Category: Show Reviews

  • Priya Ragu, Dan Croll, Anaiis, Obii and Great Calling show the UK’s Talent at Pop-up Shows across Manhattan

    In an effort to expose up-and-coming UK artists to American audiences, GREAT Campaign partnered with SoFar Sounds for the week of March 21, 2022 to put on numerous performances across New York City featuring some of the biggest names on the rise.

    In an interesting way to gain access to the show, one had to pick up a ringing telephone within a classic English-looking telephone booth (many of which were spread across Manhattan). The phone would relay a message detailing the shows for the week and their locations.

    Priya Ragu Dan Croll
    Priya Ragu at Great Jones Distillery Co.

    The purpose for this campaign was due to the UK still considered underrated, in terms of being a cultural musical hotspot. Massive current artists, like Harry Styles, Dua Lipa, and Ed Sheeran all hail from the UK, showing its constant relevance in the global music scene. There are many artists in the UK that are starting to rise and are nearly about to break into the mainstream American industry.

    become incredibly popular in the past year, with the prestigious BBC Sound of Music giving her a nomination in 2021 and Vogue India listing her as one of the 6 artists that are going to blow up in 2021. On the other hand, Dan Croll (hailing from Liverpool) graduated from the Paul McCartney-founded Liverpool Institute for Performing Arts and has been on the scene since 2011. Both of them put on an intimate show for an adoring crowd, wowing them with Dan Croll’s indie-pop crooning and Priya Ragu’s energetic pop performance.

    Priya Ragu Dan Croll
    Dan Croll at Great Jones Distilling Co.

    Many of performances occurred that week, ranging from Penelope Isles to Rose Betts. All of which showcased these rising stars and their immense talents.

    Riya Ragu at Great Jones Distilling Co.

    Some of the UK’s most talented singers Anaiis and Obii showed their skills in a Red Hook ice cream factory on Friday, March 25. As you walk in the door behind the ice cream shop counter, you go into a room with views of the factory through the window. The room was full of music enthusiasts and people there for a good time. The artists held a captivating show and kept the audience involved throughout the duration of it. This showcase exemplified the powerful voices that come from the UK and gave an idea of the future of UK artists and their abilities.

    Great Calling – The National Arts Club – March 29 (review and photos by Michael Dinger)

    The last of four shows performed at iconic spaces in Manhattan and Brooklyn over the past week, the Great Campaign’s final act took place at The National Arts Club at Gramercy Park this past Tuesday night. A collaboration with SoFar Sounds, these intimate gatherings have showcased homegrown artists from Great Britain that are all on the verge of stardom. The featured musicians of tonight’s festivities included Rose Betts (singer/songwriter), Geo Jordan (multi-instrumentalist/producer/writer) and Hamzaa (R&B singer/songwriter). If witnessing the talent of these young musicians was not enough, guests were also immersed in the expressive, wondrous paintings of the contemporary Cuban artist Carlos Quintana, which hung from the walls throughout the performance space. His exhibition, PHySIKA, is on view until April 8th.

    Rose Betts, originally from London, was the evening’s first performer. After being introduced by Adam (the night’s emcee) as having “a voice that melts like butter,” Betts sat down before a Steinway for the first of five songs, while accompanied by Emmanuel Ventura-Cruess on an upright bass. Featuring songs from her newly released debut album, White Orchids (RAB Records), Betts introduced “Foolish” as “one of the few songs [she’s] written about love.” The songstress concluded her opening set with “Think Of You” and “Recovery,” a tune that Betts exclaimed to the audience was “the first song where [she] allowed [herself] to be vulnerable.”

    After a brief intermission, Geo Jordan was the second British artist of the night to entertain the intimate crowd of approximately 100 souls in attendance. While on guitar, Jordan opened the set with “Let Go,” taken from the 5-song EP Technicolour (August 2021). This EP was self-produced by Jordan, a Trans artist who uses his music to explore topics such as identity and acceptance. Moving over to the piano for “The Colour Of You” (the title track from his 2017 EP), Jordan revealed, “I never know quite what to do with applause, thank you.” With a guitar back in his hands, Jordan went on to perform what can best be described as progressive soul pop tracks such as “Forever,” taken from the EP titled The Colour Of You (2017) and “Irreplaceable,” from the album Remember Me Pt. 1 [MD1] (2019).

    The final act of the night was Hamzaa, a soul artist from Hackney (East London) who has been writing her own songs before she was even a teenager. Accompanied by Jeffandy AllTogether (guitar) and Chad Selph (keys), the first of her 6-song set was “Unlucky,” taken from Phases EP (2019). After bringing back Emmanuel Ventura-Crues for a guest appearance on bass, the highlight of the night was still to come. Hamzaa’s blissful closing number titled “Sunday Morning,” also from Phases EP, captured the cheerful mood of the event, with the audience singing the chorus in unison – “You make me feel like it’s a Sunday morning” . . . even on a Tuesday night.

    You can learn more about GREAT Campaign and SoFar Sounds here.

  • Luscious Dissonance with Thollem, Cline, Wimberly & Bisio at Lace Mill

    For six years, acclaimed bassist Michael Bisio and his artist wife Dawn have been bringing some of the jazz world’s finest to Lace Mill, the 55-unit affordable artist housing, gallery and performance space in Kingston that is also their home.  On Thursday, March 24, the Bisios presented yet another astounding hour of improvisational invention in their long-running performance series, when the bassist was joined by guitar great Nels Cline, pianist Thollem and drummer Michael Wimberly.

    lace mill

    Bisio has been called “a poet, a wonder and one of the most virtuosic and imaginative performers” on the double bass. He has over a one hundred thirty recordings in his discography, more than two dozen as leader or co-leader as well, as a dozen more documenting his extraordinary association with piano icon Matthew Shipp. His newest release which dropped a few days back, MBefore (Tao Forms), is an already critically-raved about work that finds Bisio in the company of another Hudson Valley great, world-renowned vibraphonist and Creative Music Studio founder Karl Berger, along with Mat Maneri (viola) and Whit Dickey (drums). Guitarist Nels Cline has been featured on over 200 recordings over the past few decades in every conceivable genre.  But Cline is best known for his 17-years and counting stint as lead guitarist for Wilco.  Drummer Wimberly has propelled greats like Charles Gayle, Henry Rollins, David Murray and Steve Coleman’s always excellent 5 Elements ensemble, while the perpetually globe-trotting Thollem has recently completed a 25-album cycle, one that found him collaborating with over 70 musicians worldwide.

    The 40 or so attendees who packed the small performance space at Lace Mill included quite a few of Bisio’s fellow musicians and collaborators including the aforementioned Berger and Juma Sultan, the forever young percussionist best known for his appearance with Jimi Hendrix at Woodstock

    Bisio and company collectively conjured two, 30-minute improvisations during the concert. These were really ever-evolving examples of spontaneous composition, ones that demonstrated both their individual instrumental mastery and the resources in seemingly shortest supply among musicians – the arts of listening and injecting silence to give oxygen to the music.

    The first improvisation kicked-off with Bisio moving from resonant chording to drone-like bowing, then to rubbing the strings behind the bridge and even punching his double bass.  Pianist Thollem alternated between machine gun runs a la Cecil Taylor and tapping, plucking and even drumming the insides of his instrument.  A master of stomp box f*ckery, Cline kept a clean and relatively untreated sound on both improvisations, crafting new harmonic avenues for exploration with his spare but richly intelligent chord structures and his darting leads.  It was a place where subtlety and cacophony co-existed, all within an arresting, ever-spiraling musical architecture, one that seemed to evolve into whole new nations of sound every four or five minutes.  The piece concluded with a thundering solo by drummer Wimberly, who used sticks, brushes, mallets and his bare hands to wrestle unique sounds from the world’s oldest instrument.

    The second improv commenced with Thollem singing and whistling into his piano. He was soon joined on the vocalese by drummer Wimberly, who together created a sound resembling the chanting of monks, a Cambodian temple music of sorts. Cline added to the drama by getting percussive on his Fender Jazzmaster guitar, now outfitted with two sticks to mute its strings.  The whistle of a passing freight train on the tracks adjacent to Lace Mill only added to the otherworldly ambience. In this latter musical adventure, Bisio took a masterful 5-minute solo. It concluded with his bowed bass generating high-pitched overtones that sounded like a Shehnai, a double-reeded Indian wind instrument heard on tracks like The Beatles’ “Inner Light,” or a flock of seagulls caught up in a typhoon!  There was a wonderful guitar solo from Cline propelled by Thollem’s thunderous chordal comps and Wimberly’s circular drum rolls and shouts.

    Bottomline? Dissonance never sounded so luscious!

    Bisio will be back at Lace Mill on Sunday, April 10 at 4 pm for a performance with the quartet featured on his new release, MBefore (featuring wonderful cover art by his wife Dawn).  Hudson Valley guitar aficionados can catch Nels Cline on Saturday, April 2 at 8 pm at Colony Woodstock. 

    Bisio, Berger, Sultan and many more of the Hudson Valley’s most creative jazz and electronic improvisers are being featured at a new concert series at the Kingston Library curated by another Lace Mill resident, Daniel Rhiner of the Kingston Artist Collective.   More excellent improvisational ensembles are being presented regularly, both live and via concurrent livestreams curated by owner D.b. Schnell at Green Kill, his long-running art and performance space at 229 Greenkill Avenue in Kingston.  

  • Nick Cave & Warren Ellis bring their Carnage tour to Kings Theatre

    Nearing the end of a 17-date tour, Nick Cave and his longtime collaborator Warren Ellis perfectly executed a second straight sold-out show in Brooklyn this past Friday evening. Following the culmination of a successful United Kingdom and European tour last fall, the duo kicked off the current leg of their North American excursion on March 1 in North Carolina, in support of Carnage, a hauntingly-poignant album they recorded together during the COVID-19 lockdown last year. The pair of Aussie friends have been working together since 1993, when Ellis (also known as a founding member of the instrumental rock trio the Dirty Three) played violin on Let Love In, the eighth studio album from Nick Cave and the Bad Seeds.

    Nick Cave

    With approximately one hour to go before showtime, excited concertgoers were spotted congregating on nearby sidewalks or hastily exiting their Uber ride near the grand marquee in lights. After patrons filed past the security check points and into the inviting confines of the theater, many grabbed a drink, joined a waiting friend or checked out the merch table. Others snapped a cellphone picture of the historic venue’s centerpiece, the console of a “Wonder Morton” pipe organ, one of four other magnificent organs installed in the original Loew’s New York City movie theaters.

    Warren Ellis

    At 8:20 pm sharp, Warren Ellis, a trio of backup singers (Janet Ramus, Wendi Rose and T. Jae Cole) and a touring musician who would play keyboards, bass and drums throughout the night, took to the stage. The eternally-suave Nick Cave followed closely behind, dressed in a sharp blue suit with a white shirt and a marvelous slick of black hair. With Ellis seated, his signature gray beard resembling that of a medieval knight and wearing a shirt unbuttoned nearly to his navel, he began to play the small synthesizer perched on his lap. After a long wave to the packed house, Cave grabbed the microphone from its stand and immediately got down to business.

    Kings Theatre

    For nearly the next two and half hours, Cave and Ellis would thrill the audience with offerings from the aforementioned Carnage, 2019’s Ghosteen and plenty of classic tracks spanning the entire Bad Seeds catalog. With nearly every soul now on their feet, the first offering of the night was “Spinning Song,” a song about Elvis Presley and his iconic status in popular culture.

    Nick Cave

    Halfway through the 16-song opening set, one of several comedic moments from the night occurred during Cave’s introduction of “Cosmic Dancer,” a cover by T. Rex, legendary British musicians who formed in 1967. With Ellis now changing his keyboards for a violin, Cave alerted his fans. “Alright, fucking strap into your seats. Warren is going to do a violin solo. You think that things are going to be the same afterwards, but they will not be. Your lives will be different. You will tell your children that you were there when Warren performed [his] solo.”

    Warren Ellis

    Once the laughter subsided, “Hand Of God” (Carnage, 2021) was delivered by Cave with the emotional intensity you can always expect to witness during one of his shows. Furiously pacing the stage to the driving beat, Cave did halt on a few occasions to reach out and clutch the hands of adoring fans, all the while repeating the high-pitch title line . . . “Hand of God! Hand of God! Hand of God.” Closing out the masterfully-crafted set was “Balcony Man,” another brilliant track from last year’s Carnage. Seated at his piano once again, Cave instructed the upper balcony to cheer every time the word ‘balcony’ was spoken, and emphatically cheer they did.

    The first encore was comprised of two songs, “Hollywood” from Ghosteen, followed by “Henry Lee,” released on the Bad Seeds ninth studio album (Murder Ballads, 1996). It was during the early refrain of the second song when Janet Ramus, a British soul singer, innocently mixed up the lyrics. During the tune’s restart, Cave playfully exclaimed, “You can’t fuck this one up [again].” After the song’s conclusion, Cave graciously re-introduced his bandmates before they all exited the stage for a second time. The exultant crowd cheered non-stop for several minutes until Cave, Ellis and company finally reappeared.

    Nick Cave

    The exquisite hymn about loss and sorrow, “Into Your Arms,” opened the second encore. Following this fan favorite from The Boatman’s Call (1997) was a song requested by an audience member that had not been played by the Bad Seeds, according to Cave, “in a very long time.” Before launching into the melody, “Jubilee Street” from 2013’s Push The Sky Away, Cave remarked, “If we fuck it up, it’s on you dude.” The night’s penultimate offering was “Girl In Amber” (Skeleton Tree, 2016), a moving song written by Cave for Anita Lane, a founding member of the Bad Seeds. The night’s last offering, “Ghosteen Speaks” (Ghosteen), a song about the spirit of love and its existence, fittingly captured the overall theme of the night.

    The Carnage tour wraps in Montreal, Canada with a pair of early April dates at the Place des Arts. If you were unable to catch a live show on their current tour, or just cannot get enough of Cave and Ellis, the global release event of This Much I Know To Be True is set for May 11, 2022. This feature film captures the exceptional creative partnership of both Australian natives as they brought to life the songs that would appear on the albums Ghosteen and Carnage. Additional details can be found here: https://www.thismuchiknowtobetrue.com.

    Kings Theatre

    Setlist: Spinning Song > Bright Horses > Night Raid > Carnage > White Elephant > Ghosteen > Lavender Fields > Waiting for You > I Need You > Cosmic Dancer > God Is In The House > Hand of God > Shattered Ground > Galleon Ship > Leviathan > Balcony Man >
    Encore 1: Hollywood > Henry Lee >
    Encore 2: Into My Arms > Jubilee Street > Girl In Amber > Ghosteen Speaks

  • Grateful Dead Continue To Build Knickerbocker Arena Legacy: March 28, 1993

    Knickerbocker Arena will always be one of those venues with a special place in Grateful Dead lore. The band played the downtown Albany arena thirteen times in their career which included three three-night runs at “The Knick.” Today, we look back at the middle show of the last three-night run there in 1993. It may not reach the heights of the band’s initial heralded run here in 1990 which helped provide material for their Dozin’ At The Knick album, but it sees the Dead at a time when they’re clearly comfortable in their own skin with this last incarnation of the band. The show provides a solid blend of Grateful Dead fan favorites, a pair of Dylan covers, and some newer original songs that were only played a smattering of times in this late era for the band.

    The show begins with a tune that was starting to entrench its spot as a show opener in this last phase of live Dead, “Mississippi Half-Step Uptown Toodleoo.” Jerry Garcia sounds engaged right from the get-go and drops an immaculate guitar fill early on in the proceedings. The band takes their time dragging out the composed portion of the opener before Garcia lays down another heavenly solo. After a courtesy nod of gratitude from the Knick crowd, the opening licks to “Walkin’ Blues” ring out loud and true and fellow guitarist Bob Weir takes control for the next number. He leads the way through a cover of the American blues classic before they resort back to one of their sentimental originals in “So Many Roads,” replete with another feathery Garcia solo that serves as the bridge before a somewhat “Knockin’ On Heaven’s Door”-esque ending.

    The Dead make the following cover selection more than clear with a joyous romp through Bob Dylan’s “When I Paint My Masterpiece” that has both guitarists wailing on vocals by song’s end. Things then slow down again somewhat with the “High Times” that comes next. This Grateful Dead classic serves up a classic blend of bluesy Garcia solos that merely matches vocals of the same tenor. This sets the stage for yet another late-era Dead regular that never seemed to take off, “Eternity,” co-crafted by Weir and his fellow Ratdog bandmate Rob Wasserman.

    A slow transition into “Deal” then follows, with bassist Phil Lesh pushing the tempo early and often before a jam that reaches near hysterical proportions closes out the first set earnestly. The second one begins with the familiar tones of “Scarlet Begonias” as the Knick crowd gets brought back to life with this vintage Dead number. This triggers a brief but blissful jam, with Garcia’s tricked out guitar creating the effects of a veritable flute solo, that serves as the springboard into a raging “Fire On The Mountain.”

    After a somewhat abrupt ending to “Fire,” the drum-fueled intro to “Samson and Delilah” emerges. Some vintage bass bombs from Lesh are peppered throughout on a frenzied take on this live show staple. Another old standby in “Ship Of Fools” then follows, graced with a typical breathtaking solo from Garcia, before the Dead break out “Wave To The Wind,” a song co-written by Lesh and longtime band lyricist Robert Hunter that was played only a handful of times in 1992 and ’93.

    A post-song segue into “Truckin’” gets a little murky but the band soon finds their footing and treats the Knickerbocker Arena crowd to another classic Dead sing-along number. It sees some strong piano fills thrown in from Vince Welnick that help fuel a brief but explosive jam that sets the table for the traditional “Drums” > “Space” portion of the evening.

    Dead Knickerbocker

    From the psychedelic mist emerges another song synonymous with ’90s-era Dead, “Long Way To Go Home” with an energized Welnick taking charge and leading the way on vocals. The tone then shifts from new school to old school in a hurry as the band dusts off “Attics Of My Life.” It ends a 41-show gap from its last performance, which just happened to be here at The Knick last June. The set then comes to a rousing finish with a “Turn On Your Lovelight” that sees Bob Weir doling out the signature bluesy vocals and Garcia once more digging into his bag of tricks and emitting joyous trumpet-sounding guitar fills on the closer. The second and final Dylan cover of the night then serves as the encore as the show ends with a beautifully somber take of “Knockin’ On Heaven’s Door.” The Grateful Dead would return to Knickerbocker Arena the next day to close out this run and, two years later, they would play their final shows at this heralded venue.

    Check out video of the entire show here and below thanks to YouTube.

    View This And More Grateful Dead Shows From Across The Years In New York State With Our Interactive Map Below

    Grateful Dead Knickerbocker Arena – Albany, NY 3/28/93

    Set 1: Mississippi Half-Step Uptown Toodeloo, Walkin’ Blues, So Many Roads, When I Paint My Masterpiece, High Time, Eternity, Deal

    Set 2: Scarlet Begonias > Fire On The Mountain, Samson And Delilah, Ship Of Fools, Wave To The Wind > Truckin’ > Drums > Space > Way To Go Home, Attics Of My Life > Turn On Your Lovelight

    E: Knockin’ On Heaven’s Door

  • In Focus: Eastbound Jesus, Glass Pony, and Wreckloose Celebrate Guthrie Bell Productions

    On Friday, March 24th, fans gathered at the Cohoes Music Hall to celebrate one of our all-time favorite promoters, Greg Bell from Guthrie Bell Productions with music from Eastbound Jesus, Glass Pony, and Wreckloose. Greg has been bringing live music to the lucky residents of the 518 for the past 30 years and counting. Friday night’s event was the first in a series of four shows put together to celebrate Greg’s legacy.

    Eastbound Jesus, Glass Pony, Wreckloose

    Not one to break tradition, for Friday night’s show, we all got some extra-special treats thanks to Greg Bell including seeing one band that doesn’t really play together anymore. Wreckloose dusted off their equipment and it was impossible to tell they haven’t been playing together constantly over the years.

    High Energy & Hyped Up

    Glass Pony and EastBound Jesus wrapped up the evening. Glass Pony is hands down one of the most energetic jam bands I have ever seen perform live. What an absolute blast. And I had heard about Eastbound Jesus for years before I finally got to see them on Friday night — it was well worth the wait. This inexhaustible band played for an impressive two hours.

    More to Come from Guthrie Bell Productions

    If you missed this incredible show, don’t despair — there are more to come. Guthrie Bell productions has shows scheduled for the next three weekends starting with The Sharks w/ Johnny Rabb & The Jailhouse Rockers on April 9th.

  • Mdou Moctar Brings Saharan Guitar Smoke Show to Colony Woodstock

    In 2017, the Washington Post published a story entitled “The Death of the Electric Guitar.” But you wouldn’t know it from the sell-out crowd that packed Colony Woodstock this past Monday night, March 21, for a masterclass in six-string sorcery by the acclaimed Nigerian guitarist/singer Mdou Moctar.

    For those not in the know, Moctar has been turning heads with his unique brand of African blues/psych rock since his 2008 debut disc, Anar. This astounding collection achieved popularity not via a savvy record company marketing blitz, but when it went viral over African cellphone music trading networks and when two of its tunes were included on the globally-distributed compilation, Music from Saharan Cellphones: Volume 1 (Sahel Sounds).  Moctar is the latest exponent of Tuareg Guitar Music, also known as Desert Blues, a fusion of rock, blues, psychedelia and ethno modal music popularized by tribal musicians in the Saharan region, particularly Mali, Libya, Algeria, Burkina Faso and Niger.  He is furthering a sound that first gained global popularity via the critically-acclaimed works of Ali Farka Toure and Tinariwen.

    Moctar is concluding a 25-concert North American tour in support of his sixth album, 2021’s Afrique Victime (Matador Records). This fiery collection has garnered rave reviews from the likes of NPR Music, Rolling Stone, Paste, Pitchfork and many more. Matador has just dropped an expanded edition with nine additional tracks, including a variety demos and live offerings, the setting where Moctar truly soars.

    Moctar’s set at Colony Woodstock was heavily weighted with tracks from his new album.  The show commenced with the album opener and its most streamed tune, “Chismiten.” Like many of the songs performed, this kicked off with some unaccompanied guitar, before the band joined in to propel Moctar’s vocals and lengthy solos with pulsing and very hypnotic beats.

    The signature of Moctar’s style is the switchblade bite emanating from his white Fender Stratocaster. Though he slings it lefty like Hendrix to whom he is frequently compared, his trebly tonality may be even more reminiscent of that of Telecaster-powered blues legend Albert “The Ice Man” Collins or the Lebanese born, modal-minded pioneer of surf guitar, Dick Dale – both inspirations to Jimi. Mdou Moctar also brings to my mind the great Black Rock Coalition associated guitarist Jean-Paul Bourelly (for more guitar thrills, check out his incredible disc, Rock the Cathartic Spirit).  Moctar’s sound is heavily phased and overdriven via a modest array of stomp boxes and his retro Roland Jazz Chorus amp, something not seen much since Andy Summers’ days in The Police.

    Moctar’s melodic style mixes Eastern-sounding modal scales with the blues punched up with psych/rock scream.  There are plenty of slurs, trills, hammer-ons and pull-offs, single string climbs and even some tapping, in a percussive more so than melodic Van Halen style. The most unique visual aspect of his style may be his picking. This seems to be accomplished solely with his index finger, which plucks away at the strings like a mad chicken one moment, then becomes an indecipherable blur when he unleashes rapid-fire passages. 

    The hour-long set at Colony Woodstock was a Saharan shred-fest. Many of the tunes again began with Moctar solo and featured him improvising at length and repeatedly, greatly stretching out of the songs featured on his newest album to the delight of the audience.  His music would not be anywhere near as powerful without the support of his band.  Drummer Souleyman Ibrahim and guitarist Ahmoudou Madassane provided a powerful steady and unflagging rhythmic platform upon which Moctar soared.  Bassist Michael “Mikey” Coltun, who has also served as Moctar’s producer since 2017, laid down a rich bottom with his Fender bass, just like Billy Cox in Hendrix’s Band of Gypsies. Kudos to Colony’s Max Siegel for providing impeccable sound and to owners Neil and Alexia Howard and booker Mike Campbell for bringing this intriguing offering to this intimate space. 

    Mdou Moctar and band brought the evening to a close with an extended version of their new album’s title track, “Afrique Victime.”  The track showcased the band’s tight unison playing on melody and stop-time passages and its hypnotic impact, as the tune stretched towards the 10-minute mark, with the rhythm section underpinning Moctar’s most frenetic, noisy and adventurous soloing of the night.

    Photo Gallery by Rob Yasinsac

  • Carly Pearce Gives a Heartfelt Performance At The Egg

    After winning female artists of the year at the American Country Music Awards this past month, Carly Pearce headed to Albany to perform at The Egg to give a heartfelt and award-winning performance on Friday, March 18.

    Hannah Ellis opened up the show with her guitarist Kevin Monahan where they sang her first hit single “US” and a cover of The Band Perry’s fire starting song, “Better Dig Two” which got the crowd stopping their feet back to their southern roots while singing along. The set list consisted of nine songs with three being covers.

    Carly Pearce, left and Hannah Ellis, right

    The lights dimmed low while the fog began to emerge out onto the stage and just when Carly’s band finished setting up, she strutted onto the stage in her vibrant red outfit and glitter boots. Without hesitation she opened up her show with the first song off her current album 29: Written In Stone, “Diamondback.”

    The songs were uplifting everyone in their own way. As you looked around the venue you could see the hand on the heart swaying motion and the hand in the air emphasizing the heartbreaking words Carly sang that touched the individual. Heading into the fourth song on her 29 album she paused to explain to the crowd the meaning behind her album and how the order of the songs were intentional in order to tell the story of her life.

    Halfway through the show it was time for the track named after the album “29” and this was where the crowd began showing its vulnerability and intimacy. As Carly explained the meaning behind the song and how she came from a line of very strong women in her family, so she didn’t want to shy away from the truth and embarrassment she felt during the emotional year of her marriage. A women in the crowd made a cheers to all the women in the room prior to the start of the song and everyone followed her as well as Carly.

    There was an instant connection with this shows crowd and Carly Pearce. She brought two girls to the stage who held a sign up about their troubles and Carly didn’t let them go unnoticed or unheard as she talked to them on the stage about the struggles a lot of women face.

    As the last song of the show began to be strummed and the cords of “Every Little Thing” began, the crowd stood up and swayed along feeling every soft lyric Carly sang. All a sudden at the half way mark of the heartfelt song they stopped and switch the beat to “Hide The Wine” a song from her first album that led to the crowd to begin jumping up in down at their seats to the all too familiar girl power song.

    Waving goodbye to her fans as they stood and cheered for her, Carly left everyone with an adreanline rush. As the fans headed out of the venue the singing didn’t stop, a few women walked down the stairway singing the last song “Hide The Wine” lyrics and cheering.

  • Arcade Fire Play Surprise Residency at Bowery Ballroom

    Arcade Fire wrapped up an invigorating four-night residency at NYC’s, Bowery Ballroom, on Monday night. The shows come as the band is gearing up to release WE, their sixth studio LP and second from Columbia Records. After a one-off show at Toulouse Theatre in New Orleans on March 14th, Arcade Fire released the first single from the new album, Lightning I, II. The two-part song first features an anthemic ballad with singer Win Butler’s signature voice over soothing guitar and piano chords before picking up the pace into a classic Arcade Fire rock song. 

    arcade fire bowery ballroom
    Arcade Fire, Bowery Ballroom 3/20/22. Photo by David Reichmann

    On Friday, March 18th, Arcade Fire began the day by announcing a surprise show that night at Bowery Ballroom. Wristbands would be given out at the door on a first come, first served basis after making a “pay-what-you-can” donation to the Plus1 Ukraine Relief Fund. Fans flocked over to Delancey Street and within a couple of hours the show was sold-out. On Saturday morning the pattern was repeated for a second show at Bowery Ballroom; again selling out within a couple hours. 

    On Sunday, in anticipation of a third night (given the empty day on Bowery Ballroom’s calendar) well over 100 people wrapped around the corner waiting for wristbands. However, a mysterious sign appeared on the venue door and Arcade Fire posted an Instagram message saying that “No wristbands will be available at the door tonight. Keep an eye here for pickup locations.” With many fans having driven and flown into Manhattan, there was sudden confusion and furious speculation about potential pickup locations. The drama was fueled even further when the band posted an even more cryptic message on Twitter claiming “It’s a nice day to go to the park.” Suddenly, the geography of lower Manhattan and the path of least resistance to every park within several miles of Bowery Ballroom were being scouted.

    arcade fire bowery ballroom
    Photo on the entrance to Bowery Ballroom, Sunday March 20th.

    Fans had begun to scatter around the Lower East Side once it became apparent that waiting at Bowery Ballroom was useless. A few hours later, five locations throughout Manhattan and Brooklyn were revealed on social media: Washington Square Park, Central Park Northwest, McCarren Park, Maria Hernandez Park, and Ft. Greene Park. Hundreds of Arcade Fire fans suddenly hopped in cars, on bikes, the subway, or flat-out sprinted down the streets to get their wristbands. NYS Music contributor David Reichmann and two of his friends drove to Bushwick and ran full speed through Maria Hernandez Park, managing to get the very last three wristbands in that location, also the last location to sell out. All that after 3 hours of scouring Twitter, Instagram, and Reddit trying to find clues and positioning themselves in the best spot for the location announcements. 

    For fans who made it inside on Sunday night, there was a collective sense of relief and excitement. They had arrived against all odds and were going to see their favorite band play one of the most unique shows of their career in a very intimate room. On every night of the run, Arcade Fire played a career spanning set, including new songs and cult favorites. At one point on Sunday, Win jumped down into the audience with his guitar, expertly catching his microphone tossed from the stage by his bandmates and handed it to a fan to act as his mobile mic stand while he played and sang amongst the crowd. 

    Later in the evening, Win dedicated “The Suburbs” to his brother and now former band mate Will: “This is for my beautiful brother Will.” After not appearing with the band for the New Orleans show or the first two nights at Bowery Ballroom, Will officially announced his departure from Arcade Fire via his Twitter. For these shows, and presumably the upcoming tour, Will is being replaced by Wolf Parade’s Dan Boeckner. 

    arcade fire bowery ballroom
    Win Butler of Arcade Fire, Bowery Ballroom 3/20/22. Photo by David Reichmann

    On night one of the residency, fans heard classic Arcade Fire songs “Haiti,” “Sprawl II (Mountains Beyond Mountains),” and “Neighborhood #1 (Tunnels).” During the encore, the band played the new singles “Lightning I, II” followed by hit songs “Rebellion (Lies)” and “Wake Up.” Night two featured many of the same classics in a different order with the addition of the title track from their previous LP, “Everything Now.” Night three highlight was the first performance on this cycle of the raging Funeral rager “Neighborhood #3 (Power Out). 

    On the final night, NYS Music contributor Joseph Buscarello managed to get inside. That night, already spoiled fans were treated to a special setlist. The main set contained the same mix of classics from the previous nights. After a short break, Mike Meyers made a surprise appearance onstage for a speech. After some comedic banter with the audience, the message took on a more serious tone as Meyers addressed the war in Ukraine. Reminiscing about his parents who “fought the fascists in WWII,” Meyers implored the audience to embrace democratic governments that strive for the common good and fight against evil and oppression in the world. Doing so, he explained, is the first step towards repelling the evil the Russian government has brought into Europe today. 

    After a thunderous applause, the encore continued with a monstrous “Wake Up” sing-along followed by the live debut of upcoming WE single “Unconditional I (Lookout Kid).” Before playing the new song for the first time, Win asked the crowd not to record the performance to “preserve the surprise for everyone else.” The crowd obliged and we have not yet seen any clips of the performance online. 

    To close the show, Win introduced David Byrne onto the stage for the last song of the night. Byrne has performed with the band many times throughout their career, but the buzz in the room skyrocketed when he walked to center stage. Win surrendered the stage to the Talking Heads frontman and joined the marching band on the main floor while Bowery staff began tossing dozens of small tambourines and maracas into the crowd. Armed with voices and instruments of peace, 500 sweaty people turned into a single band for a grand rendition of The Plastic Ono Band anthem “Give Peace A Chance.” Byrne did the scatting and we all sang the chorus over and over for a seemingly endless amount of time. Finally, just as the band did on the first night, the show ended with a musical procession out to the sidewalk and down into the Bowery subway station platform. Photos of the subway performance from night one are below from friend of NYS Music Will Oliver.

    As of now, the band is idle with nothing officially on the radar. These four shows were a truly unique experience and NYS Music was so fortunate to be able to attend two of the nights. Arcade Fire will sell out dozens of arenas later this year, and while those shows will be spectacles, the intimate energy and passion on display inside Bowery Ballroom will not be matched. Fans who scoured Manhattan and Brooklyn for wristbands saw once-in-a-lifetime performances from one of the most successful indie rock bands of the last 20 years. Keep your eyes focused on the band’s social media as they gear up for this new album cycle. Check out the gallery below for more photos from night three from David Reichmann.

  • In Focus: Railroad Earth Makes a Stop at The Egg

    Railroad Earth’s 2022 tour just made a stop in Albany this past Friday, March 18. This was the their first show at The Egg since 2019, and the Capital District crowd showed just how much they missed Railroad Earth the last two years. The folk-centric jam band put on a dynamic show filled with rowdy choruses, dueling solos, and an atmosphere that felt almost like a celebration. The Egg audience was on its feet from the start of the show as folks were in great spirits. When Railroad Earth took the stage, everyone was immediately put in the mood to dance and move around out of their seats.

    Among the high energy peaks, the show was also filled with spacious moments that bordered on serene. Fans enjoyed these calm moments by slowing down with the band as they got lost in the music, creating an ambience that allowed the colorful light show to shine. Fans could breath while appreciating the full experience being created before them, before being pulled right back to their feet to continue dancing along to the very next song. And so the show flowed along like this for an hour and a half, with everyone in The Egg seeming to have been transported somewhere far away from Albany.

    Railroad Earth have been working in the studio as well, and recently released a brand new single titled “Come and Go Moon.” Back in January, they released another single titled “Runnin’ Wild,” which was their first newly recorded track since “It’s So Good” was released back in 2019. Two new songs in 2022… One could wonder if there may be a new album on the horizon for Railroad Earth. All we can d is wait and see though, so sense speculating. In the meantime, you should listen to what Railroad Earth has been up to in the YouTube video for their new single below.

    If you missed your chance to see Railroad Earth at The Egg, then be sure to check out the bands upcoming tour dates as they travel down the east coast through the end of March. After a few weeks off, the band will be hopping all over the country throughout the summer. To see all of Railroad Earth’s upcoming tour dates, visit railroad.earth/tour.

  • Still Freaky: Korn Conquers the Capital Region

    Capital Region concert goers were emphatically “ready” Sunday night, answering the question that started it all for enduring alt-metal icons Korn.  Turning out in droves to the newly anointed MVP Arena (formerly the Times Union Center), it had been several years since local Albany “freaks” had been able to see the Bakersfield, California metal mainstays in this type of setting. Fresh off the release of their 12th studio album Requiem, the pioneering titans silenced anyone who thought they may have gone soft, bludgeoning fans with a career-spanning selection of angsty anthems, radio hits, and OG favorites.  Still here, still volatile and still a draw, on this night Korn reminded everyone exactly why, at one point, they were considered the kings of the genre.

    Trading in the JNCO’s for black leather trench coats and hitting the road for 19 dates with fellow hard rockers Chevelle and Code Orange, the two-time Grammy award winning band have an ambitious spring lined up.  Comprised of vocalist Jonathan Davis, guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy” Arvizu, and drummer Ray Luzier, the sheer level of Korn’s reach over the years transcends accolades and platinum certifications. While it’s easy to make fun of their name and the nu-metal scene they largely helped bring to the masses, Korn has shown they are indeed ‘here to stay’ by continuing to push boundaries and finding ways to connect with a whole new generation. You see, in 2022 there is very little left for them to prove.  From conquering the ‘boy band’ craze of the late nineties to selling over 40 million albums, at their peak Korn was arguably the biggest band in the world.  Many will remember their star-making TRL and SNL appearances, their Family Values Tours and their infamous headlining scorcher during the first night of Woodstock ’99, before Rome went up in flames.  These days, however, you can almost count the number of “heavy bands” who survived that era on one hand. A testament to their longevity, on this night in Albany plenty of people still wanted to see Korn throw down.

    They came dressed in black, some with tattoos and eye liner, some covered in body piercings, others with neon-colored hair and sexy go-go boots, and yes, a few “freaks” came swimming in their vintage wide-legged JNCO’s.  For the most part though, the fans who turned out were just your typical metalheads; the burly, bearded, beer-drinking guy-next-door type who likely has been “following the leader” for close to thirty years. After solid opening sets from Code Orange and Chevelle, it was finally time for what the Korn Kids came for.

    As the lights suddenly went black, a brooding piece of orchestral music began piping into the MVP Arena. After a few moments, a large curtain with Korn’s logo became visible on stage, backlit to reveal silhouettes of the band members taking their signature power-stance positions. As the anticipation reached a fever pitch, the veil suddenly pulled away and fell to the floor as Korn launched into “Forgotten,” the first track off their new album.  Fans instantly locked into it, erupting in unison while pumping their fists to the songs heavy chugging riff. The band looking fresh and already feeding off the Albany energy, also bouncing to the groove in perfect syncopation, dreadlocks flying in all directions, bent over at the waists as their instruments  practically touch the stage; the thunderous and steady hands of drummer Ray Luzier’s anchoring it all down from his massive kit high above the stage.  Off to the races, Korn quickly followed that up with one of their biggest radio hits in “Got the Life” allowing fans to “get their boogie on” and show off their voices to the song’s sing-along chorus.

    The thick and sludgy hit single “Here to Stay” came next, followed by a new and relatively untested song off their latest album called “Start the Healing.”   Front man Jonathan Davis, who admits he feels most at home when he’s hurting, was in fine form here. Sounding as good as he ever has and just as tormented. His unique, guttural, throaty screams filling the arena as he stalked back and forth across the stage like a starving lion that’s just been unleashed.  Closing his eyes and clutching onto The Bitch (his custom made H.R. Giger microphone stand), when watching Davis exercise his demons live, there is no denying his sincerity.  The unimaginable pain of his past is obviously still there and is still fueling an unbridled rage. Speculation of abuse aside, whatever happened to Mr. Davis in his younger years clearly had a lifelong impact. The type of torment very few overcome and very few can ever truly understand.

    Celebrating the twentieth anniversary of their Untouchables album, Korn would dust off a bit a rarity in the form of “No One’s There.” Davis would then pull out the bagpipes for the iconic intro of 1994’s demented nursery rhyme smash “Shoots of Ladders,” at one point even working in a tease of Metallica’s “One” before returning to its usual structure.  Sensing an opportunity to slip in another new tune, Korn upped the heavy with “Lost in the Grandeur,” which saw Brian “Head” Welch really getting into it. If dreadlocks could tell a story, Head’s could write novels. Inches longer than the last time we saw him, the man has become something of an inspiration for fans battling the hopelessness of addiction.   After stunning the metal world in 2005 by quitting the band and finding faith, it would be years before fans discovered the reality of the situation.  After kicking a life-threatening drug addiction and learning to better manage severe bouts of depression, Welch would rejoin his brothers in the band in 2012.  Seeing him look healthy, happily headbanging and throwing souvenir guitar picks at fans, you couldn’t help but respect the guy.   Let’s admit it, Korn just isn’t Korn without the chemistry between Head and guitarist James “Munkey” Shafer and if imitation is the sincerest form of flattery, by now this dynamic dreadlocked duo of 7-string ax slingers could have their own monument.  The signature sound they fathered was on full display for the next two songs, a pair of radio hits in “Ya’ll Want a Single” and “Falling Away From Me.”

    There was a fun moment during “Coming Undone” when the band did a surprise segue into Queen’s classic arena rock anthem “We Will Rock You.” The  main portion of the set then concluded with perhaps Korn’s most well-known song “Freak on a Leash,” the breakdown giving bassist Reginald “Fieldy” Arvizu a prime opportunity in the spotlight to showcase his impressive musical chops, resulting in a raucous and sustained ovation from fans of all ages as the band exited the stage.

    After a few minutes of soaking in the cheers, Korn happily returned to play a few more.  First was a medley of sorts consisting of the opening track 1998’s Follow the Leader, ‘It’s On!’ mashed up with the songs ‘Trash’ and ‘Did My Time.’   From there, one of the most unique and unimitatable songs in Korn’s discography, the Davis-led snarling beat box style scat-rap of ‘Twist’ which flowed directly into a song that’s been on the shelf in recent years, ‘A.D.I.D.A.S.’ The kinkier side of the Capital Region showing itself during the adolescent acronym hit when the entire arena sang together “I don’t know your fuckin’ name, so what? Let’s fuck!” and then simultaneously shouting out that “all day [they] dream about sex.” A truly memorable and somewhat hilarious moment.  After an impressive, yet obligatory drum solo from Luzier, Korn thanked fans for all the years of support, promised they’d be back soon, and then sent the crowd home happy with the song that put them on the map, a celebratory rendition of “Blind,” complete with a cannon blast of confetti and party streamers and a massive applause from the Albany Korn Kids who still deeply appreciate and respect this band. 

    Like stepping back in time, this “freak show” felt like a nostalgic throwback to the glory days of the late 1990’s. Firing on all cylinders and going balls-to-the-wall the entire performance, Korn clearly still has “it” and are showing no signs of slowing down.  With their impressive and physically demanding stage presence, unmatched intensity, energy and rage, it was as if Korn found the fountain of youth on this evening in Albany.  Musical trends come and go, but this is still rock n’ roll and there will always be an audience hungry for this type of angry, defiant, and cathartic music.  On this memorable mid-March night, metal fans got exactly what they paid for.  

    Korn | March 20, 2022 | Albany, NY | MVP Arena

    Setlist: Forgotten, Got the Life, Here to Stay, Start the Healing, No One’s There, Shoots and Ladders, Lost in the Grandeur, Y’all Want a Single, Falling Away From Me, Worst Is on Its Way, Coming Undone Freak on a Leash

    Encore: It’s On / Trash / Did My Time, Twish, A.D.I.D.A.S., Drum Solo, Blind