Category: Show Reviews

“Doin’ Time” at Westcott with Sublime Tribute Band Badfish

Bradley Nowell’s spirit is ablaze in the Empire State as February heats up with live music across Central New York in the Big Orange. Original Sublime Bassist Eric Wilson and drummer Bud Gaugh carried Bradley’s spirit on stage at Del Lago Casino this past December. Rome Ramirez fills in the guitar and vocals. “Sublime with Rome” made their debut in 2009 at Cypress Hill’s smoke out festival in San Bernardino, California. And another musical seed from Bradley was planted in Badfish: A Tribute To Sublime that carries the Long Beach sound torch as well.

Perri Sage Photography

Badfish: A Tribute to Sublime came to Syracuse’s Westcott Theater on February 3 2022. Joel Hanks, Scott Begin, Pat Downs and Dorian Duffy pass Sublime’s sound nicely around the crowd. Come on down reggae style, wind up your body like a bass line wild, drink and dance and we can turn it out. Chicago’s Dorian Duffy channeled the west coast bass lines to the great lake region of Upstate. The crowd responded with live art sketches and dancing on both floors of the cinema. The Westcott now has a mini mezzanine, “524 VIP Lounge”, on the left stage.

Perri Sage Photography

The Badfish band brought Sublime’s 90’s Skunk Records art sound to the crowd. Playing “Badfish” off ‘Jah Won’t Pay the Bills. “Smoke Two Joints” with the Grateful Dead’s “Scarlet Begonias” off 1992’s 40 ounces to Freedom album. My “Ruca” was Down at the “Pawn Shop” on Westcott Street. April 29 (1992) Miami set a tribute for Spring off their 1996 self titled “Sublime” record. Herbie Manns’s “Summer Time” was channeled through the speakers for “Doin Time”. The living’s easy.

Perri Sage Photography

Artist Jon Phillips of Silverback music helped the band from Skunk Records do their self-titled “Sublime” album in 1996. Drummer, producer, and DJ Marshall Goodman mixed the original “Doin’ Time”. He merged reggae, punk, and hip hop together. Then blended the three together with the track. Jon Phillips tells a great story on Reggae TV on how the song made its way in to your hands. Phillips describes the piece as a pinnacle historical moment for music and the band.

It’s a Herbie Mann rendition of Summertime. The way he played it. Just a nice vibe and I drew from that.
DJ Marshall Goodman

Perri Sage Photography

It’s Gershwin’s Summertime instrumentally interpreted by Herbie Mann’s vinyl from a Village Vanguard sample by Marshall. He throws in a Beastie Boys sample, his break beat & flavor drums. Gives it to Brad. Brad writes this incredible lyrical and counterpart to it.
Jon Phillips

The Gershwin estate actually told the group that they wouldn’t be allowed to put “Doin Time” out. Phillips started the channels to not allow that and have this music see the light of day. Jon said “It’s worthy of it. To me It’s historical”

Perri Sage Photography

The Gershwin Estate happened to be in the same office building as the record label Phillips was working for. He figured he’d knock on the door and see what the connections for clearance could be. The person they introduced him to that would help release it was a familiar face Phillips used to ride the elevator with. The guy happened to be from Jon’s hometown in the Bay area and they had similar musical angles.

This is one of those pieces of music where it takes the history of what a great composer Gershwin did that they represented. It’s sort of a passing it on to Jazz, Hip-Hop, in to this California reggae music that was permeating through the pop and sub culture
Jon Phillips

Perri Sage Photoraphy

The Gershwin estate allowed the song in to your hands and boom box for play in the 90’s as result. The Gershwin’s just didn’t understand the dark sublime twist to it to the classic piece.

Brad’s original lyric was Doin’ Time and the livings easy. The song is about how he relates to a relationship that hes in… is like a penitentiary. Its a love song. Its not this happy Summertime song.
Jon Phillips

Perri Sage Photography

The Gershwin’s most important request was that “Doin Time” be represented as “Summertime”. Miguel’s vocals get spliced in to the track to honor the joint creative. The Gershwin’s estate allowed their publishing to go down in the song’s epic history. Lake Placid’s Lana Del Ray has paid tribute to “Doin’ Time” as well with her take on the track.

Perri Sage Photography

Jon Phillips founded Silverback Music in 1998. He works with a lot of New Orleans artists like Tony Hall & Dumpstaphunk. Silverback’s creative vision continues to grow with in the spectrum of genre-bending improvisational rock, dub, reggae, psychedelic blues, punk rock, acoustic, soul, and funk. G Love told NYS Music that he was “to the moon” when Jon Phillips told him that B-Real of Cypress Hill would be featured on his track “Everyday People” collaboration with Slightly Stoopid. Jon Phillips told NYS Music “That Stoopid remix with him and B Real with the headhunters sample is ILL!”

@dorianduffy, @alienoperahouse, @CONFUSER, @romanoorange @johnnymctunes

It was a strange serendipitous coincidence it happened to be the case. I’d fight till the very end to see that song reach the masses and thank god it did. Its a really important piece of music in that respect.
Jon Phillips

Badfish: A Tribute To Sublime, Westcott Theater. Syracuse, NY

February 3rd 2022 Setlist:

Garden Grove, Bad Religion, Don’t Push, Smoke Two Joints, Ball N Chain, Scarlet Begonias, Wrong Way, Same in the End, Johnny Butt, DJ’s, Badfish, Lets Go Get Stoned, Jailhouse, Pawn Shop, Acoustic Stuff, Ruca, 40 oz to Freedom, April 29 1992 (Miami), Santeria, Doin’ Time

Encore: Date Rape, Get Ready, Caress Me Down, What I Got

Perri Sage Gallery:

February 10, 2022
moe and Friends Rock Roseland Ballroom for Tsunami Relief: February 10, 2005

Today marks the anniversary of the heralded moe. Tsunami Benefit show at Roseland Ballroom in New York City, which gathered a host of notable to musicians to raise money for a good cause. A terrible earthquake and a resulting tsunami devastated the area near Sumatra, Indonesia as the year 2004 came to a close. moe. decided to do what they do best in order to lend assistance and brought some friends along for the ride. Together with a matching donation from Dave Matthews, nearly $150,000 was raised for the relief cause. Those in attendance this evening certainly got their money’s worth with a show featuring some traditional moe. songs, a whole lot of covers, and a mesmerizing 35-minute jam that nearly brought the house down.

Bassist Rob Derhak greets the crowd at the start of the show and thanks them all for “supporting a great cause.” And then instantly, the familiar pre-“Rebubula” noodling ensues and moe. opens the Roseland show with one of their signature songs, setting a lively tone early. No special guests needed for this one. Those begin with John Medeski and violinist Sam Bush coming out for a spirited take on “Mexico.” Medeski, ever the keys virtuoso, helps drive the pace of this one through the roof with some triumphant fills on organ that helps build a steadily escalating and emotional jam. Bush then exits and Medeski remains on for “Plane Crash,” again providing some extra rich sonic texture to another moe. staple before taking lead on the jam that ensues.

With three standout moe. songs now out of the way, the cover parade begins with a take on the legendary blues song “Got My Mojo Working,” popularized by the great Muddy Waters in the late ’50s. Guitarist Al Schnier deftly replaces “Louisiana” in the lyrics with “New York City” which does not go unnoticed by the crowd. Despite an uptempo, jazzy start the “Mojo” jam quickly devolves into a harrowing, psychedelic journey with Medeski again helping forge the path forward before the song rounds back into form.

Sam Bush then reemerges with a mandolin and has the Roseland stage to himself for a cover of the Lowell George-penned “Sailing Shoes,” a song he recently got to play with Little Feat in Jamaica according to him. By song’s end, he’s got most of the crowd engaged in a back-and-forth singalong. Bush then offers his thanks to both the crowd and moe. before the latter rejoins him on stage for one of his own songs, “Same Old River.” It’s a perky, bluegrass-y number that would fit perfectly in any stringed band show, with Bush ripping off a fierce mandolin solo in the middle.

One more special guest, “who needs no introduction” per Al, enters the first set fray and Trey Anastasio joins everyone on stage for an electric cover of “Crossroads” with both he and Bush handling vocals. An already tight jam doubles in speed about midway through as the first set comes to a rousing finish.

The second set picks up right where the last one left off, except Bush is now replaced by Jennifer Hartswick on vocals and Ray Paczkowski on keys with moe. serving as the backing band for “Night Speaks To A Woman,” an early Trey Anastasio Band staple with which both newcomers are very familiar. There’s not much lost with this version with Trey throwing down a scintillating solo in a jam that starts fiercely, breaks down into some loose improv, and then steadily builds back up to a joyous peak.

Derhak then takes another moment to thank tonight’s patrons and mentions that Dave Matthews has offered to match whatever amount of money is raised this evening. Then it’s back to the moe. catalog with “Spine Of A Dog” with the crowd ably assisting on the opening lyrics. The “Dog” jam then meshes incredibly seamlessly into the opening of “Buster” and moe. and friends take off with another longtime fan favorite.

This opening 1-2 punch gets a well deserved roar of approval from the Roseland crowd before moe. yields the floor for another cover. This time it’s “Boogie On Reggae Woman,” the Stevie Wonder song that is no stranger to a live Phish show with Anastasio handling lead vocals accordingly. Another lively jam ensues, this time with Paczkowski eagerly showing off his chops that helps drive the momentum. Towards the end, the music gets very percussion-heavy before falling out into full fledged “Drums” section, giving Jim Loughlin and drummer Vinnie Amico a chance to do the same.

Afterwards, Trey then reemerges with only himself and an acoustic guitar for a pair of Phish tunes. For Phish heads, this must have been like an oasis in the desert with the band’s forgettable “final” shows at Coventry having taken place about six months earlier and it being years before they would reunite again. The crowd has no problem at all assisting on the “can I live while I’m young” lyric to “Chalkdust Torture” before adding their collective voice to the traditional opening of “Wilson.”

The second set then comes to a gigantic finish with one last banger in “meat.” that sees Medeski, Bush and Trey all lend a hand. What results is a 35-minute plus monster jam where everyone gets a chance to solo and shine. The jam starts out in traditional metal-esque fashion, before breaking down into a definitive bluegrass sequence with Bush leading the charge, before passing the baton to Medeski who helps steer it in another direction entirely. It eventually winds down into a near-ambient section with Loughlin chiming in on vibes and a plethora of effects emanating from Medeski’s rig. It’s a whirlwind cavalcade of sound that serves as the crux of the second set, if not the show itself, and is well worth a listen.

One last pair of covers serves as the encore for this benefit show, starting with Frank Zappa’s “Peaches En Regalia,” another song that’s no stranger to a Phish show with Loughlin on vibes giving this one a proper feel. Anastasio and Hartswick then team up one last time on vocals for “After Midnight.” Extra special attention is given to the “gonna let it all hang out” which moe. and friends certainly did this evening, and for a noble cause no less.

You can listen to and relive this memorable gig here or see below.

moe. Tsunami Relief Benefit Show Roseland Ballroom – New York, NY 2/10/05

Set 1: Rebubula, Mexico*, Plane Crash^, Got My Mojo Working^, Sailing Shoes**, Same Old River^^, Crossroads#

Set 2: Night Speaks To A Woman$%, Spine Of A Dog$ > Buster$, Boogie On Reggae Woman$%>Drums, Chalkdust Torture$$, Wilson$$, meat.*$

E: Peaches En Regalia*$>After Midnight*$%

* with John Medeski on keys, Sam Bush on Violin
^ with John Medeski on keys
** Sam Bush solo
^^ with Sam Bush on mandolin
# with Sam Bush on mandolin, Trey Anastasio on guitar
$ with Trey Anastasio on guitar
$$ Trey Anastasio solo acoustic
% with Jennifer Hartswick
and Ray Paczowski keyboard most of SET II

February 10, 2022
Fire and Ice: Ampevene & Baked Shrimp Turn Up The Heat During Winter Storm In Albany

Bad weather be damned, the spirit of rock n’ roll was alive and well this past Friday night in downtown Albany. Snow. Freezing rain. Subzero temperatures. Widespread power outages. Mother Nature threw a little bit of everything at us last weekend, but despite nasty conditions throughout the northeast, live music at The Hollow never missed a beat thanks to Ampevene, Hilltop and Baked Shrimp on Friday, February 4, 2022.

Ampevene performing at The Hollow. Albany,, NY 2/4/22

Known for having a keen ear and an uncanny ability to spot young talent, Guthrie Bell Productions served up yet another winner on February 4th, bringing three of New York’s most buzz-worthy bands together for a triple stacked bill of hip shaking live music, impressive improvisation, psychedelic live art, and a triumphant return home for Albany’s own Ampevene.

Kicking off the icy evening was Capital Region based quartet Hilltop. Coming off a breakout year that saw them play their first festivals and secure opening slots for bands like Midnight North, The Jauntee and Annie in the Water, Hilltop has continued to evolve and only seem to get better and better with each performance. Showcasing their sense of humor and an eagerness to “jam,” the short but sweet set on this night shows a band with all kinds of untapped potential and left us wanting more!

Baked Shrimp outside The Hollow. 2/4/22

Keeping a close eye on conditions outside during set break, the heavy wet slushy snow was just beginning to freeze, but inside the venue things were just starting to heat up as the charismatic Long Island trio Baked Shrimp took the stage. Fresh off a celebratory 21st birthday bash at Nectar’s for drummer Jager Soss, the ambitious young band rode into Albany red hot, firing on all cylinders and kept the party going with a scorching set of high energy funk, blues, and psychedelic rock. Baked Shrimp, which also features Jared Cowen on guitar and vocals and Scott Reill on bass, is quickly earning a reputation for melting faces wherever they play, regardless of what’s on the thermostat.

Baked Shrimp’s Jared Cowen performing at The Hollow. 2/4/22 Albany, NY

It’s been a milestone year for the guys in Baked Shrimp. Now in their fifth year as a band, January saw the release of their third studio album, Pork Etiquette. On tour ever since andwith just two stops left on this Winter tour, it was clear the boys had no intensions of simply phoning it in. Taking the stage armed with confidence and playing every note with passion, for just three dudes, Baked Shrimp create a huge sound and routinely impress. Opening with the one-two punch of “Pig Hearts and Mechanical Parts” and “Penuche Took the Fudge,” Cowen’s blistering PRS guitar work instantly grabbed the attention of everyone in the room and never let go. “Molly Ann,” “Ollie Blue” and “The Narcissist” came next before the boys dusted of “Tail Fin” for the first time in 36 shows. Holding it down on the low end while also engaged in a constant battle to keep the hair out of his eyes, bass player Scoot Reill was in fine form on the evening. Between utilizing his vocal talents and consistently finding a rock solid groove to build on, it was around this point in the set where a glance around the room revealed nearly everyone who was there was finally up on their feet and dancing. The energetic set came to a close with a tune called “Can’t Cut The Mustard.

Baked Shrimp. 2/4/22

A tough act to follow perhaps, but you have to remember this was Albany, and that means it’s Ampevene country. It had been quite some time since the genre blending, prog-rock leaning juggernaut had last headlined The Hollow and even against the cold, rain, and snow, nothing was going to stop them from playing this homecoming throwdown. Typically a four-piece ensemble comprised of Gabe Stallman on guitar and vocals, Mack Hogan on bass, Ava Smith on keys and synth and Brian McKinney Fahey on drums, to help commemorate the occasion on this night however, Ampevene, invited a couple of friends to join in on the fun; recruiting both Adam Siegel and Bob Morris on Saxophone and percussion to help fill out the sound.

Gabe Stallman of Ampevene. 2/4/22

As local artists converged to compare progress of their live paintings, the music of Ampevene surely helped inspire their other worldly results. Opening the show with a pair of songs from their 2018 debut album Ephemagoria was the “Valencia” followed up by “Rometheu.” From there, fans were treated to a taste of some unreleased music with “The Chemistress” and then a song so new that it’s only been given a working title of “Mauve Crown.” A visceral mix of heavy layered riffs, psychedelic noodling, unique time signatures and jaw-dropping falsetto vocals, Ampevene is better heard than described. Purposely designed to trip you up and trip you out, Friday night at the Hollow the band went far out. All the way out until reaching “Dazed and Confused” territory during the song the “Enhancement” as awe struck fans roared in approval for perhaps the biggest crowd pleasing moment of the night. With time left for just one more, a ballsy decision to cover one of the bands biggest influences. The Mars Volta and their 2008 song “Goliath.” While very few would even attempt such a feat, front man and lead guitarist Gabe Stallman completely knocked it out the park, bringing the show to a cathartic and triumphant close.

Ampevene performing at The Hollow. Albany,, NY 2/4/22

While the ice storm of 2022 may have kept some people from coming out, there was something about the vibe on this Friday night that just felt special. Like something hip was starting to happen and you were lucky enough to have a glimpse into the future. From the artistry and creativity displayed on stage and off, to making eyes and sharing smiles with complete strangers; a musical community slowly rediscovering itself after a long hibernation. With so much talent and creativity right here in our backyard, it’s hard not to feel optimistic about how far some of these bands could potentially go, but rest assured dear reader, we here at NYS Music intend on keeping you covered every step of the journey.

Baked Shrimp – 2/4/2022 Albany NY / The Hollow

Pig Hearts and Mechanical Parts, Penuche Took The Fudge, Molly Ann, Ollie Blu, The Narcissist, Tail Fin*, Can’t Cut The Mustard

*LTP – 8/21/21 (35 shows)

Ampevene – 2/4/2022 Albany NY / The Hollow

Valencia, Rometheu *, The Chemistress, Mauve Crown^, Teratomic, Enhancement $, Goliath%

* contained Tracalysis by Ampevene tease
^ Tentative title for new song
$ contained Dazed and Confused by Led Zeppelin tease
% The Mars Volta cover

February 10, 2022
Billy Strings Capitol Theatre Deja Tu Experiment: Where The Spirits Go To Dance

Billy Strings completed a four night run of sold out shows at The Capitol Theatre in Port Chester over February 3rd to 6th. This was the second year celebrating a telepathic experiment conducted by The Grateful Dead 51 years ago.

Billy Strings Capitol Theatre Night 4 by Em Walis

Fans were asked to send images with their minds to selected celebrity participants while they sat at home for the duration of the concert, but without viewing it. After each show, Billy, Royal Masat (bass), Billy Failing (banjo), and Jarrod Walker (mandolin) interviewed participants via video call.

Song selections throughout the weekend ranged from bluegrass standards to hot tracks off the latest album Renewal. Grateful Dead favorites were peppered in for good measure.

Spiritual Dance Party

The Capitol Theatre has been a coveted venue for artists throughout the decades. A sense of importance could be felt. Perhaps a supernatural energy vibrated by those attuned to such mysteries. Security carried themselves with pride, as if they had answered a higher calling to protect the spirits as they arrived to dance.

Attendees young and old accumulated mass as the general admission section filled the room. Stories were passed about the first show, or the most recent. The conclusion was always that the best show was the most recent attended.

Left to Right: Jarrod Walker, Royal Masat, Billy Strings, Billy Failing by Em Walis

Going To Church

A man seeing Billy play for the first time questioned “is this Billy guy really as good as my buddy says he is?” A seasoned fan insisted Billy was about to take the new guy to church.

Not far into “Pyramid Country,” the new guy propped an arm on his buddy’s shoulder and signaled satisfaction towards the seasoned fan. “Ole Slew-Foot” played soon after. A big hug was given to the new guy’s buddy, promptly followed by a Slew-Foot sized hug with the seasoned fan. Comments were made about the playing being unreal as well as the superior mixing by Sound Engineer Andy Lytle. Suddenly, the new guy vanished, and was replaced with a glowing, dancing, euphoric human. This believer was free of ego and self doubt. Replaced in his soul was a cup filled with gratitude and joy.

Transformation

Little did this believer know that the experience was about to enter a next level of intensity: “Wargasm.’ With help from Lighting Designer Roger Gant, the anthemic powerhouse sound converged with light to take form in a way one might only read about in a fantasy novel series.

Shapes and colors woven harmoniously together with perfectly timed layers created a supernatural depth and texture.

Experiencing Billy Strings by Em Walis

Alive

At last, the theater walls which have seen so much, were given a voice to share stories of dancing bears and grinding gears. The visceral journey shattered any preconceived notion about what music should feel like.

As “Wargasm” built up in intensity, once again, the believer evolved. Transformation occurred during Billy’s guitar solo when the believer’s dancing slowed, eyes widened, palms with outstretched fingers rested over his temples and jaw slowly dropped. That is how a new disciple to the church of Billy was born.

Experimental

It was very clear why people traveled from 48 states. Those sequined jacket gals glistened like the snowflakes of Colorado from which they hailed. Tie dye armies converged, their uniforms unique by region like a family’s plaid and crest. All gathered and communicated as one stomping, singing, boisterous ball of life.

The people, all so different, blended together beautifully in a way that mimicked the pairing of projections on the walls and ceilings with the futuristic lights. Like the individuals in attendance, the music and the lights were on a journey all reflecting one another. Supernatural energy was conjured.

Life after experiencing a Billy Strings show by Em Walis

Clairvoyance

Lights paused, showing bright white lights in perfect timing with the return to the hook of the song. Spirits of the past materialized and could be seen all over the theatre.

Through the haze, there was a young woman glowing in white overalls perched in the balcony. She danced with one specific person down on the GA floor who emanated sonic maternal energy. It appeared as if they had known each other for decades.

Teleportation

The great mother appeared on the balcony beside the woman in white. As if to acknowledge all the spiritual boogie happening that weekend, and to continue the dream-like reality of the Deja-Tu Experiment, Billy showed up in the balcony next to the great mother and her friend in white. Billy performed an epic solo duel with mandolinist Jarrod Walker who played from the opposite side.

Each and every attendee experienced at least one form of Deja Vu over the cold February weekend. One attendee recalled feeling like they were back to mom’s couch with the tape player and the big headphones where “China Doll” tapes were listened to over and over. Another noticed the variety of swagger bassist Royal Masat carried with ease. That person was immediately taken back to a fond memory of that Rolling Stones show 30 years ago. As the deep pink lights blanketed the audience during “In the Morning Light,” a young couple were together reminded of when they met and realized life was about to change for the better.

Terrestrial

Waking up on Monday morning, all in attendance faithfully checked instagram for last night’s photos while sipping their morning coffee. Receiving the grounding signal from Photographer Jesse Faatz provided closure and peace for all that had been experienced. Colorful imagery depicted emotions and encapsulated memories. These photos confirmed that the past few days were more than just the feeling of Deja Vu.

Transmutation

Billy Strings and The Capitol Theatre together created a healing fountain for people to connect, dance with spirits and feel alive again.

Setlist February 3: You Don’t Know My Mind (Bluegrass Allstars), Pyramid Country, Ole Slew-Foot (Johnny Horton), Cold on the Shoulder (Gordon Lightfoot), West Dakota Rose (Chris Henry), Love & Regret, Wargasm, Along the Road (Dan Fogelberg), Streamline Cannonball (Roy Acuff), Ground Speed (Earl Scruggs), John Hardy (Traditional), Bronzeback, Secrets, Slipstream (Bela Fleck), Red Rocking Chair (Traditional), Pretty Daughter (Danny Barnes), Love Like Me, Away From the Mire, Long Forgotten Dream, Dire Wolf (Grateful Dead), Come Down the Mountain Katie Daly (traditional)

Encore February 3: If You Hair’s Too Long (There’s Sin in Your Heart)

Setlist February 4: Know It All, How Mountain Girls Can Love (The Stanley Brothers), Tipper (Tony Rice), Run Down (Jeff Austin), There Is A Time (The Dillards), Dust in a Baggie, Dealing Despair, Living Like an Animal, Me and My Uncle (John Phillips), Heartbeat of America, John Deere Tractor (Larry Sparks), On the Line, Freeborn Man (Keith Allison), Thunder (Robert Hunter), My Love Comes Rolling Down (The Doc Watson Family), Ernest T. Grass (The Dillards), Air Mail Special (Jim and Jesse), Show Me the Door, Oh Babe, It Ain’t No Lie (Elizabeth Cotten), Rosa Lee McFall (Charlie Monroe), Turmoil & Tinfoil

Encore February 4: Roll On Buddy Roll On (Bill Monroe and the Bluegrass Boys)

Setlist February 5: Red Daisy, Thirst Mutilator, A Good Woman’s Love (Bill Monroe), A Robin Built A Nest on Daddy’s Grave (The Stanley Brothers), While I’m Waiting Here, Home of the Red Fox (Bill Emerson), Little Maggie (Traditional), China Doll (Grateful Dead), I’m Still Here (John Hartford), Last Train to Clarksville (The Monkees), Everything’s the Same, Doin’ My Time (Lester Flatt & Earl Scruggs), Running, Ice Bridges, In the Morning Light, Meet Me at the Creek, Shady Grove (Traditional), Deal (Jerry Garcia)

Encore February 5: Don’t Let Your Deal Go Down (Lester Flatt & Earl Scruggs)

Setlist February 6: Fire on My Tongue, Must Be Seven, Hellbender, Fire Line, Reuben’s Train (traditional), End of the Rainbow (Frank Wakefield), Running the Route, Home, Highway Hypnosis, Taking Water, The Likes of Me (Jerry Reed), All Fall Down (John Hartford), Tennessee (Jimmy Martin), Nothing’s Working, Doin’ Things Right, Peggy-O (Traditional), Hide & Seek

Encore February 6: U.S. Blues (Grateful Dead)

February 10, 2022
Flashback: The Beatles Perform on The Ed Sullivan Show

58 years ago, on February 9, 1964, The Beatles played on The Ed Sullivan show in NYC, creating one of the most seminal moments in television history. A record-setting 73 million tuned in to watch the Fab Four perform “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want to Hold Your Hand.”

The Beatles with Ed Sullivan.

Consisting of John, Paul, George, and Ringo, The Beatles are one of the most influential bands to have ever existed. The group was formed in 1960 in Liverpool, England. They spent the first couple years playing small clubs in Europe and perfected their craft after playing eight-hour days in Hamburg, Germany. It wasn’t until their performance on “Val Parnell’s Sunday Night at the London Palladium” and the release of their first LP Please Please Me that Beatlemania truly began.

https://vimeo.com/385906665
Please Please Me by The Beatles full album.

Urban legend says Ed Sullivan first heard about the group when he and his wife were at an airport in London returning to NYC and witnessed 1,500 screaming fans welcoming The Beatles back from a successful tour in Sweden.

Actually, Sullivan found out about The Beatles before that, through his Talent Booker Jack Babb, and London-based agent Peter Prichard. Sullivan was eager to book the group but needed a selling point. Prichard said they had just performed in the Royal Variety Show where they were the first “long-haired boys” to be invited to appear before Queen Elizabeth II.

The Beatles meeting Queen Elizabeth II

On November 11, 1963, Beatles manager Brian Epstein met Sullivan in the Delmonico Hotel in NYC, and the deal was done with a handshake. The Beatles were booked for three performances, two live and one a taped rehearsal.

Before the debut performance on the Sullivan show, the group’s record “I Want To Hold Your Hand” was leaked before its planned US release. The record label was unable to stop the radio from playing it, so they released the LP earlier than expected, and it went to the number one spot on the Billboard charts before the month was over.

The Flight

The Beatles flew to America on February 7, 1964. When they arrived at the airport, they were surprised at the number of people there to see them. Paul McCartney commented on it during the Anthology sessions in the 90s.

There were millions of kids at the airport, which nobody had expected. We heard about it in mid-air. There were journalists on the plane, and the pilot had rang ahead and said, ‘Tell the boys there’s a big crowd waiting for them.’ We thought, ‘Wow! God, we have really made it.’

5,000 fans, mostly young girls, were crowded on the balcony of one of the buildings at JFK, waving banners and screaming at the top of their lungs.

They were able to get so many people there because the group’s American record company promised that every person who showed up at the airport would get a dollar bill and a t-shirt. The receptionists at Capitol Records would answer the phone, “Capitol Records – The Beatles are coming.” Every radio station was talking about it too.

The Beatles arriving at JFK.

The Ed Sullivan Show

Paul McCartney spoke about their appearance on the show also during the Anthology sessions.

It was very important. We came out of nowhere with funny hair, looking like marionettes or something. That was very influential. I think that was really one of the big things that broke us – the hairdo more than the music, originally. A lot of people’s fathers had wanted to turn us off. They told their kids, ‘Don’t be fooled, they’re wearing wigs.’

The band rehearsed the day before, and George Harrison was feeling ill, and their road manager Neil Aspinall stood in for him to mark where everyone would stand.

Neil Aspinall standing in for George Harrison during the rehearsals.

Their live debut broke record for television viewing figures, as a record 73 million people tuned into the show. The group even got a telegram from Elvis Presley and his manager Colonel Tom Parker, wishing the group luck. Harrison made a witty remark about the show, during the Anthology sessions.

We were aware that Ed Sullivan was the big one because we got a telegram from Elvis and the Colonel. And I’ve heard that while the show was on there were no reported crimes, or very few. When The Beatles were on Ed Sullivan, even the criminals had a rest for ten minutes.

The band came on and played “All My Loving” to an audience full of ear-splitting screeching from teenage girls. Then they played “Til There Was You,” and while the song was playing, a camera cut to each member of the band to introduce them, and when the camera cut to John Lennon, the caption said “SORRY GIRLS. HE’S MARRIED.”

The band played three more songs, “She Loves You,” “I Saw Her Standing There,” and their number one hit “I Want To Hold Your Hand.” After the show, The Beatles were whisked away to the Playboy Club with a police escort.

The Beatles’ success on The Ed Sullivan show paved the way for the British Invasion, for groups like The Rolling Stones and The Animals. The group have also inspired the works of many bands, like the Ramones song “You’re Gonna Kill That Girl,” a parody of the tune “You’re Gonna Lose That Girl” by The Beatles.

February 9, 2022
In Focus: Tom Rush and Matt Nakoa at Caffe Lena

On Sunday, February 6, Tom Rush made his way down from Vermont to Saratoga Springs to perform at Caffe Lena with Matt Nakoa. The relatively warm weather brought out a packed crowd for the duo’s first of two shows on Sunday. Tom took the stage by himself to open the show with “Best of a Bad Situation’, and he set the tone for what was to come. The show was filled with masterful finger-picking on guitar, witty lyrics, and personal storytelling. And all of that was seamlessly accompanied by Matt Nakoa on the piano.

Rush and Nakoa were operating at exactly the same wavelength all night long. Intricate finger-picking on guitar was combined with beautifully delicate runs on piano. Neither musician stepped on the other’s toes, instead their parts danced in perfect unison. This chemistry was nothing new though, as was pointed out by Tom when he told a story about one of their first shows together. In the story, Tom and Matt arrived at a venue much later than anticipated, and were left with no time to rehearse. Despite this, Matt took the stage and accompanied Tom as though he had been playing his songs for years.

After a few songs, including covers of songs by Joni Mitchell and Sleepy John Estes, Tom left the stage while Matt took over for a few songs by himself. The lefty picked up a guitar and showcased his ability to play and sing beyond his role on piano. Nakoa, standing somewhere well above 6’3″, was exceptionally dexterous, fretting chords using all five fingers with total ease, a task which would cripple most guitarists.

Shortly after leaving the stage, Tom returned and performed his “big hit on YouTube” as he put it: ‘Remember Song.’ As the set drew to a close, the energy rose while Tom and Matt lost themselves in the music. The duo would end the night with songs including ‘Train Song’ by Murray Mclauchlan and Rush’s ‘River Song.’ ‘River Song’ was played as a part of the show’s encore, an encore which was not preceded by a stage exit. Only when you have been performing over the span of seven decades like Tom Rush has, do you get to decide whether or not an encore break is necessary. As the encore drew to a close, and the musicians’ final notes rang out, the crowd rose to their feet to applaud in a standing ovation.

Both Tom and Matt will be traveling the country and performing live in the coming months. You can find Tom’s upcoming shows, accompanied by Matt, on his website here. For Matt’s solo shows, you can find them listed on his own site. The two will be all over the Northeast mostly, with a two show trip out west to California. Be sure to check out their websites to stay up-to-date on all their happenings. And for future shows at Caffe Lena, check out the their website.

February 8, 2022
Phish Brings The Fire to Roseland Ballroom: February 6, 1993

As the early 1990s progressed, Phish would continue to make their mark in and throughout the Northeast. A major hub for this was obviously New York City. After years of playing The Wetlands, Phish had finally progressed to the Roseland Ballroom, starting with a gig there in March of 1992. The tour that began 1993 would add two more shows here and today marks the anniversary of the second one. Amazingly, this would somehow be their only shows in the city this year as tours began to stretch nationwide. They certainly made the most of their stay though, ending their brief Roseland residency with a show that features a healthy helping of new songs, classic favorites, and a remarkable pair of special guests to help them close it out.

An enthusiastic Roseland crowd seems to recognize “Golgi Apparatus” right away and the show is off and running with the venerable Phish classic. This is followed up with “Foam,” another hit off the band’s seminal Junta release. Despite some brief feedback issues, it’s a quick yet crisp version with a seemingly extra peppy bass line provided by Mike Gordon.

“Wilson” then has a bit of an extended intro with a different feel, with only the band singing the name of the fictional Gamehendge ruler as this pre-dates the now customary crowd chants. In an extended break before the “blap boom” ending portion, Trey Anastasio throws in both “Simpsons” and “Random Note” guitar signals that a good portion of the crowd seems to recognize. Then Phish steers into “My Friend, My Friend,” a track from their album Rift that was officially released just days earlier. As soon as “Friend” finishes, Phish wastes no time in doubling down on first set Rift tunes with Jon Fishman starting up the iconic drum intro to “Maze.” A rousing McConnell organ solo is supplanted with one from Anastasio and the first set at Roseland this evening is officially firing on all cylinders now.

After a standard run through of “Horn,” another first set staple, Phish launches into a flawless “Divided Sky” that features some more wonderful interplay between McConnell and Anastasio, with the latter spitting pure “fire” by song’s end in a potential nod of what was still to come. The now raucous Roseland crowd makes their feelings known after this one before Phish slows things down a tad with McConnell taking lead crooning duties on “Lawn Boy.”

Afterwards, the band breaks out a fairly new song (at the time) with only the third “The Wedge” ever performed live, after debuting three nights prior. It’s got a real jazzy, piano-fueled intro that makes it stand out when compared to its modern day version and McConnell follows this up with a dazzling solo mid-song that seems to have Trey yelling along in approval. A fairly standard “Bouncing Around The Room” follows this before the first set comes to a screaming halt in the form of a rabid “Run Like An Antelope” that has the whole band working together as one to bring the jam to a proper peak.

Tonight’s second set picks up right where the first one left off in the form of “Chalkdust Torture.” While this classic Phish number produces its typical high octane guitar and bass riffs, it doesn’t yield much of a jam. Instead, after a quick wrap up of “Torture,” the band dives back into the Rift chest and pulls out the Mike Gordon-penned “Mound.” But exploratory-wise, the second set doesn’t really take off until the “Stash” that follows, with Anastasio throwing out probing guitar fills atop some intense rhythms generated by Gordon and Fishman.

The call is then made for some mid second-set a cappella and Phish goes with the first “Sweet Adeline” of 1993 before an especially attentive Roseland crowd. Then, after Phish’s instrumental ode to NPR with “All Things Reconsidered,” the heavy hitters come back into play, starting with a “Mike’s Song” with a fun little verse added to the intro. Gordon has a little fun with the standard lyrics as well before the song takes a turn into its typical dark and foreboding ambiance. It’s a standard “Mike’s Groove” with the bliss-filled “I Am Hydrogen” dropped in the middle before “Weekapaug Groove” whips the Roseland crowd back into a collective frenzy. After this classical trifecta, Phish brings it back to the new school with the second ever “Lifeboy” performed live.

After this insightful newcomer, Phish decides to integrate some bluegrass into the show and breaks out an extremely tight “Uncle Pen” before a “Big Ball Jam” breaks out, the short-lived Phish gag in the early ’90s where giant inflatable balls were thrown out into the crowd with each band member “playing” along to a respective ball and its bouncing trajectory. Not much of a jam ensues though so Anastasio jumps behind the drum kit and Fishman then emerges for “a sad song” called “Lengthwise,” despite being prodded by the crowd to recite “The Prison Joke” again. After urging the crowd to break out lighters for the song, he adds an extra verse about burning his finger for holding one too long.

With the Big Ball and Fishman theatrics now out of the way, the show comes to a legendary finish, starting with “Buried Alive” where none other than Blues Traveler’s John Popper emerges to sit in and adds an absolutely ferocious harmonica solo that takes this song to another level. He then stays on for a set-closing “Possum,” adding a lovely touch to the intro before leading one of the more explosive jams of the evening.

As if one special guest weren’t enough tonight, Phish once again doubles down and brings out another one for the encore. With Popper still on stage, Phish do two “fake” botched intros to Jimi Hendrix’s “Fire,” seemingly blaming Gordon for the errors. So instead, Mike moves over to keys and they nonchalantly bring out none other than Noel Redding himself, the original bassist for the Jimi Hendrix Experience, to come out and do the honors. It caps off an incredible finishing sequence to, amazingly, the last New York City show of the year for Phish.

The whole show can be streamed here at PhishTracks with many audio clips found on YouTube as well.

Phish Roseland Ballroom – New York, NY 2/6/93

Set 1: Golgi Apparatus, Foam, Wilson, My Friend My Friend, Maze, Horn, Divided Sky, Lawn Boy, The Wedge, Bouncing Around The Room > Run Like An Antelope

Set 2: Chalkdust Torture, Mound, Stash, Sweet Adeline, All Things Reconsidered, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Lifeboy, Uncle Pen, Big Ball Jam, Hold Your Head Up > Lengthwise > Buried Alive, Possum

E: Fire

February 6, 2022
The Sounds of the 1980 Winter Olympics: Chuck Mangione’s “Give it All You Got” and the Crane School of Music Compose a Soundtrack for Lake Placid

As the XXIV Olympic Winter Games take place in Beijing, China, we look back 42 years to the XIII Olympic Winter Games held in Lake Placid from February 13, 1980 to February 24, 1980. Home of the Miracle on Ice and speedskater Eric Heiden winning five gold medals, the Lake Placid Winter Olympics brought together 1,072 athletes from 37 countries to take part in 38 official events in February 1980.

Opening ceremony photo courtesy Lake Placid Olympic Sites

The games also featured a theme song, in the form of Rochester Jazz legend Chuck Mangione’s “Give it All You Got,” a tune released a week before the games, that would chart as high as #1 on the Adult Contemporary, #18 on the Billboard 100 and #32 on the R&B chart, and recently named by Billboard as the #1 Olympics theme song of all time. ”Give it All You Got” was Mangione’s second single to reach #1 on the Adult Contemporary chart, after “Feels So Good” achieved that feat in 1978.

Mangione was asked by Roone Arledge, then ABC Sports president, to craft a song for the Winter Olympiad. ABC had used Mangione’s recordings, including “Chase The Clouds Away,” four years earlier during their coverage of the 1976 Summer Olympics in Montreal. Featuring a lineup of Charles Meks (bass), James Bradley Jr. (drums), Grant Geissman (guitar), and Chris Vadalla (saxophone), Mangione, America’s most famous flugelhorn player wrote the Grammy-nominated song for his 1979 album Fun and Games.

Richard Challen wrote in 2020 about “Give It All You Got”:

This is fusion jazz at its most peppy and pristine, the network TV version of “gritty.” Mangione and saxophonist Chris Vadala volley the theme back and forth for nearly half the track’s six-minute runtime, content to let that breezy melody do most of the work. There’s some inspired composition going on beneath the surface: the way the chord structure keeps dancing between major and minor, the spots where flugelhorn and sax each converge in twin harmony. Throw in Charles Meeks’ slippery bassline and some Nile-Rodgers-style rhythm work from Geissman, and you’ve got the perfect soundtrack for cruising L.A. in a ’74 Stingray convertible.

Mangione told Wesley Hyatt for his 1999 book The Billboard Book of No. 1 Adult Contemporary Hits about the process of composing the music for the instrumental, saying:

(my) vision was to think about the athletes and their efforts to do their best now. They’re giving it all they’ve got. And we almost got to be like the athletes because we also got to perform the song at the ceremonies.

“Give It All You Got” was nominated for best instrumental composition at the 1981 Grammy Awards, losing out to John Williams’ score for The Empire Strikes Back.

Mangione would perform “Give it All You Got” live at the Winter Olympics closing ceremony (as well as the song “Pina Colada”) on Sunday, February 24, 1980, just hours after the conclusion of the gold medal hockey victory for Team USA over Finland along with the Hamilton Philharmonic Orchestra from Ontario, Canada.

In addition to Mangione, the Crane School of Music at SUNY Potsdam contributed to the Lake Placid Winter Olympics as well. A 600-member Olympic chorus and orchestra, a 50 member wind ensemble and three Olympic bands of 50 members each, who were bused in daily and wore weather appropriate parkas and boots, instead of the typical tuxedos and gowns. Brass performers tested their instruments in the meat freezer of the local supermarket in Potsdam as they prepared for the Games.

photo by Christopher Lenney

Feb. 9, 1980 featured the Collegiate Singers, directed by Brock McElheran, as they performed for the International Olympic Committee, along with visiting dignitaries from participating nations.

photo via the Crane School of Music

Four Crane School of Music faculty members composed original works for the Olympic Games, including Elliot Del Borgo, Arthur Frackenpohl, William Maul and Robert Washburn. When American gold medal winners, including speedskater Eric Heiden, received their medals, they were accompanied by an arrangement of the “Star Spangled Banner” by Frackenpohl, who also arranged the Greek and Yugoslavian national anthems. Washburn composed “Parade of Nations” for the opening ceremonies, while Del Borgo wrote the piece played during the closing, “When Dreams Are Dreamed and Dreams Are Won,” and Maul composed “March of the Athletes,” used for the closing ceremonies.

photo via the Crane School of Music

Crane School bands would provide music for the award ceremonies each evening, with Professor Emerita Rebekah Covell leading the Crane Symphonic Band for 14 performances over 14 days. With an added degree of difficulty, Covell and the musicians would often have less than an hour to rehearse national anthems needed for the medal award ceremonies, prior to playing the songs outdoors, often in freezing temperatures. Notably, Robert Mero, a former technical assistant at Crane, came out of retirement to assist musicians with technical services during the Games, per Robert Gibbs, a professor and emeritus member of the Crane School alumni board.

Between Chuck Mangione and students and faculty at the Crane School of Music, all music for the 1980 Winter Olympics can be credited to talented born and/or raised New Yorkers. Here’s to the Winter Olympics returning to Lake Placid in the coming years, perhaps split with Montreal.

February 5, 2022
Cory Wong, Antwaun Stanley and Sierra Hull Hit All the Right Notes in Rochester

When funk mavens Cory Wong and the Wongnotes announced, over two variants ago, that mandolin phenom Sierra Hull would be opening their winter tour, it seemed like an odd pairing. With the tour finally getting underway, their recent stop at Anthology in Rochester on Sunday, January 30, proved it to be a brilliant choice.

As Hull took the stage, the crowd was already near capacity, escaping the deep-freeze portion of the Rochester winter and taking advantage of what little scraps of live music could be found amongst the pandemic-ravaged scene. The audience was immediately rapt with Hull’s masterful playing as she strummed and picked through “Poison” off her 2020 release, 25 Trips. It didn’t take long for the bill to pay dividends as Wongnotes saxman Eddie Barbash came out to join her on a fantastic duet cover of “People Get Ready” and would stay out for the rest of her short set. After a blazing bluegrass number she brought out more Wongnotes: Sunny T on bass, Kevin Gastonguay on keys and Petar Janjic on drums. They played through Hull’s “Weighted Mind,” Del McCoury’s “Blues Rollin’ In” and closed out on blazing instrumental that showcased the groupings unique collective talents.

After a short break, Cory Wong took the stage with his full Wongnote unit. A five-piece horn section including members of Prince’s New Power Generation Band and Jon Batiste’s Stay Human joined Janjic, Sunny and Gastonguay to round out the band. They blasted non-stop through high-energy funks, bluesy grooves and dancehall throw-downs, going five songs into the set before taking a breather. Wong was content to lay the groundwork from which his bandmates could shine. He was happy to play bandleader and not draw the spotlight to his own playing as much as one would expect. Then midway through the set he broke free on a ripping effects-laden solo. With the reins loosened, he would rock out a bit more liberally in the second half of the set.

Nearing the end of the first set, it was time for Hull to come back to the stage. Bela Fleck and the Flecktones are not a band that draws a lot of comparison, with good reason. But what Cory Wong and the Wongnotes pulled off with Hull on stage could worthily be described as “Flecktones-ian.” The unique blend of funk, soul, jazz and bluegrass with a splash of Irish jig highlighted in a brand new song Wong and Hull penned together, brought to mind the distinct sounds Bela and his band introduced to the world. Stunning stuff!

As if backing a bluegrass mandolin and then a guitar-led instrumental funk band wasn’t enough of a flex for the Wongtones, they emerged after another short break for a closing set backing R&B singer Antwaun Stanley. Converted to a full bore party band, they ably kept pace with Stanley as he bounded and twirled and preached and effused love. The crowd, who were fully engaged since note one of the opening set, were easily molded into Stanley’s party-goers. They were at the ready, clapping the beat, waving arms in sync, or singing in call and response with only a hint of a prompt. Whether it was on originals like “Speed Of Night,” and “Where Are We Now” or on a Stevie Wonder Medley, the results were the same, this was Sunday night party and we were all invited.

The moments unfolded in exciting and enjoyable fashion one by one, but the show’s dynamic presentation, when taken as a whole in the rearview, revealed a one-of-a-kind concert experience.

January 31, 2022
Emo Conquers COVID: Thursday and Cursive At Irving Plaza
In light of the fact that COVID-19 and its variants are going to be with us for the foreseeable future, bands and concert venues are trying to adapt in order to keep the curtains raised. One particular challenge was on clear display Wednesday night for the Thursday and Cursive show at Irving Plaza, when positive COVID tests amongst three of the four bands on the bill threatened to cancel the show. Instead of making the easier (yet painful) decision to cancel dates on the tour for a second time, the bands came together to put on a truly memorable night at Irving Plaza for the veteran emo bands.

Thursday at Irving Plaza, 1/26/22. Photo by Buscar Photo

The tour was originally announced back in November 2021 and was set to feature Thursday as the headliner with Cursive, Jeremy Enigk and The Appleseed Cast providing the support. Cursive have toured with Thursday on and off since the 00’s; the two bands’ stage presence complement each other quite well and one could find an equal number of Cursive and Thursday T-ees throughout Irving. The first show was scheduled for 1/6 in Virginia but the Omicron surge late in 2021 forced the postponement of the first couple weeks of shows, leading to an opening night on 1/19 in Detroit. As a result, Jeremy Enigk was forced to drop off the bill but was replaced by Nate Bergman (solo) from Lionize.

Tim Kasher of Cursive. Irving Plaza, 1/26/22. Photo by Buscar Photo

Cursive was the only band to be spared from any positive COVID tests and were thus the only band to play a full set with all their members. Bergman performed solo and The Appleseed cast was whittled down to mostly a solo set from frontman Chris Crisci. Chris admitted on one song that he roughly recorded a backing drum track right before the show and was later joined by Bergman on guitar and Cursive frontman Tim Kasher on drums for a noisy jam to end the set. At this point in the show, even though it was clear all aspects were being put together on the fly, the two opening acts had done it so successfully that had you been unfamiliar with the music you would have never known.

Cursive took the stage to an enormously warm welcome from the Irving Plaza crowd. Not many bands from the emo/hardcore heyday of the 2000s are still touring (let’s call the upcoming When We Were Young festival an outlier for the time being) but Cursive have released two solid LPs in recent years and still garner support from fans all over the world. Their blend of horns and strings with emo and hardcore was unique back in the 2000s and remains to be so today. Featuring an electric cello, brass horns, keys, and Tim Kasher’s eclectic vocal delivery all blend together to create an infectious “baroque-emo-core.” Cursive played a career-spanning set featuring Ugly Organ tracks “Art is Hard” and “Gentleman Caller” as well as personal favorite “The Martyr” from 2003’s Domestica.
Cursive at Irving Plaza, 1/26/22. Photos by Buscar Photo
Right before Thursday kicked off their set, frontman Geoff Rickly came out on stage to let the crowd know what was going on. He explained that guitarist Norman Brannon had tested positive and that instead of cancelling the show they decided to “play a basement hardcore show at Irving Plaza.” Several of the touring guitar techs were tasked with learning as many of the guitar tracks as they could and they filled in throughout the show, including on the opener with War All The Time’s “For The Workforce, Drowning.” Thursday made their name in the NJ/NYC DIY hardcore scene so the band was channeling their roots to come through for the fans who came out.

Thursday at Irving Plaza, 1/26/22. Photo by Buscar Photo

Thursday closed the main set at Irving Plaza with their emo anthem “Understanding In A Car Crash” and while a very recognizable guitar track was missing, the void was filled by a guest vocal appearance from Wax Idols singer, Heather Fortune. This show had every reason and excuse to be cancelled, but the will to make it work created one of the more memorable shows NYSM has seen in quite some time. Nate Bergman showed off his vocal prowess, Chris Crisci stripped down The Appleseed cast to its bare songwriting genius and jammed out with Tim Kasher, Cursive held down the fort with a perfect dose of nostalgia, and Thursday sounded as heavy and emotional as ever even if our ears were tingling with missing guitar notes. The crowd provided all the energy needed to overcome COVID in a very typical 2000’s way.

Thursday at Irving Plaza, 1/26/22. Photo by Buscar Photo

The tour is continuing on as planned with a couple shows in New England before the bands return to New York for a show at The Paramount in Huntington. A big hometown show for Thursday is planned at Starland Ballroom in Sayreville, NJ for 2/27. Nate Bergman will continue to open the shows until Jeremy Enigk rejoins the bill in February. Find the full itinerary HERE and check out our full photo gallery below.
Cursive at Irving Plaza, 1/26/22. Photos by Buscar Photo
Thursday at Irving Plaza, 1/26/22. Photos by Buscar Photo
January 29, 2022