Category: Show Reviews

Dark Star Orchestra Celebrates New Year’s in April, Honor Local Albany Promoter

The spirit of the Grateful Dead was alive and well this past weekend as veteran improv rockers Dark Star Orchestra finally played their annual New Year’s Eve celebration in Albany. Held on April 1^st and 2^nd at the storied Palace Theatre and re-dubbed “Fool Year’s Eve,” the joke was on you if you missed this gratuitous good-time jubilee. Couldn’t make it to the show? No need to worry, our man on the scene, NYS Music photojournalist Zak Radick was there and has a full recap of all the sights and sounds from the memorable occasion.

It all started around 7pm when suddenly out of nowhere, they came out from everywhere. Funneling into the base of Clinton Ave and North Pearl, an apparent make-shift flash mob of “Dead Head’s” made the sidewalk near McGeary’s Irish Pub the weekend’s designated ‘Shakedown Street’ for this trip to Albany. A traveling do-it-yourself marketplace for fans to commerce and socialize with our like-minded folks, these pop-up flea markets AKA Shakedown Street’s, have been a longstanding fixture for fans of the original Grateful Dead community going on decades now and are just one of the many traditions fans still regularly practice. It was a nice thing to see in a town that’s been through so much, yet never lost heart. Vibrant and friendly, chatty and colorful, the pre-game hustle was in full swing outside the historic venue just prior to showtime. Having already been there and done that, the older ‘heads’ soon began filing inside, not wanting to miss a moment of the opening acoustic set from DSO guitar player Jeff Mattson. And they were sure glad they did, as they were serenaded by a delightful opening combo of “Dire Wolfe” and “Deep Elem Blues” while finding their seats. Soon word had reached the street that the show “was on” and before long the lower level of the gorgeous room was packed with people and yes, an overwhelming smell of patchouli, body odor and pot.

The Palace looking as lovely as ever, a simple glance around the theatre revealed a fan base the spanned all ages and backgrounds, but most skewing older. Many wearing tie dye, some with dreadlocks to their knees and flowers in their hair, others covering up in cowboy hats and trucker caps, while other came dressed in their New Year’s best, sporting their finest sparkling dancing pants and glamorous glittering jackets. Still, there were the other ones. The fans who looked like regular Joes you’d pass in a grocery store aisle and never expect they’d know every single word to every single song written by Jerry Garcia and company. The brief but beautiful acoustic set from Mattson also featured Lisa Mackey on harmonica and concluded with a sentimental rendition of “Ripple,” sending fans buzzing to intermission debating if that was a recreation from a Dead set, or a standalone, original set of select Dead covers.

With balloons hanging high over the Palace, the Dark Star Orchestra causally took the stage around 8:30 to a rowdy ovation from eager and attentive fans. Comprised of members Rob Eaton and Jeff Mattson on guitars and vocals, Rob Barraco on keys, Rob Koritz and Dino English on drums and percussion, Skip Vangelas on bass and Lisa Mackey on backing vocals and harmonica, DSO has been a fixture in the jam scene for more than 20 years and have over 3,000 shows under their belts. Bringing the essence of a live Grateful Dead show back to reality for a whole new generation, the band is often seen as one of the top acts of their kind, and now popular enough to fill a place like the Palace. An impressive testament to their consistency and quality of performances.

Perhaps with acknowledgement to GD history, or perhaps in acknowledgement of the heady pre-show Shakedown scene earlier, it seemed fitting when Dark Star Orchestra opened the second set of the night with a rambunctious rendition of the beloved classic “Shakedown Street”. The appreciative audience already spilling out into the aisleways and concession overflow area in full ‘dance-party boogie’ mode. By this point, you just had that old familiar feeling that it was fixing to be a fun night! From there, the band went into a “Me and My Uncle >Mexicali Blues” segment, followed by a lively “Cold Rain and Snow” that saw the crowd showcasing their collective ‘singalong’ voices one of the loudest times of the night. A “blues” heavy set, we also caught “CC Rider,” “It Must Have Been the Roses,” “Beat It On Down The Line,” and a lengthy “Big Boss Man>New Minglewood Blues>Don’t Ease Me In” to send fans to their second set break of the evening.

There was a special moment just prior to the start of the third set when the DSO crew invited legendary Albany promoter Greg Bell of Guthrie Bell Productions out to the stage. Marking thirty years to the day since holding his first show, Bell made a brief but candid toast, thanking the dedicated music fans of the Capital Region for all the support over the years. A mutual moment respect and acknowledgement for a man who’s meant so much to the local music community for the last three decades.

When everyone returned, the rocking second set kicked off with “Iko Iko” and then in one of the musical peaks of the night, a fantastic high energy take on a “Playing in the Band”> “Terrapin Station” > “Playing in the Band” sandwich before things got a little weird with the obligatory “Drums/space”. Things started cooking again with the slow and building crescendo of “The Other One” that seamlessness faded into “Not Fade Away” and “Going Down the Road Feeling Bad.” “Morning Dew” would round out the set with just enough time for another quick break before the midnight shenanigans would ensue.

Honoring the spirit of the original Grateful Dead, the band played well into the evening giving fans exactly what they were hoping for. As the clock now approached midnight, the balloons that had been hanging over head all night finally released and DTO began the famililar chords of the song they took their name from, “Dark Star.” Loving every second of it, fans were quick to bat the balloons around like beach balls, and seemingly keep them afloat for the remainder of the show. A pair of fan favorite “Bertha” and “Good Lovin’” brought the show to an end and the audience to their feet, howling in approval and for just one more. Happy to oblige, DTO returned with Lisa Mackey taking center stage during an encore of “It’s All Over Now, Baby Blue” before cluing the audience this performance was an originally inspired by the Grateful Dead’s December 311st, 1981 show in Oakland, California.

A great performance made even better by the great crowd, Dark Star Orchestra surpassed expectations. They sounded fantastic, musically tight and with singing voices strong and full of vigor. It was an evening drenched in familiarity and comfort and the result was a near perfect atmosphere for the audience to let themselves get lost in. That indescribable feeling only the live music experience can deliver and on this first night in April, the Palace Theatre in Albany was truly a fool’s paradise.

Dark Star Orchestra | 4.1.2022 | Albany, NY | Palace Theatre

Set 1: (Jeff Mattson Acoustic) Dire Wolf, Deep Elem Blues, Ripple

Set 2: Shakedown Street ; Me And My Uncle > Mexicali Blues ; Cold Rain And Snow ; C.C. Rider* ; It Must Have Been The Roses** ; Beat It On Down The Line ; Big Boss Man* > New Minglewood Blues* > Don’t Ease Me In

Set 3: Iko Iko ; Playing In The Band > Terrapin Station > Playing In The Band > drums > space > The Other One > Not Fade Away > Going Down The Road Feeling Bad > Morning Dew

Set 4: Dark Star > Bertha > Good Lovin’

Encore: It’s All Over Now, Baby Blue**

Filler: My Sisters And Brothers

* with Lisa on harmonica – original had Matt Kelly
** with Lisa on vocals – original had Joan Baez

Dark Star Orchestra | 4.2.2022 | Albany, NY | Palace Theatre

Set 1: Hell In A Bucket > Let It Rock ; When I Paint My Masterpiece ; Loser ; Cumberland Blues ; I’ll Take A Melody > Deal ; Masters of War ; Box Of Rain > One More Saturday Night

Set 2: Here Comes Sunshine > Greatest Story Ever Told ; Revolution > Feel Like A Stranger > drums > space > Corrina > Help On The Way > Slipknot! > Throwing Stones > Days Between > Slipknot! > Franklin’s Tower

Encore: Brokedown Palace

April 6, 2022
Disco Biscuits Unleash An Array Of Inverted Jams In Return To Capitol Theatre

This past weekend, the Disco Biscuits joined the Double Digit Club at the legendary Capitol Theatre in Port Chester, performing three nights at the hallowed venue, bringing their total to eleven shows in all here. The whirlwind three nights of music featured some of the band’s most beloved songs meshed with some bustouts and first timers that all led to an incredible weekend of music at The Cap.

photo by Em Walis

The Biscuits came shooting out of the gate on Thursday night, thanks to a dusted off “Chemical Warfare Brigade,” the first one in more than six years. Another opening set highlight was a “House Dog Party Favor” that went delightfully dark and deep at times, surpassing the 20-minute mark. The set came to an end in vintage Disco Biscuits fashion with a “Story Of The World” > “Munchkin Invasion” > “Story Of The World” sequence, although “Munchkin” went unfinished and would surprisingly remain that way the entire run.

The band kept the old school hits coming with a “Hot Air Balloon” second set opener that also went unfinished, and instead morphed right into a thunderous “Shem-Rah Boo.” Emerging from “Shem,” drummer Allen Aucoin put on a drumming masterclass with the rare inverted approach to “Portal To An Empty Head.” It would be the first of many memorable song inversions this run, where a song’s ending is played immediately before its beginning.

Friday night brought with it a calendar page turn into April and all the potential for mayhem that comes along with April Fool’s Day. To that degree, a “Nughuffer” opener came as somewhat of a surprise, even admitted so by bassist Marc Brownstein in his traditional mid-song banter. But after a quick trip to Zex Sea, the Biscuits were off and running with another monster trance-fueled jam to start the show. An unfinished “Spaga” then later bled right into one of the band’s newer efforts, “Running Into The Night.”

The second set began with a mesmerizing drawn out jam that served as the runway for the intro to “Run Like Hell,” one of the band’s singature cover selections. This gave way to a parade of song inversions, starting with a very common one in “Confrontation.” A couple of inverted animals then followed suit in standout takes of “Crickets” and “Aquatic Ape” before “Basis For A Day” closed out the set in grand fashion. As an encore, the Disco Biscuits trotted out “Friend Like Steve” one more, a recently-penned birthday song for a friend of the band. Doubling down on the “FLS” songs, the band then unleashed a surprising first time ever cover of the Grateful Dead’s “Feel Like A Stranger.”

photo by Em Walis

After two nights of barn-burners, Saturday took the Biscuits legacy at the Cap to a new level. With a fan written setlist once again guiding the band, tonight’s show was a true hallmark of the weekend and raised an already elevated bar even higher.

The band came out swinging in Set 1 with “Denmark Massive,” a song not played since 2008, and originally written by The Join (Marc Brownstein, Aron Magner, and The New Deal’s Jamie Shields and Darren Shearer), as noted by Zachary Franck. The Biscuits first studio single in a decade, “Lake Shore Drive” segued cleanly from “Denmark Massive” and into an inverted “Morph Dusseldorf.” The moment the audience heard the shift into the “Morph” ending, the room lit up with energy and peaked as the band and crowd sang in unison “Morph, morph from Dusseldorf, changing all the time, and if you stay the same one day, that night will be sublime.” The moment built on that peak by segueing into the beginning of “Morph,” a none-too often occurance.

A combination of “And the Ladies Were the Rest of the Night” with a potent “Cyclone” sandwiched inside would follow, a dream setlist and nothing short of creative and challenging for the Disco Biscuits.

photo by Em Walis

“Vassillios” kicked off the second set, with neither the band nor crowd losing steam during setbreak. The eventual shift into the foreboding and evil vibe of “Orch Theme” took no prisoners and laid the groundwork for a Club Bisco vibe that reigned through the rest of the night. With the doors swung open, an inverted “Sweating Bullets,” the first ever such version, burst through for 25 minutes of peaks upon peaks that built with each successive ascent. Barber and Brownstein were found hopping around and getting down on stage, pairing well with the audience, creating a pure rock and roll moment, in the Original Rock Palace, naturally.

An equally dominant “Tempest” arrived out of “Sweating Bullets” and back into the second half of “Vassillios,” bringing the set nearly full circle. Shifting into the ending of “I Remember When,” the audience was elated in unison, singing along, a reflection on the 3 years (with two cancellations) that it has taken the Disco Biscuits to return to the Capitol Theatre stage.

Prior to the encore, Peter Shapiro, owner of the Cap, came out to reflect on hearing the Disco Biscuits for the first time in 1997 at The Wetlands, and led the crowd in singing Happy Birthday to Jon “The Barber” Gutwillig. Marc Brownstein then gave recognition to faithful longtime Tour Manager, Ryan Noel, who was spending his last run with the band this weekend, bidding him a farewell with the crowd pouring out love.

Perhaps reflecting on those sentiments, the band returned to the beginning of “I Remember When” to start the encore before shifting into Walter Murphy’s “A Fifth of Beethoven,” a final dose of disco for the night, one etched into Disco Biscuits and Capitol Theatre lore.

Disco Biscuits Capitol Theatre 2022 Setlists

Thursday, March 31

Set 1: Chemical Warfare Brigade* > Once the Fiddler Paid, House Dog Party Favor, Story of the World > Munchkin Invasion* > Story of the World
Set 2: Hot Air Balloon* > Shem-Rah Boo > Portal to an Empty Head^ > The Great Abyss > Shem-Rah Boo
Encore: Home Again
* unfinished
^ inverted

Friday, April 1

Set 1: Nughuffer > Spaga* > Running Into the Night > Aceetobee* > Rock Candy
Set 2: Run Like Hell* > Confrontation^ > Crickets^ > Aquatic Ape^ > Basis for a Day
Encore: Friend Like Steve, Feel Like a Stranger&
* unfinished
^ inverted
& debut

Saturday, April 2

Set 1: Denmark Massive* > Lake Shore Drive > Morph Dusseldorf^ > And the Ladies Were the Rest of the Night > Cyclone > And the Ladies Were the Rest of the Night

Set 2: Vassillios > Orch Theme > Sweating Bullets% > Tempest > Vassillios > I Remember When&

Encore: I Remember When&, A Fifth of Beethoven$

* last played 6/9/08 (548 shows)
^ inverted
% last played 1/31/19 (103 shows); first ever inverted version
& dyslexic
$ last played 11/3/18 (119 shows)

Photos by Em Walis

April 6, 2022
In Focus: Leif Vollebekk and La Force, Live at Levon Helm Studios

Levon Helm Studios was sold out on Saturday, April 4th, for a visit from some of Montreal’s finest: Leif Vollebekk, with opener La Force. The show also featured appearances from Cindy Cashdollar and Patrick Watson. This dynamic cast of musicians put on a special show for the Woodstock crowd that lasted late into the night. The crowd was excited for the show and were entertained throughout, and for a number of first timers at the barn, they learned how alive music can feel in the barn.

Cindy Cashdollar on lap steel

La Force consisted of Ariel Engle performing solo on Saturday night. Her set was a perfect way to open the show; the crowd was captivated by the ethereal combination of Ariel’s voice and guitar, and from the first measure she took full control of their attention. La Force created a unique atmosphere, the room was filled with a calmness that was balanced by a fragile tension in her voice. The hauntingly beautiful combination of Ariel’s voice and guitar can be heard in her live version of ‘Can’t Take’ in the clip below.

After La Force, Leif Vollebekk took the stage and from the start he was one thing: connected. Leif was connected to his music, through his body, to his instruments, and to the sounds he and his band make. During each song of his set Leif would visibly lose himself to the feeling of his music. When playing guitar on his feet, Leif would never stay in one place. He would flow to and from the microphone as he needed, bouncing in and out of different sections of the songs. Even when seated at the piano, Leif would rock back and fourth: leaning, twisting, and bending, all to play the notes exactly as he feels.

This connection to his music is no more apparent than during ‘Hot Tears.’ Close fans of Leif knew the moment this song was coming on Saturday night, as he laid his guitar down on the floor, with the headstock pointing away as he sat down at the keys. This was to leave the guitar in a convenient place for the moment in the song when he picked it up and to solo, calling and responding to himself on the keyboard. In the clip below, you can fast forward to minute 10:33 to watch Leif perform ‘Hot Tears’ for KCRW. Just after minute 14:30 is when Leif picks up his guitar and puts on a clinic in playing with feel.

Leif’s set was dynamic throughout, and his energy level flowed up and down with each song. The set’s energy trended upward as the night went on though, and the build up took off as the band rocked Levon Helm Studios with ‘Blood Brother.’ The regular set was closed out at its peak with ‘Transatlantic Flight,’ another song off Leif’s latest album: New Ways. The energy of this song would be matched only with the final song of the encore, when every musician in the building took the stage for a cover of Prince’s ‘Purple Rain.’ This proved to be a truly special ending to another incredible show in Woodstock.

Leif Vollebekk will be wrapping his American tour in Pennsylvania, New York, and Massachusetts before heading to Europe. See all of Leif’s upcoming tour dates on his website. To catch any future announcements, be sure to follow him on Instagram @leifvollebekk. Stay up-to-date with La Force by visiting laforceband.com and following Ariel on Instagram @laforceband. For upcoming shows at Levon Helm Studios, visit levonhelm.com.

Setlist (partial): East of Eden, Into the Ether, Big Sky Country, Never Be Back, Apalachee Plain, Long Blue Light, Tallahassee, Blood Brother, Hot Tears, Transatlantic Flight

Encore: Elegy, Purple Rain (Prince)

April 5, 2022
Honoring the Blues: Professor Louie’s Century of The Blues

On Saturday March 26, 2022, the Paramount Hudson Valley Theater presented Professor Louie’s Century of The Blues, a special evening to honor the great blues artists in history and thank them for their contributions throughout the years. The night was augmented by photographer Joseph A. Rosen’s photos from “A Photographic Journey, Keeping The Blues Alive” projected behind the artists during the evening.

The Professor Louie’s Century of The Blues bill included Professor Louie along with his compatriots in music, The Crowmatix. Hudson Valley based Professor Louie & The Crowmatix are known for working with The Band and other notable Woodstock performers. The night also featured multiple Grammy nominated Guy Davis. Davis is affectionally known as “An Ambassador of the Blues.” Guy has traveled the world bringing his style of the blues to all. Completing the triad of performers was Joe Louis Walker. Walker is also a Grammy nominee in additional to being a four-time Blues Music Awards winner, Blues Hall of Fame inductee, and recipient of the prestigious W.C. Handy award.

Professor Louie & The Crowmatix, background photo by Joseph A. Rosen

Each act performed a set, sharing its take on the blues. The five-piece Professor Louie & The Crowmatix opened the night sharing songs that influenced and inspired the band through its long tenure. Professor Louie and fellow band mate Miss Marie traded lead vocals, with Louie stepping out from the behind keyboards to play accordion on a few songs.

Guy Davis

The middle slot belonged to Guy Davis. Sitting center stage with his acoustic guitar, Davis shed light on the origins of this classic genre with his playing style. Drawing from Lead Belly and other blues notables, Guy’s set merged classics with originals, most strikingly his “Kokomo Kidd.” To close out, Davis had the audience backing him on vocals as he sang a cappella accompanied by his harmonica.

Joe Louis Walker

After a brief intermission, Joe Louis Walker and band took the stage. Walker, originally from San Francisco and now a Hudson Valley resident, lit up the stage with his guitar prowess. His playing let everyone know that the blues are here to stay. With a powerful rhythm section supporting Walker, the band took the blues to the next level. Joe interspersed his own compositions in the set as he and keyboard player Scott Milici traded leads throughout their time on stage. To finish off the journey through the blues, the house brought Joe and crew back for an encore to close out the night.

Professor Louie & The Crowmatix

Guy Davis

Joe Louis Walker

April 5, 2022
Parquet Courts Walk A Downtown Pace at Brooklyn Steel

Parquet Courts, the New York City based post-punk band, finished up a two-night stand at Bushwick’s Brooklyn Steel on Saturday, April 2nd. The band is on tour supporting their seventh LP Sympathy for Life; released last October via Rough Trade Records. The album features the infectiously groovy lead single “Walking at a Downtown Pace” and the psychedelic jam “Plant Life.”

Parquet Courts at Brooklyn Steel, 4/2/22. Photo by Buscar Photo

NYS Music was at night two, which featured a rather unique intro to the show. After the stage crew finished the change over between sets, a woman lit a sage bundle and immersed the stage in the smoke. She stepped to the mic and announced onto the stage, “Clown.” After expecting Parquet Courts to walk onto the Brooklyn Steel stage, the crowd was indeed perplexed, but intrigued as to what was happening. Two people walked on stage, one apparently the Clown in full face paint and a clown suit accompanied by a saxophone player. The two then played a gorgeous cover of Parquet Courts song and Sympathy for Life closer “Pulcinella.” The ambient balled swelled into a mix of sax and guitar loops, coming to a climax as Clown then introduced Parquet Courts to the stage.

Clown at Brooklyn Steel, 4/2/22. Photo by Buscar Photo

Once Parquet Courts took the stage, the crowd burst into joyous energy and never let up until the end of the show. The band played a career spanning set, and embellished much of the songs into lengthy live versions with extended jams and improvised movements. The band transforms their energetic post-punk style into a multifaceted live show that keeps even the most devout listener on their toes. Highlights of the show included the aforementioned Sympathy of Life singles as well as “Freebird II” and “Mardi Gras Beads” off the excellent 2018 LP Wide Awake!.

Parquet Courts at Brooklyn Steel, 4/2/22. Photo by Buscar Photo

Parquet Courts continue on tour through April, ending the month on the west coast before heading to Europe for a run of dates in May and June. The band sprinkles in a couple of shows in Australia later in the summer. Check out the full tour schedule HERE and see our photo gallery from the show at Brooklyn Steel on April 2nd below.

April 5, 2022
Tate McRae Sells Out Two Nights at Irving Plaza

Tate McRae has the feel of a natural born star. The 18-year-old Canadian born singer/dancer mesmerized on stage last Thursday, March 31st, at Irving Plaza, being backed by Mimi Webb and Gayle. Before her rise as a singer, McRae gained popularity for her performance on Canada’s, So You Think You Can Dance, at just 13-years-old so it later came as no surprise to find out she was multi-talented. She brought her myriad of talents to Irving Plaza, opening her show with her song, “stupid,” serving as the front-woman with two backup dancers on stage.

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Tate McRae not only has a strong stage presence, but a strong connection with fans, knowing when to switch gears to keep the concert flowing. She sat and slowed things down as she performed “One Day,” — the song that launched Tate’s singing career after putting out the song on Youtube a few years ago, going went viral almost overnight. At the show, McRae also announced her debut album, I used to think I could fly, set to release on May 27. The aesthetic was as vibrant as McRae’s voice itself, with strobing lights, dancing fans and flawless choreography. As her first headline tour, it’s apparent that McRae’s potential is limitless.

Apart from her recent stretch of performances, McRae recently released a the single, “chaotic,” from her upcoming album. She will soon be heading to Europe later this month for two months before joining Shawn Mendes for his US tour in September.

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Setlist: stupid, r u ok, happy face, all my friends are fake, Bad Ones, One Day, that way, You (Regard, Troye Sivan & Tate McRae cover), Breakeven (The Script cover), wish I loved you in 90’s, feel like shit, I’m so gone, Rubberband, she’s all i wanna be, you broke me first

April 3, 2022
Ruel Grows Up with Hit Show at Brooklyn Steel

Ruel, born in London and raised is Sydney, has already become an international superstar with over 1.5 million followers on Instagram and with three sold-out world tours already complete. His most recent “GROWING UP IS _” tour, ahead of his newest debut album arriving soon, brought him to Brooklyn on Sunday, March 27th after kicking off his tour in Los Angeles.

Ruel kicked off the show with his back facing the audience, and then after finishing his introduction of “Real Thing,” turned around to face the screaming audience.

Photo by Ambika Verma

Ruel ran across the stage during the set, from one side of the audience towards the other, often reaching down to greet fans. The crowd was no doubt composed of eager fans, as they were screaming each song loudly back towards the stage. He performed a range of songs, from his upbeat hits to slower and newer songs, eventually closing his set with his newest hit, “GROWING UP IS _” before returning for a 2-song encore. Ruel’s newest song “GROWING UP IS_,” similar to one of his other hit songs, “Younger,” resonated with a lot of the audience; this coming-of-age song highlights how feelings of growing up can bring up moments of self-reflection and nostalgia.

Ruel will continue his tour in Europe for a few dates; you can listen to his newest hit single here.

Setlist: Real Thing, Dazed & Confused, Face to Face, as long as you care, distance, Hard Sometimes, Don’t Tell Me, LET THE GRASS GROW, too many feelings, Free Time, Flames (SG Lewis), Younger, GROWING UP IS _
Encore: Painkiller and Japanese Whiskey

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

Photo by Ambika Verma

April 1, 2022
Sasami Plays Music Hall of Williamsburg

Fresh off the release of her second album Squeeze, Sasami played a packed show last Friday night, March 25th, with support from Zulu. The eclectic crowd comprised people of all stripes, with plenty of typical goth garb (leather, long coats, and tall boots) and plenty of LGBTQ+ representation in the mix. Fans were asked to keep masks on throughout the show to protect the band from tour disruptions, with signs posted on the walls and doors.

Sasami at Music Hall of Williamsburg, Photograph by David Reichmann

L.A. native “powerviolence” band Zulu opened up the show with loud, sustained heavy metal sounds. The audience gleefully moshed and thrashed throughout their brief but powerful set.

Zulu at Music Hall of Williamsburg, Photograph by David Reichmann

Sasami started her hard-hitting set with some fan favorite tracks including, “Skin a Rat,” “Say It,” and “Make It Right.” Her setlist covered her 2-album catalog, and even included a cover of System of a Down’s “Toxicity” with on-stage help from Zulu. Given Sasami’s experience as a trained classical composer, her setlist spanned several genres and included operatic interludes, head-banging choruses, and even a few balladic deep cuts such as “Call Me Home.”

Sasami and Zulu at Music Hall of Williamsburg, Photograph by David Reichmann

Sasami’s music has always contained difficult themes, and often expresses frustration with systemic violence or even her own interpersonal relationships. Earlier in the week, she had posted on social media about her decision to postpone an upcoming Boston tour date until they could “book it in a venue everyone feels safe in.” She also stated, “My [number one] priority as a touring musician is to create a safe space for my community to rage, emote, dance […] and have fun…” Throughout her set, Sasami repeated her mantra of wanting to use music to create a safe space for minority and disenfranchised peoples, leading to loud cheers each time she reaffirmed her intentions.

Sasami at Music Hall of Williamsburg, Photograph by David Reichmann

Sasami’s North American tour continues, and you can listen to Sasami’s 2022 album Squeeze here and view upcoming tour dates here. Listen to Zulu’s music here.

Sasami and Zulu at Music Hall of Williamsburg, Photography by David Reichmann

March 31, 2022
In Focus: M. Ward Live at Levon Helm Studios

M. Ward graced Levon Helm Studios with his presence this past Sunday, March 27. The singer-songwriter, and fans alike, waited two years for this Woodstock show, and the wait only made the night more special. For folks who have seen a show at Levon Helm Studios, you know just how incredible the venue’s acoustics are, and M. Ward played the barn’s walls like they were instruments. He opened the show and silenced the crowd without speaking a word.

Ward began with ‘Duet For Guitars #3.’ This started the night off perfectly by showcasing some of Ward’s most intricately dynamic guitar playing. His pinch harmonics resonated beautifully throughout the studio, and his individual style of strumming filled the room with chords that sounded too full to have been made by a single guitar. The crowd erupted after the song ended and they had their first glimpse into what was in store for them.

Ward then rolled into one of his most popular songs with ‘Chinese Translation,’ which allowed his voice to take center stage and play with Levon Helm Studios’ walls. You can take a listen to M. Ward’s 2011 performance of the song that he did for Kink FM in the video below. This clip is a great representation of just how smooth Ward is, both in his guitar playing and in his singing. At times during the show on Sunday, Ward would step away from his mic entirely and allowed his voice to carry itself throughout Levon Helm Studios. There are few venues, if any, that can compare to the sonic experience in this setting with a musician as skilled as M. Ward.

M. Ward played his first of two covers for the night with his rendition of Buddy Holly’s ‘Rave On.’ He slowed things down in the best way possible, and truly made the song his own, almost unrecognizable from the original. Ward’s second cover was one that caused an interesting response from the crowd. The lyrics to Daniel Johnston’s ‘Story of an Artist’ come off as humorous to some when sung in such a new tone. The song was featured on his 1983 album Hi How Are You, and its lyrics explore Johnston’s lack of support and belief in his art from his family. It is truly a sad, sad song, but what brought out the laughter seemed to be the juxtaposition of Ward captivating the crowd with his musical abilities while singing lyrics about a family telling their son that the world will never like his songs. The two observations clash, but the effect is powerful as the laughing fans soon saw and felt the seriousness of Ward’s voice.

The show’s pace picked up for the final few songs as Bat Fangs came out to accompany Ward. The group rocked the barn after an intimate set of songs, and left the Woodstock crowd on cheering on their feet for a few minutes. The crowd cheered until Ward and Betsy of Bat Fangs returned to the stage, and started the encore like the show began, with a song off Ward’s 2003 album Transfiguration of Vincent: ‘Helicopter.’ The duo would go on to end the night by fielding crowd suggestions, and settled on ‘Poison Cup,’ which managed to bring one fan to tears even.

M. Ward just finished up the last of his American tour dates until June, and will be flying across the pond to play three weeks of shows in Europe. When Ward returns to the U.S. he will be playing four shows in Texas before heading back overseas to tour the UK. If you have travel plans, be sure to check out M. Ward’s website. For future shows at Levon Helm Studios, check out their events page.

Setlist (partial): Duet For Guitars #3, Chinese Translation, Fuel for Fire, Rave On (Buddy Holly), Vincent O’Brien, Here Comes the Sun Again, Story of an Artist (Daniel Johnston), Never Had Nobody Like You, To Go Home

Encore: Helicopter, Poison Cup

March 30, 2022
Honeysuckle and Tough Old Bird: A Night of Folk Duos at the Club at Water Street

The position of the Earth relative to the Sun indicated it was Spring in the Northern Hemisphere. But unsurprisingly in Rochester, Winter was hanging on for one last (we hope) gasp before ceding the floor. On an absolutely frigid and snowy late March Sunday, a duo of duos, Honeysuckle from New York via Boston, and Tough Old Bird from nearby Buffalo, shared the stage at the Club at Water Street for an intimate evening of folk music.

Honeysuckle, Holly McGarry on guitar and vocals, and Chris Bloniarz on mandolin and vocals, were closing out the first week of their first tour since the big live music pause. They released a new album in 2021 but when they were ready to tour behind it COVID reared its ugly head once again. So, they were promoting their “new” year-old album finally, though their set covered the breadth of their full catalog.

McGarry, donned in a flowery dress more fit for the season than the actual weather, tethered the duo to a more traditional folk anchor. Her beautiful singing brought life to reflective, darkened material, floating along her strummed and picked acoustic guitar work. Bloniarz contrasted that with mandolin playing that veered into jamgrass territory, weaving interesting and exhilarating threads in, out, over and through McGarry’s songs. He filtered his instrument through a large bank of pedals, though it never lost it’s mandolin-ity. He set up an occasional loop to increase the duo’s reach, a grooving bass-line or nice vamp to solo over for a few bars.

Their songs often looked into the past. “Shadow Dance” was inspired by an episode of the British show “Repair Shop,” which McGarry binged over the pandemic, in which an old violin was meticulously restored. The tune had an appropriately timeless quality. “Two Stone Birds,” about a stressful trip transporting delicate family heirlooms cross country on a small airplane, was fittingly jaunty and folksily funky. A cautionary tale about exploring your genealogy, “To the Grave” teetered between bright and dark. A rarely played “Crossbow” emerged from obscurity to fulfill a birthday request (as if having the band sing you “Happy Birthday” isn’t enough of a gift!), and proved to be one of the set’s highlights.

Tough Old Bird, brothers Matthew and Nathan Corrigan, opened the show with a set of their gorgeous folk duets. Matthew handled most of the vocal duties while Nathan took care of most of the flashier guitar work. But there was no exclusivity to this setup, these are brothers that know how to share. They are also brothers who knew how to harmonize, like only kin can, beautifully singing about both winter and spring, even if neither or both were appropriate, and songs inspired by their home’s proximity to the Great Lakes. The duo filled out and diversified their sound; Matthew with deft harmonica playing and Nathan switching it up with a banjo and electric guitar, all the while banging out rhythms on a foot tambourine.

Water Street served up a double shot of double folk that warmed the chilled audience up like a double shot of whiskey, from the inside out.

Honeysuckle Setlist: Miss You, Gaslight, Untouchable, Shadow Dance, Two Stone Birds, Little Less Alone, It’s Getting Late, Something Worth Having, Windstorm, Greenline, Firestarter, To the Grave, Darkness Knows, Crossbow, Deep Blue Eyes, Canary

March 30, 2022