Category: Bluegrass/Country

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
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
Hudson Valley Singer Sam Kogan Announces EP And New Single “Barbed Wire”

NY singer-songwriter Sam Kogon has announced a four-track self-titled EP, and the release of his new single “Barbed Wire.”

Kogon describes his new approach to songwriting as an “Upstate country rockabilly crooner,” as he spends his time in the Hudson Valley. He has always been an old soul as he is a big fan of The Beatles, and even worked with Al Jardine of The Beach Boys.

Sam Kogan.

Sam Kogon had a lot to say about the new single.

‘Barbed Wire’ is a song about accepting love, denying love, unrequited love, infatuation, and coming out of the closet. It’s inspired by two friends exchanging songs they write as coded love letters. One friend wants their love to come off the page and the other friend can only express their true feelings in song. Running away with or from someone who isn’t emotionally available can get you tangled in the barbed wire fences they put up at the first signs of vulnerability, so I chose that as the title of the song. The one friend trying to move forward is asking (rhetorically) ‘Is this love? Is this love? I need to know right now…and could you even tell me right now.’ They already know the answer: Sometimes there isn’t a happy ending or closure; sometimes we get burnt like tires, and that’s ok.

“Barbed Wire” is a pop, rock, and country ballad, and makes the listener want to get up and dance. It was produced by John Agnello (Dinosaur Jr., Kurt Vile) and mastered by Steve Fallone (Arcade Fire, Angel Olsen, Big Thieif).

The song is available to stream here, and Sam Kogan’s new self-titled EP will be out in April.

February 7, 2022
North Country Musician Christian Parker Releases Newest Album “Every Passing Mile”

Christian Parker, a country artist from Canton, NY, marks his return with the new album, Every Passing Mile, a 13 track record inspired by Parker’s vision for the future.

The country record is packed with soothing songs, with themes ranging from fear of the unknown to hope for a pleasant future. Originally inspired by the effects of the pandemic, the attention grabbing opener, ‘Cast a Line’ showcases the full potential of this album and draws listeners in. Parker created this track with help from longtime friend and mentor, Peter Pendras.

The final line of the song, “Cast a line when a star falls in the sky, there’s no need to cry, cause it’s falling,” represents finding hope in a desperate situation.
Christian Parker

Other stand out tracks include ‘Fire With Fire’ and ‘This Time’. Both songs feature a consistent guitar as their foundations, along with Parker’s signature airy vocals. The sentimental ideas of peace and learning from past mistakes leaves listeners feeling energized and hopeful for their own futures.

A majority of the album was written by Parker, but he still had the chance to collaborate with other seasoned performers like Phil Hurley, founding member of Gigolo Aunts, Lisa Loeb and even Fountains of Wayne. Hurley contributed backing vocals, as well as guitar tracks. All of these contributions led to the creation of a unique country-pop experience.

While working on the creation of his unreleased album Best Kept Secret, Parker came to realize that he had more than enough material to make a separate album. Best Kept Secret is scheduled for release in June 2022.

Every Passing Mile was co-produced by Ron Keck and mastered by Larry Lachman of Kevorkian Mastering in NYC. The album is available on all streaming platforms and can be purchased here.

Key Tracks: Cast a Line, Fire with Fire, This Time

February 4, 2022
Nora Brown, Rising Bluegrass Talent, To Play at Caffe Lena

Nora Brown is not a regular teenager. The 16-year-old is quickly rising to stardom using her talent of one unorthodox instrument: the banjo. “It’s kind of a unique instrument compared to other stringed instruments,” she says in an interview with Brooklyn Magazine, “it has a very unique sound that I was drawn to.

Nora Brown

Unlike most teenagers her age, Brown finds musical enjoyment in traditional bluegrass music and her musicianship on the banjo pays homage to the greats before her. Moreover, the Brooklyn native was mentored by the late New York native and legendary Renaissance man John Cohen, and his mentorship shines through on the rising talent’s strings.

In her swift rise through the world of bluegrass, Brown has already collected a considerable amount of accolades. Her 2019 debut album, Cinnamon Tree, peaked at #7 on the Billboard Bluegrass Charts. Moreover, her second record, Sidetrack My Engine, was released last year and debuted at #6 on the Billboard Bluegrass Charts. Amazingly, the record was recorded in an underground brick arched cave under Brooklyn on an Ampex tape machine. The 16-year-old also has a Tiny Desk Concert on NPR Music, which is linked below.

The rising bluegrass talent has an exciting career ahead of her. She will be playing at Caffe Lena in Saratoga Springs on Saturday, Feb 12th from 8 PM to 10 PM. Tickets are available here.

February 3, 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
Interview: Snake Anthony and the Wood Brothers Shed Across New York State

The Wood Brothers started 2022 in the Empire State with dates in Rochester’s Kodak Hall at Eastman Theater, Albany’s Palace Theater and Plattsburgh’s Strand Center for the Arts. It marks the Wood Brothers first time at Kodak since Feb 2020, and bassist Chris Wood took some time after the gig for a quick chat with NYS Music.

Matthew Romano: Good to have the Wood Brothers back at Kodak Theater for the first time since Feb 2020. Eastman School of Music Steve Gadd’s quote comes to mind from your performance. “When you get it musically to a level where everyone on the bandstand is having fun and can hear each other and you can trust the audience is hearing it the way you are it gets to a spiritual level. In Japan or wherever you are. That’s the goal.” How did last night’s energy feel at Kodak?

Chris Wood: Yea last night was the first show we had since the holiday break. Combination of excitement to be back and playing with band mates and touring with our crew we love. But also the feeling of being a little bit rusty. Got to get my sound right. Ya know?

MR: Well the vibe you guys gave off on the bandstand looked like a lot of fun. The dynamics alone. You jumping from the Hofner to the stand up. Jano jumping from the kit to shitar. Handheld keyboards. Oliver switched acoustic and electric with rip snorting slide guitar.

CW: We want sonic variety. As well as musical variety and of course dynamics. Some songs are like a rock band and then some stripped down. For us that’s what makes the show interesting. It’s not just one thing all night. There’s a real shape to the set. Different moments that have a completely different vibe. The tone pallet ya know?

MR: Well your going back to The Palace Theater in Albany where MMW in December 2000 had Trey Anastasio come sit in for an improvisational Partido Alto. Then a “We are rolling” second set jam. Any memories of that pallet?

CW: Trey has sat in with us a bunch. I didn’t realize that it was in Albany too. Before we knew Phish was when we were in our downtown New York City music scene. We had no concept of the jam band scene. We lived in a different musical universe. Phish started playing us during their set breaks and then their fans showed up almost overnight in our crowd . But as far as musical memories that go back to 2000…I had no idea that tape was out there (laughter)

MR: MMW’s “Your Name is Snake Anthony” has helped coin the term for the Capital Region for cats on the road, “Shedding up and down the Hudson River”

CW: Well you can thank Col. Bruce Hampton for that.

MR: That was the Colonel?

CW: That’s Bruce. Yea we just sent that track to him and we’re like do something over this and he just improvised that over it. Right. Like “we lived in a shed.” That’s all Bruce.

MR: Seeing “Atlas” get played differently again last night keeps that song with a fun on the road vibe, stopping on a dime. What’s behind the scenes on “Atlas” that keeps it fresh?

CW: It was on our first wood bros record. It was a song that existed before the wood bros in Oliver’s band King Johnson. He wrote it for them in the 90s. The live arrangement is always morphing. It’s gotten really fast and sometimes it’s stripped down with the Rix on shitar and then electric loud and rocking. That’s what’s fun. A song like that can arrange it in completely different ways. Real, versatile and playful.

MR: Hopefully “Snake Anthony” will help you realize that you’re the best on the road in 2022.

Photo Gallery by Brian Ferguson: The Wood Brothers, Richie Stearns and Aaron Lipp from Kodak Hall at Eastman Theatre, Tuesday, January 25, 2022.

January 30, 2022
Greensky Bluegrass and Infamous Stringdusters Kick Off Winter Tour In Albany at the Palace Theatre
Thursday, January 20 marked the return of Greensky Bluegrass and The Infamous Stringdusters to the Capital District, with a performance at the Palace Theatre that kept the audience warm and cozy from the frigid temperatures outside.

Greensky Bluegrass returned nearly two years after their last Albany performance, that time at The Egg with Ghost Light, and after a bit of a wait, they were back to kick off their Winter Tour ahead of the release of their new album, Stress Dreams.

photo by Zak Radick

Opening up the show were The Infamous Stringdusters, recently nominated for a Grammy for their Bill Monroe tribute album. They kicked off the show with “Rise Sun” off their 2019 album of the same name, and negotiated a very brief power outage, never missing a beat. The band took a few opportunities to comment on how long it’s been since they’ve seen each other, how good it feels playing live, and how much fun they were having.

Dobro player Andy Hall, a native of Binghamton spoke to Forbes this past week, recalling his view of his hometown:

The Binghamton area is beautiful — rolling hills, forests and lots of medium-size towns. Not a lot is happening there, but there are lots of colleges in the area, it was a great place to grow up and there were awesome down-to-earth people. I used to have a somewhat negative view of my hometown, but I think that just went along with the urge to escape and see the world. I went back recently to receive a distinguished alumni award from my high school and was really impressed with what they have going on with music and theater. It changed my view of my old high school for the better!
Andy Hall

The nearly hour-long set from Stringdusters included covers of the Grateful Dead’s “Touch of Grey” and The Police’s “Walking on the Moon,” as well as “Colorado” and “Sirens,” with the appreciative Albany crowd grooving along. Earlier in the day, the band released “I Didn’t Know” off their upcoming album, The Fray. Listen to the full show below:
Setlist: Rise Sun*. Colorado, Sirens, Touch of Grey^, Fire, Back Home Again, Walking on the Moon%, Vertigo, If You’re Gonna Love Someone, Fork in the Road

* Power outage on stage
^ Grateful Dead cover
% The Police cover

Infamous Stringdusters photos by Zach Culver

Returning to the Palace Theatre stage for the third time, Greensky Bluegrass celebrated the pending release of Stress Dreams, which was released 30 minutes after the band took their final bows. Songs from the album, included the catchy “New and Improved,” “Monument” and “Worry For You,” which had its live debut this evening. Greensky Mandolinist Paul Hoffman noted early in the first set, “We made a plan to play this show a long time ago with the Infamous Stringdusters, and so far the plan is working.”

A rarer tune, “Bont’s Breakdown” was performed for only the fourth time in the last 12 years, with fan favorites “Go it Alone” and “Living Over” closing out the first set with a 1-2 punch.

photo by Zak Culver

A new arrangement of “Old Barns” led to one of the top jams of the night, with the visually explosive light show from Andrew Lincoln offering the perfect dose of psychedelic luminescence to layer over the band. “Take Cover” and “Tarpology” both left plenty of room for improvisation, entrancing the audience as they filled every minute. The show concluded with another Stress Dreams track, “Until I Sing,” with the audience praising the band one last time before heading out into the bitter winter night, a little warmer thanks to The Infamous Stringdusters and Greensky Bluegrass. Stream the show via Archive.org.

Greensky Bluegrass setlist via Camp Greensky

Set 1: Jaywalking, New and Improved, Do Harm, Train Junkie, Worry For You*, Bont’s Breakdown, Do It Alone, Living Over
Set 2: Monument, Beauty and Pain, Old Barns^, Kerosene+, Take Cover, Against the Days, Tarpology, Windshield
Encore: Until I Sing
* debut
^ new arrangement
+ “Let it Grow” (Grateful Dead) tease

Greensky Bluegrass photos via Zak Radick
January 22, 2022
Zac Brown Band Summer Tour Includes Stops at SPAC, Citi Field, and Endicott

Zac Brown Band has announced their “Out in the Middle Tour” for summer 2022, including stops at Saratoga Springs Performing Arts Center (SPAC), Citi Field in Queens and En-Joie Golf Course in Endicott.

The “Out in the Middle Tour” will showcase the band’s old-school country roots and southern-rock style, serving as an ode to their country pride and life’s simple pleasures. Joining the band once again will be Caroline Jones, who performed as a special guest during “The Comeback Tour.” Zac Brown Band also welcomes Robert Randolph Band as the opening act on select dates throughout the tour.

Performing in front of millions of fans around the world is one of the most electrifying and humbling feelings. We’re so excited to go back out on the road and keep the unbelievable momentum going from ‘The Comeback Tour.’ It’s been such an incredible year for the band, debuting some of the best music we’ve ever made, and we are thrilled to continue playing live for our amazing fans.
Zac Brown

ZBB will make three stops in the Empire State this summer, starting at SPAC in Saratoga Springs on Thursday, June 2, Citi Field in Queens on August 18, and at En-Joie Golf Course in Endicott, just west of Binghamton on the Susquehanna River.

Tickets go on sale to the general public beginning Friday, January 21 at 10 AM at ZacBrownBand.com. Zac Brown Band will offer VIP packages for each show that include premium tickets, access to the Uncaged Lounge with complimentary wine, beer & appetizers, an exclusive VIP gift item & more. Package contents vary based on offer selected. Fans can visit VIPNation.com for more information. The “Zamily” Fan Club pre-sale will begin on Tuesday, January 18 at 10AM, followed by the simultaneous Spotify and Live Nation Pre-Sales on Wednesday, January 19 at 10 AM. For tickets or more information please visit ZacBrownBand.com.

https://www.youtube.com/watch?v=4iNTErjy1Xk

Zac Brown Band “Out in the Middle Tour” 2022 Dates

Friday, April 22 – Greenville, SC – Bon Secours Wellness Arena+

Saturday, April 23 – Charleston, SC – Credit One Stadium+

Friday, May 20 – Oklahoma City, OK – Paycom Center+

Sunday, May 22 – San Antonio, TX – Real Life Amphitheater

Thursday, June 2 – Saratoga Springs, NY – Saratoga Performing Arts Center+

Friday, June 3 – Toronto, ON – Budweiser Stage+

Friday, June 17 – Atlanta, GA – Truist Park+

Friday, July 8 – Akron, OH – Dowed Field*

Saturday, July 9 – Chicago, IL – Wrigley Field+

Friday, July 15 – Boston, MA – Fenway Park^+

Thursday, July 28 – Indianapolis, IN – Ruoff Music Center

Friday, July 29 – Detroit, MI – Pine Knob Music Theatre

Saturday, July 30 – Mt. Pleasant, MI – Soaring Eagle Casino & Resort

Friday, August 12 – St. Louis, MO – Hollywood Casino Amphitheatre+

Saturday, August 13 – Cincinnati, OH – Riverbend Music Center+

Sunday, August 14 – Hershey, PA – Hersheypark Stadium+

Thursday, August 18 – New York, NY – Citi Field+

Friday, August 19 – Endicott, NY – En-Joie Golf Course*

Friday, August 26 – Camden, NJ – BB&T Pavilion+

Saturday, August 27 – Bristow, VA – Jiffy Lube Live+

Friday, September 23 – Virginia Beach, VA – Veterans United Home Loans Amphitheater+

Saturday, September 24 – Charlotte, NC – PNC Music Pavilion+

Sunday, September 25 – Birmingham, AL – Oak Mountain Amphitheatre+

Friday, October 7 – Jacksonville, FL – Daily’s Place+

Saturday, October 8 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre+

Sunday, October 9 – West Palm Beach, FL – iTHINK Financial Amphitheatre+

Thursday, October 20 – Seattle, WA – Climate Pledge Arena+

Friday, October 21 – Vancouver, BC – Pepsi Live at Rogers Arena+

Saturday, October 22 – Portland, OR – Moda Center+

Friday, November 4 – Los Angeles, CA – Hollywood Bowl+

Sunday, November 6 – Oakland, CA – Oakland Arena+

Saturday, November 19 – Phoenix, AZ – Chase Field**

ADDITIONAL 2022 PERFORMANCE DATES:

May 21 – Frisco, TX – Soccer Hall of Fame Weekend*

Aug 25 – Put-in-Bay, OH – Bash on the Bay*

*Tickets on-sale now

**Ticket on-sale date to be announced

^Tickets go on-sale Thursday, January 20^th

+Special Guest Robert Randolph Band

January 16, 2022
Jim Gaudet and the Railroad Boys Prepare for “Hillbilly Rock n’ Roll” Album Release

Albany’s Jim Gaudet is a folksinger, but mostly he’s a straight forward story teller, whether singing about a baseball hero, a favorite soup or a childhood love. With the Railroad Boys, Gaudet will release Hillbilly Rock n’ Roll on Saturday, January 15 with a performance at the Madison Theater in Albany.

The first single from the album, “New Girl Now,” tells a story that brings hope, for regardless of how dark and hopeless things may seem, things can change just as quickly for the better.

The journey for Gaudet began around 1988 when he went to open mics at Caffe Lena and Albany’s Eight Step Coffeehouse. Soon, covers made way for originals, among them, “The Basement of Willett Street” paying tribute to the latter’s stage crew. In time, Gaudet has become a regional favorite with a refreshing sound that resonates with listeners the first time they hear them.

Jim Gaudet and the Railroad Boys combine together for a superb harmony in their vocals and pure musicianship throughout, leading to an up-tempo experience. The band features Jim Gaudet (guitar), Bobby Ristau (bass), Sten Isachsen (mandolin), Sara Milonovich (fiddle) and Tucker Callander (fiddle).

Their unique brand of “Hillbilly Rock and Roll” has a way that makes you feel as though you’ve stepped back in time into a Texas roadhouse.

I feel that I have not succeeded if I walk off the stage and we haven’t connected. I love playing the songs and I love that it is my music that we are playing.
Jim Gaudet

The band has performed at the bluegrass festivals across the country, including Wintergrass (Seattle), High Mountain Bluegrass Festival (Colorado) and Music City Roots (Nashville) as well as 6 appearances at Grey Fox.

Stay up to date with Jim Gaudet and the Railroad Boys via their Website and Facebook.

Jim Gaudet and The Railroad Boys Winter 2022 Dates

1/09/2022 Pawling, NY – Daryl’s House Club (FREE)
1/15/2022 Albany, NY – Madison Theater (Album release show)
2/07/2022 Albany, NY – McGeary’s Irish Pub (FREE)
2/20/2022 Pawling, NY – Daryl’s House Club (FREE)
3/05/2022 Saratoga Springs, NY – Caffe Lena
3/07/2022 Albany, NY – McGeary’s Irish Pub (FREE)

January 6, 2022