liquid,” which featured Quinones’ silky yet spicy vocals accented with splashy guitar, tight snare hits and smooth baselines. Still, the band could also pack a punch on songs like “Little Soldier” featuring a “voodoo child” style guitar intro and the catchy, “Feelin’ No Way” which recalled the likes of Black Sabbath’s Iron Man.
Still, If there was any doubt who the crowd was there to see, the Bluechips, dispelled all uncertainty. The Peekskill/HudsonValley based-band brought serious “hometown hero” energy to the show, with a devoted fan base that knew every word.
The Bluechips feautring Paulie “Pasta” Beladino, singer and drummer Jake Albi and bassist Tom Davis
Of all the bands on the bill, the Bluechips were the only ones to have rocked the Paramount previously, performing back in 2019. They’ve also performed at similar venues like Garcia’s at the Capitol Theater.
The trio, made up of singer and guitarist Paulie “Pasta” Beladino, singer and drummer Jake Albi and bassist Tom Davis, had a lush sound further filled out by two and sometimes three part vocal harmonies, highlighted on original tracks such as “Go Blind” and the fan favorite “San Diego” a catchy ballad with jazz, rock and pop influences melding into a infectious and playful chorus. In general, the band had the most memorable originals of the night, and the vocal interplay between Beladino’s high-pitched voice and Albi’s deeper, powerful vocals made for a refreshing combo.
The band also had some exciting covers like Oasis’ “Don’t Look Back In Anger” and their encore song, “Time” by Pink Floyd, fueled by vicious drum fills and guitar solos that cut like a knife. The band was also the only group that succeeded in rousing the audience from their seats, bringing nearly half the crowd to the front row, where fans moshed and chanted for the rest of the set, an impressive feat considering the typically reserved nature of the sit-down theater.
Altogether, it was an incredible night filled with diverse music, an extremely supportive audience and overwhelming talent. There’s also something to be said about the importance of highlighting local bands on a big stage such as the Paramount. The younger-than-average crowd for the venue goes to show how new bands can bring new fans to older venues in a mutually beneficial way. When all was said and done, the show lasted over 4 and a half hours, and for a ticket price of less than $20, it was well-worth the price of admission.
The Beach Boys are one of the most critically acclaimed and influential bands of all time and on Tuesday, December 6th, Mike Love brought the current version of the band to The Paramount in Huntington, Long Island. The lineup included Mike with longtime member since 1965 Bruce Johnston, musical director Scott Totten, Brian Eichenberger, Christian Love, Tim Bonhomme, John Cowsill, Keith Hubacher and Randy Leago.
John Stamos also performed as a special guest with the band for this show and their show at Carnegie Hall the night before. Stamos grew up idolizing the band as a teen and formed a friendship with the group during his days as an actor on “General Hospital” and has frequently collaborated with them since.
Mike Love at The Paramount 12.6.22
The group formed in 1961 in Hawthorne, California. The original lineup consisted of brothers Brian, Dennis and Carl Wilson, their cousin Mike Love and friend Al Jardine. Shortly after Dennis’s tragic death in 1983, Brian became estranged from the group. Following Carl’s death from Lung cancer in 1998, the band granted Mike Love legal writes to tour under the group’s name. Other then a brief reunion in 2010’s for the 50th anniversary, Wilson and Jardine do not perform with Love’s edition of The Beach Boys, but still remain official members of the band.
Mike Love and Bruce Johnston at The Paramount 12.6.22
The show included 30 plus songs spanning over the 60 year legacy of The Beach Boys. The concert also included a generous collection of Christmas songs with a Beach Boys twist made famous by their 1965 “The Beach Boys’ Christmas Album.” Love, 81, recalls events leading to the Beach Boys first Christmas song. “In the early 60’s we made a 45 with “Surfin Safari” on one side. On the other side was a song about a hot rod ‘409’. Then we did “Surfin U.S.A.” and “Shut Down”. Along about 1963, we said, “Lets give Santa a hot rod sled” and “Little Saint Nick” was born. Other songs from Love’s 2018 album Reason for the Season were also performed.
This current tour is also an opportunity to acknowledge the new Sail On Sailor– 1972 box set which celebrates the landmark albums 1972 albums Carl And The Passions and Holland . The 5lp set also includes a 38 page book with liner notes and rare photos plus a previously unreleased concert from Carnegie Hall recorded in 1972.
Setlist: Do It Again, Surfin’ Safari, Catch A Wave, Surfin U.S.A., Surfer Girl, Getcha Back, When I Grow Up, Darlin, Be True To Your School, White Christmas, The Man With All The Toys, Santa’s Beard, Jingle Bell Rock, Finally It’s Christmas, Celestial Celebration, In My Room, Don’t Worry Baby, Little Deuce Coupe, I Get Around, California Dreamin, Sloop John B, Wouldn’t It Be Nice, California Girls, Forever, God Only Knows, I’ll Be Home For Christmas, Frosty The Snowman, Must Be Christmas, Reason For The Season, Do You Wanna Dance, Help Me Rhonda, Kokomo, Barbara Ann, Good Vibrations, Little Saint Nick, Fun, Fun, Fun
40 years ago tonight, on Friday, December 10, 1982, legendary rockers The Who brought their first farewell tour to Syracuse’s Carrier Dome, performing to a crowd of 47,319.
With the tour ending a week later in Toronto, this was the final chance for many in the Northeast to see The Who – even though they would later reform in 1989 for a reunion tour and continue to tour today.
The tour was sponsored by Schlitz beer, part of the Schlitz Rocks America marketing campaign.
Performing in 1982 at the Carrier Dome – which had only opened two years prior in September 1980, The Who inspired local radio station 95X to dub the Salt City ‘SyracWHOse’ as a lead up to the then-record attendance show.
CNY Vintage reported that the stage was illuminated with 400 aircraft lights, 12 computerized lights that swivel in unison, and eight huge spotlights.
This show was also a few short years after 11 fans died at a Who concert in Cincinnati in 1979 in the process of racing for general admission seats. Thus, the Carrier Dome concert – the final stadium show on The Who Farewell Tour – had reserved seating with tickets costing $15 which could only be purchased by mail (that’s $106.94 in 2022 dollars).
As for the show itself, fans were treated to a setlist that balanced fan-favorites with rarities including “Dangerous,” “Cry if you Want” and “It’s Hard.” Fans who attended the show and recall the performance 40 years ago shared their memories with NYS Music:
I was there up in nose bleeds. First time seeing The Who live. Been to 20 shows since, including front row in front of Pete at MSG IN ‘04, one of the highlights of my life. I don’t remember many details from the Syracuse show, other than I was so happy to see them live!! Loved it!!!
Best memory was I was in Boston and my car wouldn’t start and I was devastated. My friend and his frat brother said no problem, we’ll come get you guys!! They were near Albany NY and drove 3 hrs each way before going another 2 hours to Syracuse!! We were wasted by the time they got to Boston!! I almost had a recording of it but my compact cassette recorder got discovered in my pants by security.
That was my second time seeing The Who, which was my favorite band. I remember being a little disappointed that they opened with “My Generation,” which I think needs to be deeper in the set and built up to. It was a little strange hearing the Quadrophenia selections scattered a bit throughout, since I always think of them in sequence.
I always considered “Love Ain’t for Keeping” the weakest track on Who’s Next so it was a revelation hearing it done live. I loved “Naked Eye” in the encore, but ending with “Squeeze Box” and the “Twist and Shout” cover made it a bit meh for me. I also love “Eminence Front” and I’m glad that they continue to keep it in their concert set to this day.
The Who – Carrier Dome, Syracuse – December 10, 1982
Setlist: My Generation, I Can’t Explain, Dangerous, Sister Disco, The Quiet One, It’s Hard, Eminence Front, Behind Blue Eyes, Baba O’Riley, Doctor Jimmy, Boris the Spider, Drowned, Cry If You Want, Who Are You, Pinball Wizard, See Me, Feel Me, Love Ain’t for Keepin’, 5:15, Love, Reign O’er Me, Long Live Rock, Won’t Get Fooled Again
Encore: Naked Eye, Squeeze Box, Twist and Shout (The Top Notes cover)
Watch videos from the 1982 performance by The Who at The Carrier Dome below, including the full concert bootleg.
Indie bedroom-pop musician beabadoobee marked her second-to-last US tour stop at Empire Live last Saturday, Dec. 3, with support from rising alternative duo Lowertown.
beabadoobee performing solo at the start of her set / Photo Credit: Sumaiya Nasir
Empire Live, located on Pearl Street in downtown Albany, is a mid-sized room for bands with a mid-sized following. It boasts a spacious floor with standing-room-only, ideal for dancing.
Sandwiched between MVP Arena and the Palace Theatre, Empire Live offers locals a unique taste of both upcoming and well-established musical artists. The intimate venue was packed from the stage barricade to the bar with highschool to late-20s aged fans, plus a few hesitant parents here-and-there, with no shortage of energy.
Beatrice Kristi Laus, stylistically known as “beabadoobee,” is a Filipino-British musician who came into popularity in 2017 with viral hit “Coffee.” Her most recent album, “Beatopia,” evokes childhood nostalgia with an MS-Paint or restaurant-tablecloth-crayon drawing looking album cover. Stuffed animals were scattered across the amps on stage, one fan even throwing a teddy bear to Bea halfway through the show.
beabadoobee performing “Coffee” solo during the encore / Photo Credit: Danielle Modica
Atlanta-based Lowertown started off the night strong with a spirited and punky set. In album sessions, the band has more of a soft, shoegaze sound. Live, they pull out all the stops and are nothing short of a high-energy garage band experience.
Olivia Osby of Lowertown performing / Photo Credit: Sumaiya Nasir
The songs were fast and loud with jam interludes by guitarist Avshalom “Avsha” Weinberg. Lead singer Olivia Osby encouraged the audience to go wild, opening a mosh pit, crowd surfing and spitting water into the crowd. Fans followed through, opening a large circle in the center of the already sardine-can-packed venue and going hog wild.
beabadoobee began her show after a quick stage reset and suspenseful audio introduction. After performing “10:36” solo, the band joined Bea and only added more flair to her soulful, soft and sweet singing style. Bea’s band kept up a late 90’s grunge/pop punk vibe. Bea’s guitarist and back-up singer, Jacob Bugden, complemented her baby-like pitch with a Billy Corgan-esque tone.
beabadoobee & her band / Photo Credit: Danielle Modica
“The Perfect Pair” and “She Plays Bass” stood out with the most energy and crowd engagement. The audience passionately shouted the lyrics back to Bea while she maintained control, coordinating group audience jumps.
Bea frequently stood towards the back of the stage during instrumental portions, allowing for her band to receive all the attention. She shared her gratitude with the crowd various times, even joking about her inability to pronounce “Albany,” butchered with a subtle British accent.
beabadoobee jamming on guitar / Photo Credit: Danielle Modica
Both bands’ sets were thoughtfully planned out, seamlessly transitioned and well-executed, there was never a “when will it end” moment like other drawn out shows. The crowd stayed engaged with electric excitement, loudly chanting the lyrics to the songs they knew – even the venue playlist pre-and-post show. The good vibes seemed to encourage both sets to go a little harder with each song, giving fans a night to remember.
After an hour-and-a-half-long performance, Bea and her band briskly exited the stage to ABBA’s “Dancing Queen” playing from the venue speakers. Audience members stayed behind to dance along.
Lowertown Setlist: It’s It’s It’s, Debris, Scum, No Way, At the End, My Friends, Bucktooth, Best Person
Beabadoobee Setlist: 10:36, Apple Cider, Care, Fairy Song; Yoshimi, Forest, Magdalene; Worth It, Together, Charlie Brown, The Perfect Pair, Sunny Day, Sorry, She Plays Bass, See You Soon, Don’t Get the Deal, Back to Mars, Last Day On Earth, Talk Encore: Coffee, Ripples Cologne
Two bands – Karina Rykman and Quiltro – made their debut appearances in the Capital District on Thursday, December 1, performing at Albany’s Lark Hall
Karina Rykman is no stranger to Albany, having played with Marco Benevento numerous times at The Hollow and Cohoes Music Hall. Now touring with her own band, consisting of Adam November (guitar), Chris Corsico (drums), and Rykman on bass, made their first appearance in Albany with a strong crowd welcoming them to town.
Quiltro also had their first performance in Albany, with bassist Mike McKinley returning home for a long overdue hometown show. Quiltro had initially been set to play Albany in May 2020, which was left unannounced as the music industry and world around us shut down for a then indeterminable amount of time. Finally arriving home, the early crowdâs rapt attention to the psychedelic rock put forth by Mark Taylor (guitar), JD Hoffmann (drums) and McKinley.
During their 60 minute first set, Quiltro opened with a spacey jam that worked its way eventually into Hendrix’s “Third Stone From the Sun” amid “Pyxis,” the third track from their self-titled 2020 release. The set drew progressively heavier as the hour wound on, driving home the set with “Knight Riding” and “Field of Cities.” Played an introductory set to the uninitiated crowd, Quiltro warmed up the audience for Rykman, a perfect pairing this evening. McKinley and the crowd thanked all for coming to the show, particular his parents who were seated up front for the show.
Quiltro Setlist: Jam-> Pyxis-> Third Stone From the Sun -> Pyxis, Dark Matter, Apollo -> The Crater, In Reverse, Antilla, Knight Riding, Field of Cities
Rykman arrived to the stage around 930pm, flanked by November to her right and Corsico on her felt. Standing front and center, bass in hand, Rykman lit up the stage, singing “Joyride” to open the show in a soft dream-pop voice.
This power rock trio doubles as a prog rock trio at times, deconstructing songs mid-jam and building them back up again. The far reaching instrumentation of the triumvirate were fully in sync on “Plants,” one of the studio tracks that when heard live helps you fully ‘get’ the band’s sound.
November’s shredding and keys created dissonance while Karina bopped around the stage, establishing her presence as the frontwoman of this unique trio, one that brings more than just jams to the table. Â
Rykman channeled Tina Weymouth on the Talking Heads adjacent tune “City Kids,” which Mike Gordon would join her for two nights later at Nectar’s in Burlington. With a few shows left this tour, Rykman’s brief Northeast Tour is well worth catching, as she sets her sights on wider touring in 2023.
Karina Setlist: Joyride > All That You Wanted > Plants > Arbitrary > Dirty South, Beacon, City Kids, Fever Dream, Atom Dance, No Occasion > Psycho Killer > The Hardest Button to Button, Elevator
Charlie Parr walked onto the Arbor Loft stage, bundled up in a made-for-Minnesota-winters cardigan, minutes after opener Al Olender finished up her set. He sat down, settled in with his Mule resonator guitar and started to tune it. Or was he just playing?
The Rochester crowd milled about, conversing, getting a set break drink. Parr kept picking away, and it became more and more evident this was some mighty fine playing that deserves an attentive ear. And after a little while he leaned into the mic and started singing, “Can you remember what it’s like / When all the world’s filled with light / Now do you have that in your sight / Then spread it around, do.”
And Parr’s set started just like that, no welcome, no pretense, he just got right to it with “817 Oakland Avenue” off his excellent 2022 release Last of the Better Days Ahead. The crowd quickly quieted, the lights went down, and the show on Thursday, December 1st, had begun.
About 90 minutes later, after the peppy “Jubilee,” he flatly announced that was the end of his set, “Do you mind if I do the encore now?” With that he left the crowd with a stirring a capella rendition of the gospel, “Ain’t No Grave Gonna a Hold My Body Down.” He opened unceremoniously with a long guitar exploration and closed with just his voice. In between those bookends, the set was filled with the lush combination of his deft finger picking and rich voice.
Sometimes seeing an artist perform solo, even the great ones, you are left wondering what could be gained with a band or even just an accompanist. Not so with Charlie Parr. He sounded perfect all on his own. Through finger picks, slides, foot stomps and that ragged voice with unexpected range, there wasn’t empty space wanting for anything more. And modifications, like an “aggressive capo” on the mostly instrumental “Jaybird” got even more sound from that guitar.
“You know you’re at a folk show when a guy talks awkwardly while tuning his guitars.” Parr said, while tuning his guitar. He tuned quickly though, and like the way he opened his show, his tuning turned to playing without pause or hesitation. The show kept moving, with engaging upbeat songs, even if they were depressing in nature. He provided “palette cleansers” with some traditional folk blues tunes, like Brownie McGhee’s “Sportin’ Life” and Blind Willie McTell‘s “Delia,” the closest he was getting to playing a seasonal holiday song (not very close at all.) His original “On Stealing a Sailboat” referenced Arlo Guthrie in style, a romping spoken word story. No, there was no question or doubt about this being a folk show, or an Honest Folk show for that matter, the promoter closing out the year in grand fashion. We look forward to what’s in store for 2023.
The full house lent an attentive ear to opener Al Olender, a young singer-songwriter from the Hudson Valley making her third return trip through Rochester this year. She immediately connected with the crowd on catchy and clever “All I Do Is Watch TV,” finger picking and strumming her vintage electric guitar and emoting with her silky smooth vocals. Her friend Amanda Brooklyn came out to aid with sparse but well-placed harmonies. She cut through sad subject matter with engaging and humble humor, in her lyrics, with in-song jokes, and witty banter. She was admittedly nervous performing a cover of Roy Orbison’s “Blue Bayou,” (you wouldn’t have guessed it from her delivery) but had no hesitation baring all about her own experiences in a bad breakup on “Liar Liar.” Olender is a new voice to keep an eye out for.
Charlie Parr – Arbor Loft, Rochester – December 1, 2022
Setlist: 817 Oakland Avenue, Last of the Better Days Ahead, Everyday Opus, Sportin’ Life (Brownie McGhee), Don’t Send Your Child to War, Cheap Wine, 1922 Blues, Dog, Jaybird, Over the Red Cedar, On Stealing a Sailboat, Delia (Blind Willie McTell), Jubilee Encore: Ain’t No Grave Gonna Hold My Body Down
In the middle of a 38-date tour of smaller venues across North America that kicked off November 3 in Fresno, California, thrash metal titans Machine Head played an intimate show to a raucous Saint Vitus audience in Brooklyn on Tuesday, November 29. A live extension of the band’s “Electric Happy Hour” online shows, which were streamed remotely throughout the COVID-19 pandemic, the first half of the tour has seen their diehard legion of fans thrilled by a free-form style set filled with deep cuts.
Nestled in its Greenpoint neighborhood, Saint Vitus opened in 2011 and has been known as the premier heavy metal hang spot ever since. On this weekday night, the bar would be taken over by the quartet hailing from Oakland, California who are touring in support of their tenth studio album Of Kingdom and Crown. A 13-track concept album that follows the stories of two main characters, Ares and Eros, was released via Nuclear Blast/Imperium Recordings this past August.
Arriving to the venue for my first time, I knew I was in the right place (despite the venue displaying no street signage as to its existence) when I spotted the band’s tractor trailer rig parked out front and a contingent of lucky VIP fans who were already making their way into the venue for soundcheck. The remaining fans, including myself, chatted and shivered together on the frigid evening as the general admission line steadily grew until it wrapped around the street corner.
At approximately 7:00 pm, security returned to escort us into the warm confines of the 250-capacity concert hall. After my media credential was confirmed by the stamped application of the bar’s skull logo to my right hand, I walked through the bar area and headed straight for the coveted rail position. With no area designated for pit photographers, I was glad to be as close as possible to the metal action that would unfold before our collective eyes in a little more than an hour.
Without any opening support and Ozzy Osbourne’s “Diary of a Madman” playing over the house PA, the stage lights suddenly dimmed and the chants from the fans began . . . “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head.” For the next 2 hours and 15 minutes, Robb Flynn (vocals/guitar), the only remaining original member, Jared MacEachern (bass), Wacław Kiełtyka (lead guitar) and Matt Alston (drums) would deliver a heart-pounding, 21-song set that fully displayed the hard-hitting musicianship that made Machine Head one of America’s pioneering influences in new wave heavy metal.
Performing a set that included at least one song from each of their studio albums – spanning the course of nearly three decades – the San Francisco Bay Area metallers’ first offering was “Imperium,” from Through the Ashes of Empires (2003). With Flynn urging the crowd to “open up that circle pit,” he took us back to 1997 with the speed metal single “Ten Ton Hammer” (The More Things Change…). Reverting to their thrash metal roots, we lost our collective mind during “CHØKE ØN THE ASHES ØF YØUR HATE,” taken from the aforementioned Of Kingdom and Crown and the first of three offerings that would be performed tonight from that 2022 release. The next trio of songs comprised two tracks from 2014’s Bloodstone & Diamonds (“Now We Die” and “Killers & Kings”), followed by “The Blood, the Sweat, the Tears” (The Burning Red, 1999). The night’s second contribution from Of Kingdom and Crown ensued, “UNHALLØWED,” an anthemic tune featuring dual-lead guitar lines and Flynn’s melodic vocals.
With Machine Head’s set approaching the one hour mark and his plastic cup of Guinness running low, Flynn summoned crew member Junior to the stage to remedy the problem. After a quick refill of the Irish-made suds and another toast to the fans for coming out and their support, a special guest appearance was made by Joey Zampella (better known as Joey Z), guitarist for the Brooklyn alternative metal band Life of Agony that Joey Z co-formed in 1989. Taking over axe duties for Kiełtyka, the first of three cover songs followed, Life of Agony’s “This Time.”
Over the next thirty minutes, Machine Head gave us “Old” (Burn My Eyes, 1994), “I Am Hell (Sonata in C#)” (Unto the Locust, 2011) and “Aesthetics of Hate” (The Blackening, 2007), with Flynn again urging his fans to form another circle pit that nearly engulfed the entire room. Following a brief pause in the action, Flynn reappeared, now armed with an acoustic guitar. Pulling his hair back and wiping the sweat from his eyes, Flynn addressed the steamy room of sweaty bodies:
The song that we’re going to do for you here is about mental health. It’s about religion. It’s about music, and it’s about depression. And, you know, for me, I wrote this song when I was in a pretty dark place in my life. I wasn’t raised with religion. I never prayed to a God upstairs to help me when times went tough. No, the thing that I always, always turned to throughout my life was music. It could be Black Sabbath or Pink Floyd or Metallica or Slayer or Hatebreed or Life of Agony. [There were] a million fucking bands [with] the power to reach down and pull me up out of that hole. It was never my music. It was someone else’s.
So, I tell you what. If you relate to the words that I’m talking about, I want you to feel free to sing them as loud, loud as you want to. Be louder than me if you want to. I don’t care Brooklyn, you’re in a Machine Head show, New York. You can do whatever the fuck you want. Get your flashlights way, way, way up in the sky [and] turn the lights on for all of you who have a little bit of darkness inside you. This song is called “Darkness Within.”
In accordance with the show’s career-spanning theme, a foursome of songs followed, comprised of “Catharsis” (2018’s self-titled track), “Bulldozer” (Supercharger, 2001), “From This Day” (The Burning Red, 1999) and “Davidian,” a pulverizing, groove metal number from their 1994 debut album (Burn My Eyes) about the Waco, Texas siege the year prior. Following a brief moment offstage to collect their breaths for the final push, Machine Head performed two back-to-back covers as part of their encore. The first, Alice in Chains’ “Man in the Box,” was spontaneously played in response to a request from the crowd. A blistering rendition of “Roots Bloody Roots,” released by Brazilian metalists Sepultura in 1996, was performed next.
The epic night of heavy metal ended with “Halo,” a second track played from 2007’s The Blackening, with Flynn addressing us for a final time: Brooklyn, New York, we love you fucking maniacs. You were absolutely incredible. Thank you for making us feel so good. We are Machine-Fucking-Head, good night! Before leaving the stage for the final time, all four Machine Head members took a long, gracious bow before Alston handed his sticks to a pair of blissfully stunned fans and handfuls of picks were handed out by Flynn, MacEachern and Kiełtyka. The metal festivities officially concluded with the exclusive Machine Head t-shirt award to the most worthy fan who raged the hardest, a young man I personally witnessed headbanging in the front row all night long, while screaming every lyric in unison with Flynn.
Machine Head will continue their string of U.S. tour dates until the tour finale at Ace of Spades in Sacramento on December 23. Additionally, on the heels of a recently postponed show in Portland, Maine due to “transportation issues,” that show has already been rescheduled for April 2023.
Machine Head Setlist: Imperium > Ten Ton Hammer > CHØKE ØN THE ASHES ØF YØUR HATE > Now We Die > Killers & Kings > The Blood, the Sweat, the Tears > UNHALLØWED > Locust > NØ GØDS, NØ MASTERS > This Time (Life of Agony cover) > Old > I Am Hell (Sonata in C#) > Aesthetics of Hate > Darkness Within > Catharsis > Bulldozer > From This Day > Davidian > Encore: Man in the Box (Alice in Chains cover) > Roots Bloody Roots (Sepultura cover) > Halo
On Saturday November 19, WonderFront Music and Arts Festival 2022 continued on for an unforgettable Day 2. Since the last festival in 2019, WonderFront has made a comeback with headliners Kings of Leon, G-Eazy, Lauren Daigle and Swae Lee, all making headway to restore the annual festival within Seaport Village along the pier in downtown San Diego.
Starting the day with Fitz and The Tantrums at the Events.com main stages, the show-goers belted the lyrics to fan favorite “Out of my League” which was a huge milestone in the band’s early career. Saturday’s afternoon sun became the perfect natural spotlight for the indie pop rock band founded in 2008 by lead vocalist Michael Fitzpatrick when they released their first hit single “Breakin’ The Chains of Love” in 2009.
Noelle ScaggsMichael Fitzpatrick
The festival moved towards transpiring viral success Tai Verdes, known for his pop and indie inspired music. Tai grew to fame during the pandemic in 2020 for his hit single “Stuck in The Middle,” which successively sprung him into a well-deserved music career. The crowd grew full as Tai was engaging with fans with an urge to hurl over the pit’s rail guard, as Verdes made it all worth the wait, especially when the performance of hit single “A-O-K” was embraced by a sea of loyal fans.
As the sun started winding down, singer/songwriter Bill Dess took a stand on the stage with his blue electric guitar. Going by the stage name of Two Feet, Bill balances a groove with a heavy tone and edgy electric guitar riffs. Representing the east coast, Bill Dess was born and raised in Manhattan where he began the production of his music career. Dess set the tone for those around as he strung his hit release “I Feel Like I’m Drowning” which reached number 36 on The US Hot Rock Songs Chart.
Leading into one of the top headliners of Saturday’s lineup was the unforgettable Swae Lee performed an impressive and crowd pleasing show. Swae leaped onto stage telling the crowd “I’m gonna make this shit unforgettable for y’all,” leading into featured hit release “Unforgettable” with French Montana. Leaning over the guard rails into the crowd, Swae was standing over the monitors, jumping from stage left to stage right and throwing his shirt into the crowd. Festival goers swung left to right as top hit “Swang” boomed through the bass. He made his appreciation for the fans known, putting on quite a remarkable show.
Swae Lee has been best known for songs from the album SremmLife from a duo Rae Sremmurd with his brother.. Swae Lee has featured artists on many tracks, such as Jhene Aiko, Post Malone, Traviss Scott and Nicki Minaj. Some of his fan favorites include “Unforgettable,” “Sunflower” and “Sativa” For one of WonderFront’s many headliners, Swae Lee put on an unforgettable show.
Headliner G-Eazy made an appearance Saturday night, having risen to attention in 2014 when his first major label album These Things Happen hit number 3 on the US BillBoard charts. G-Eazy cherished this show in honor of his fanbase to carry on their support over the years.
Playing one of Saturday’s concluding shows in San Diego’s all time ocean overlook, Ruocco Park. Echosmith took the stage to honor their last show on the band’s 2022 tour. Lead singer and keyboardist Sydney Sierota held a special place for San Diego, it being her hometown, which made their last show of the year more memorable for the fans and the alternative pop band.
To conclude an eventful Day 2 of WonderFront Music and Arts Festival. headliner Kings of Leon dropped an outstanding closing performance. The crowd was packed with show goers urging to get upfront for a better view along the marina, where fans filled the venue from front to back. With millions of follower on Spotify, their listeners were ecstatic for their show and appearance to the multi-genre festival. The group, composed of brothers Caleb, Nathan, Jared and their cousin Matthew Followill, performed “Sex on Fire,” “Use Somebody” and “Closer” from Kings’ most iconic album release, Only By The Night.
The wait for the American rock band was worth the wait when the crowd belted each song and roared of applause. The closing on Saturday November 19 set the bar for a remarkable show, raising high hopes for the final day of WonderFront Festival.
Tai VerdesSwae LeeSydney SierotaEchosmithFitz and The TantrumsMichael FitzpatrickTwo FeetG-EazyKings of Leon
