Capital District queer folk/rock artist Ryan Leddick released a new single, “State of Mind,” on Thursday, May 5.
“State of Mind” fuses the acoustic folk-rock sound that Leddick regularly employed in his previous releases with synth-ladened overtures. The single marries his penchant for the simple and driving melodies of folk music with the complexities of synth-80/90’s pop.
When I was creating this song all I could think about were sold geometric shapes from the 80’s and 90’s and cutting acoustic guitar rhythms and how they balanced each other.
Ryan Leddick
Leddick calls his single a fusion of folk and synth pop but upon listening to it you might find that his booming voice and imposing percussion sound more like a rock ballad. Or we discovered that rock music is actually what you get when you combine folk and synth pop.
Photo: Mike De Socio //Design: Courtney Mann
This expansion of Leddick’s sound came after her reconnected with his guitar during the pandemic. The synth sequences were in an effort to recreate what he called the “geometric shapes” of 80s and 90s pop music. “This mixture of acoustic guitar, electric drums, and synths always seemed to paint a geometric landscape in my mind,” Leddick explained.
It might just be modesty on Leddick’s part but the most notable part of “State of Mind” is Leddick’s careening voice which when it first surges onto the track appears Adele-esque in its depth and control. His voice often quavers as if he’s getting choked up sharing something personal with us, giving his music an emotional introspection.
The hook repeats the lyrics “this is my state of my mind”. It might be slightly heavy-handed, but you certainly can’t say Leddick didn’t put his heart into it.
“State of Mind” marks his second collaboration with producer and musician Carl Blackwood of the band Bendt and Mastering Engineer Carl Staff. Blackwood also received instrumental and mixing credits on the single.
As of now, the single is expected to be part of a larger body of work Leddick plans to release either this year or in early 2023.
Rhiannon Giddens has curated a four-concert perspective series for Carnegie Hall. During the 2022-23 season, she will appear in four performances alongside a number of other talented instrumentalists.
The performances will focus on music traditions from different regions and backgrounds as well as the history of Black influence in American music. The first performance, “When I Am Laid in Earth”, will feature Giddens alongside Francesco Turrisi in Weill Recital Hall. Together, they will use a range of musical sources to showcase the wonders of classical and modern music.
The following performance will bring together banjo players Amythyst Kiah, Leyla McCalla and Allison Russell for “Songs of Our Native Daughters”. Giddens will contribute to a tale of struggle and resistance while bringing a Black female perspective.
In Stern Auditorium, Giddens and Francesco Turrisi will welcome bassist Jason Sypher for “They’re Calling Me Home”, a Grammy winning album recorded in Ireland during the pandemic.
Giddens with Francesco Turrisi
She will conclude her perspective series with a performance featuring women and nonbinary members of the Silk Road Ensemble, along with Tuscarora and Taino singer-songwriter, Pura Fé. The final show will give audiences a taste of Indigenous North America.
Giddens is an award winning singer, songwriter and multi instrumentalist that has previously performed at Carnegie Hall in 2017. Her album, Freedom Highway, was the focus of her Sing Sing Correctional Facility concert. She has also appeared alongside other artists on Hopes & Dreams, an album of lullabies written by NY parents through Carnegie Hall’s Lullaby Project.
More information on the perspective series can be found here.
Series Dates :
October 15 – 7:30 PM – Weill Recital Hall
Rhiannon Giddens with Francesco Turrisi: When I Am Laid in Earth
Caffe Lena is known for its extraordinary music and for being the longest operating folk music venues within the United States. Caffe Lena has now taken it to another level with their launch of their brand new app “Caffe Lena TV.”
The app allows easy access to live streaming concerts, archived videos, and the opportunity to be an interactive audience member by texting comments throughout the show. To download the app, just search “Caffe Lena TV” in your AppStore (iOS), PlayStore (Android) or Roku Store or click the link above and follow the instructions to sign in!
Caffe Lena launched a School of Music in 2020 which helps to carry on the folk tradition of music for students, children and adults. Some of America’s best loved songwriters have gotten their careers launched from Caffe Lena like American-blues songwriter, Sawyer Fredericks.
Caffe Lena was called “An American treasure” by The Library of Congress and is recognized for their help in the development of American music from The GRAMMY Foundation.
Check out Caffe Lena in Saratoga Springs and the world-class performers that will get your foot tapping to the music. The Caffe Lena App thanks those for supporting their non-profit venue and keeping independent music alive!
Holler stompin’ their way back through the Northeast, The Ghost of Paul Revere made a spirited stop at the historic Bearsville Theater in Woodstock on Friday, April 15. It may also have been their last.
Joined by longtime friend and frequent collaborator, Jackson Kincheloe (of Sister Sparrow and the Dirty Birds) on harmonica for the evening, the band displayed all the hallmarks and charisma that once made mainstream success seem like a “sure thing.” Playing with passion and purpose and like their lives depended on it, you could almost feel there was something more to this performance; something bubbling under the surface that the band already knew but wasn’t ready talk about yet.
They say what doesn’t kill you makes you stronger, and if that’s really true, The Ghost of Paul Revere should be ready for WrestleMania. Indeed, things have never been “easy” for the hard working alt-Americana folk rockers based out of Portland, Maine. Seemingly faced with one set back after another, things came to a literal crossroads this past Februrary in Colorado when their tour van — along with all their instruments, sound gear, swag and merch — was stolen from a hotel parking lot. With everything necessary to make a livelihood suddenly ripped away, the guys had two choices: either head back east with their tails between their legs, or take a chance and travel on into the unknown while relying on the kindness of strangers and fans. With an overwhelming show of support via a GoFundMe page set up for the band, they choose to travel on and were miraculously able to complete the tour without missing a single date. Even more inspiring, after reaching their estimated GoFundMe goal of $20,000 in just two days, GOPR gave back all extra donations, paying them forward to a charity of each band members choosing.
Riding into Bearsville on Friday, it was the first time many fans in attendance were seeing The Ghost of Paul Revere. After being treated to an intimate opening set from singer/songwriter Daniel Rodriguez, one of the founding members of critically acclaimed folk act Elephant Revival, the ‘boys from Buxton’ took the stage shortly after 9pm. Comprised of Griffin Sherry on guitar and vocals, Max Davis on banjo and vocals, Sean McCarthy on bass and vocals and drummer Chuck Gagne, GOPR wasted no time in planting foreshadowing seeds, opening the set with “Love at Your Connivence,” a song about reckoning with the emotions of walking away from someone you love. Up next came the Davis sung “Two Hundred and Twenty-Six Days” before the band welcomed an old friend to the stage, multi-instrumentalist and New York native Jackson Kincheloe. A lanky long-haired cowboy, covered in tattoos and armed with a harmonica, Kincheloe allegedly “just showed up looking like this, knowing all the songs and was ready to go,” immediately making his presence felt on the rocking, up-tempo rendition of the seldom played “Fire in the Sky.”
I lost my will to carry on the day you walked away Now I’m chained to a bottle of whiskey praying the levees goin’ break Just burn my home and take all my things, send me to the lord above Because I know on the day that the judgement comes sure as hell not going up
Lyrics from “Fire in the Sky”
A few songs in and guitar player Griffin Sherry couldn’t help but comment on how well behaved the crowd was, almost daring them to cut loose a little. It was easy for fans to do just that on one of the stand out songs of the night, an extended take on the 2015’s “Two Weeks,” which easily doubled the length of the studio recording and featured the entire band locking in on a groove lead by drummer Chuck Gagne, who appeared to be having an absolute blast playing behind the kit.
After working their way through career spanning staples like “Good at Losing Everything,” “Little Bird,” “San Antone” and “Wild Child,” Ghost of Paul Revere would introduce one of the songs they are most proud of, “Ballad of the 20th Maine” which earned them national attention in 2019 when it was named Maine’s official ballad.
Between songs, banjo player Max Davis took the opportunity to talk about what it felt like playing there that night. That there are certain rooms that have a magic about them, a rich musical history, and that this is one of them and he could feel it, stating “There’s just certain feelings and there’s no lying about it. The people that have been in this space have charted in unknowns and you just hope that you’re also charting in one of those unknowns.” He would then introduce one of his favorite songs to play, “Montreal.”
Well the grass may be greener and the scenery cleaner, but your heart never found a home; Are we growing apart or are we growing up? Are we stuck in a dream or are we waking up?
Lyrics to “Montreal”
One of the things that has helped GOPR gain so many new followers since forming in 2011 has been their tasteful selection of cover choices. Known for putting their unique Holler-folk twist on classics like “Baba O’Riley,” “War Pigs ,”Nothing From Nothing” and even newer songs like Dr. Dogs “Shadow People,” considering we were in Levon Country, a betting man would have probably placed his chips on them doing something like “I Shall Be Released,” a song GOPR has played rather frequently over the years. However, on this night, the band upped the ante and took things in a meta direction, opting to play a cover-of-a- cover in the form of “Atlantic City,” which received one of the biggest ovation of the evening.
Watch video of Ghost of Paul Revere covering “Atlantic City” in Bearsville, NY 4/15/2022
Ghost of Paul Revere would also play “Travel On,” a “yet to be named” new song that featured Sean McCarthy handling the bulk of singing duties before closing out the performance with one final bit of foreshadowing, a powerful and thought provoking song called “This is the End.”
Tell my father it was worth it; Tell my sister not to wait for me
Just don’t ask me if I’m doin’ okay (’cause I’m not okay)
Tell my friends that I love them Oh, my friends, this is the end, this is the end”
Lyrics to “This is the End”
The following day, Ghost of Paul Revere would play a show in Jersey City, NJ before making an announcement on social media Monday that nobody saw coming. “It has been a wild ride filled with an abundance of trials, tribulations and joy. When we first got together eleven years ago, we never could have imagined that we would be given the incredible opportunity to share our music with all of you for this long. Over 1200 shows, 400,000 miles, 46 states, 6 countries and (soon to be) 9 albums later, our journey has finally brought us to the here and now,” the band wrote. “Change is hard, it can be a subtle breeze that pushes you in a specific direction, or a rogue wave appearing without warning from the darkness. For the sake of our own health, our families and you, our fans, we have decided that this year’s Ghostland festival will be our last show – the end to a fantastic journey performing together – as The Ghost of Paul Revere,” the post continued, describing a mix of sadness and gratitude that comes with the decision, and encouraged fans to join them for shows as they finish their final last ride together.
“Although it may seem like it, we want you to know that “This is [not] the end.” The songs and music will always be there to share and enjoy with one another. We are excited to journey into the next chapter of our lives and will continue to keep everyone posted about our future, individual endeavors. We hope to see each and every one of you throughout spring and summer for “The Last Ride,” our final tour, which will include a number of new and exciting announcements and show additions coming soon! We hope to see you there so we can sing the songs we all love and share these final moments with you at least once more.
Love you all and thank you for believing,
Griffin, Sean, Max, & Chuck”
Following the announcement, long time fans flooded the internet with photos and personal memories they’ve shared with the band. Coming from a small town in Maine, it’s clear the Ghost had a far greater reach and meant more to people than they probably realize. Honest songs with beautiful harmonies, the universal appeal of the hard-working everyman and full of untapped potential. With a handful of new dates already announced before their final show in September, you’re encouraged to go see this band while you still can.
NYS Music would like to thank The Ghost of Paul Revere for the music, memories, good times, and for always making time for us over the years. We wish each member the best of luck and success in all their future endeavors.
4/15/22 | Bearsville Theatre | Woodstock, NY
One Set (partial): Love at Your Connivence, Annabelle, Fire in the Sky, Two Weeks, Little Bird, Good at Losing Everything, Travel On, New Song, Ballad of the 20th Maine, Atlantic City, Wild Child, San Antone
Encore: This is the End
For more photos from their final performance in Bearsville, NY, check out the galley below, courtesy of Rock Journalist and NYS Music contributor Zak Radick.
On his website J. Schnitt, a singer songwriter from Utica, references a quote from an unnamed review that refers to him as “the Bob Dylan of Central New York”. An ambitious claim, a flattering compliment and, as of now, only half true.
Dylan’s greatness was his uncompromising ability to craft songs that made his Nobel Prize winning songwriting its focal point no matter what else surrounded it. In a 2016 profile Rolling Stone said, “what set Bob Dylan apart from everybody was how he wielded language.” Depending on who you ask he either never could or never cared about making the voice that wielded that language sound “good”. But with Dylan it didn’t matter how he sang rather what he sang about.
On his newest release, Winter Gospel, J. Schnitt, delivers complex, lyrics in the best tradition of folk singer-songwriters but he does it with someone else’s voice. The album’s weakest moments are when he masks his true voice and, in turn, his true self. To be like Dylan you have to give your full self over to the music, flaws included. Only then can your virtues shine.
J. Schnitt’s virtues are his nimble guitar playing which offer up a variety of melodies that, while still keeping the album firmly ensconced in the easy listening subgenre, avoid repetitiveness and thus boredom. From the dramatic strumming of “High Crimes” to the subdued melancholy of the legato chords in “The Art of Giving Up” J. Schnitt composes songs that match his undeniable songwriting talent. And when his actual singing doesn’t, he shouldn’t run from it. He should embrace it.
In the album’s standout track, “Skipping Stone”, J. Schnitt sings “I was your skipping stone/thrown across the water/and as I sank below you picked up and grabbed another”. An analogy striking for its originality and descriptiveness. The emotional desolation of being callously replaced by a former lover told through the simplicity of a childhood pastime. It’s a feat of songwriting that should be lauded for its unique depiction of lost love. But it’s a feat that’s dampened by the contrived falsetto J. Schnitt uses when he repeatedly strains the word “thrown” to affect the sentimentality expected from the dulcet tones of singer-songwriters performing acoustic love songs. In fact, the song’s best vocals are the appealing way he coaxes “water” and “another” into rhyming. The soothing naturalness of his voice as he does so leaves you wondering what a full album of J. Schnitt’s moving lyrics sung in his real voice would sound like.
It matters that the voice he uses is entirely his own because the songwriting deserves it. In an interview with 315 Music J. Schnitt said, “it was time for me to get back to writing something from a more personal space. To look inward.” It’s a promise J. Schnitt delivers on throughout Winter Gospel.
On the introspective and crooning “What You Can’t Let Go” he isn’t just insecure but concerned he might always be. “I’m still looking for a way to shake this feeling I’ll always be wrong,” he pleads with himself. And on the album’s closer, the story song, “Rabbit in the Road” he recounts the story of his parents’ enduring relationship. Still, he continues to use the facsimile of another singer’s pitch perfect, choir boy harmonies instead of his own voice. In a well written, evocative song about the frustrating nature of insecurity or an ode to parental love and affection it’s better to communicate through the rasps, yelps, bleats, and caws of your own imperfect voice than by simply trying to sound “good”. That’s the difference between being a great singer and a great vocalist, like Dylan was.
If folk music is the language of Americana and authenticity its currency, then you can’t say anything authentic if you’re faking an accent. The people came for J. Schnitt so give them J. Schnitt.
J. Schnitt’s ballad about folk and rock legend Bob Dylan and his decision to go electric in 1965.
Warden and Co. have released their sophomore album Somewher,e following their 2019 debut Songs for Everyone. The 11 track album covers a range of emotions while helping to develop the band’s Americana identity.
Formed in Saratoga Springs in 2011, Warden and Co. have worked their way into the New York State music scene, with genuine folk influences and steady instrumentals. After starting out as children’s and family artists, frontman Seth Warden, violinist Doug Moody, and drummer Brian Melick changed trajectory to focus on a more mature genre.
This album covers a broad spectrum of human emotions and experiences: love, uncertainty, frustration, desire, fear, and compassion.
Seth Warden
‘Somewhere’ features a sweet duet with Warden’s teenage daughter, Lovella. The father-daughter harmonies go well with the slower paced instrumentals and give listeners a warm, sentimental feeling inside. It’s a comforting reminder that our parents will always be with us, no matter where we travel.
‘PSA’ is a faster paced track that keeps your attention all the way through. The fun cautionary tale warns of a beautiful, but mysterious woman that will have her fun with you and disappear. Moody’s excellent orchestral skills come through toward the end of the song as Melick’s drums provide a much needed foundation.
‘You’ve Got a Way With Love’ closes the album with a more brash sound and it’s easy to hear how the band has grown over the course of the album. Each member’s talents shine in the almost four minute track.
Somewhere is now available on all streaming platforms.
Key tracks : Somewhere, PSA, You’ve Got a Way With Love
Long Island native Jason Flashner has returned with a double album release. Released on the same day, Rocks and Roots work together to provide listeners with a complete musical experience. Rocks was made with a full band and Roots was made as its acoustic partner.
Both albums feature an 11-song tracklist, with optimistic lyrics dreaming of a better future and human resilience. This double release follows his 2014 album, Indie Tale, which displayed Flashner’s budding musical prowess. Rocks and Roots allowed him to gain a deeper knowledge of his recording equipment, while also giving him the opportunity to record all the parts for his album independently.
During quarantine, Flashner chose to immerse himself in the recording process, in an effort to learn more about the equipment and instruments in his studio. After conducting research to see how he could improve his environment, he came to realize that he had more than enough material for an album and chose to express his new found knowledge through these recent projects.
“Alive Awake!” draws listeners in with its upbeat, friendly instrumental. The lyrics contain such an earnest appreciation for life that you can’t help, but to think of all the positives in your own life. This catchy album opener is sure to put you in a good mood.
“Timing”’s relatable message reminds listeners that it’s okay if things don’t go right the first time. There will always be another chance, another opportunity, another day. The strong instrumental and faster pace injects listeners with the added strength they need to get through the day, before closing with a snappy finish.
“Better Day” showcases Flashner’s optimism for the future. This modern anthem for peace serves as the closer for both albums and encourages listeners to leave behind their greedy tendencies. Slower paced instrumentals really allow the message to sink in.
Levon Helm Studios was sold out on Saturday, April 4th, for a visit from some of Montreal’s finest: Leif Vollebekk, with opener La Force. The show also featured appearances from Cindy Cashdollar and Patrick Watson. This dynamic cast of musicians put on a special show for the Woodstock crowd that lasted late into the night. The crowd was excited for the show and were entertained throughout, and for a number of first timers at the barn, they learned how alive music can feel in the barn.
Cindy Cashdollar on lap steel
La Force consisted of Ariel Engle performing solo on Saturday night. Her set was a perfect way to open the show; the crowd was captivated by the ethereal combination of Ariel’s voice and guitar, and from the first measure she took full control of their attention. La Force created a unique atmosphere, the room was filled with a calmness that was balanced by a fragile tension in her voice. The hauntingly beautiful combination of Ariel’s voice and guitar can be heard in her live version of ‘Can’t Take’ in the clip below.
After La Force, Leif Vollebekk took the stage and from the start he was one thing: connected. Leif was connected to his music, through his body, to his instruments, and to the sounds he and his band make. During each song of his set Leif would visibly lose himself to the feeling of his music. When playing guitar on his feet, Leif would never stay in one place. He would flow to and from the microphone as he needed, bouncing in and out of different sections of the songs. Even when seated at the piano, Leif would rock back and fourth: leaning, twisting, and bending, all to play the notes exactly as he feels.
This connection to his music is no more apparent than during ‘Hot Tears.’ Close fans of Leif knew the moment this song was coming on Saturday night, as he laid his guitar down on the floor, with the headstock pointing away as he sat down at the keys. This was to leave the guitar in a convenient place for the moment in the song when he picked it up and to solo, calling and responding to himself on the keyboard. In the clip below, you can fast forward to minute 10:33 to watch Leif perform ‘Hot Tears’ for KCRW. Just after minute 14:30 is when Leif picks up his guitar and puts on a clinic in playing with feel.
Leif’s set was dynamic throughout, and his energy level flowed up and down with each song. The set’s energy trended upward as the night went on though, and the build up took off as the band rocked Levon Helm Studios with ‘Blood Brother.’ The regular set was closed out at its peak with ‘Transatlantic Flight,’ another song off Leif’s latest album: New Ways. The energy of this song would be matched only with the final song of the encore, when every musician in the building took the stage for a cover of Prince’s ‘Purple Rain.’ This proved to be a truly special ending to another incredible show in Woodstock.
Leif Vollebekk will be wrapping his American tour in Pennsylvania, New York, and Massachusetts before heading to Europe. See all of Leif’s upcoming tour dates on his website. To catch any future announcements, be sure to follow him on Instagram @leifvollebekk. Stay up-to-date with La Force by visiting laforceband.com and following Ariel on Instagram @laforceband. For upcoming shows at Levon Helm Studios, visit levonhelm.com.
Setlist (partial): East of Eden, Into the Ether, Big Sky Country, Never Be Back, Apalachee Plain, Long Blue Light, Tallahassee, Blood Brother, Hot Tears, Transatlantic Flight
Guitarist, songwriter, and singer Jim Miller of the band Western Centuries passed away unexpectedly from cardiac arrest while on tour in Boston last week. Miller was 69 years old and his passing has been felt hard on the Americana and acoustic roots musical communities. Outside of his songwriting in Western Centuries, known for its biting social commentary and insightful phrasing, Jim Miller was a founding member of Americana pioneers Donna the Buffalo and also collaborated with musicians like Dirk Powell, Rosie and Richie Stearns, Jim Lauderdale, Ginny Hawker, and Tim O’Brien.
Western Centuries was formed around three very different, but complimentary, songwriters: Jim with Cahalen Morrison and Ethan Lawton from Seattle. At live shows, the three would trade instruments, swap leads, and share the stage in a manner unusual for most Americana and country bands. Part of this stemmed from Miller, who loved to perform, but was always humble and soft-spoken about his own contributions to the music and the community.
Jim Miller was born in Boston in 1953 and lived for a time in Colorado. As a child, he spent much of his boyhood on the Canadian prairies around Saskatchewan, singing in the Saskatoon Boys Choir and getting introduced to roots music through his parents. An early experience at a Jimi Hendrix concert and exposure to the folk music concert series at Yale University brought Miller deeper into the fold. He later formed Donna the Buffalo with Tara Nevins in graduate school and was a key member of the band for fifteen years, touring heavily throughout the country. Miller cut five albums with Donna the Buffalo and was a key part of their early sound.
He was also a respected lepidopterist (scientist who studies moths and butterflies), earning a PhD from Cornell University. Though he toured all across the United States and over to the United Kingdom and Europe with Western Centuries, his lifelong quest for understanding moths took him to even further corners of the globe; he was especially an expert on moths in South America. In addition to all the music fans left mourning by Miller’s passing, there are also many in academia who are speaking now in remembrance of how he influenced them directly and encouraged their careers.
Miller ended up meeting Cahalen Morrison and Ethan Lawton at jam sessions around the town after moving to Seattle. The three formed Western Centuries as a way to explore an urban nexus of country that drew from their own roving influences, like Morrison’s Southwest origins, Lawton’s interest in early soul and reggae, and Miller’s groove-laden history of song building. The band recorded four albums with Free Dirt Records with their most recent album, Call the Captain, released in 2020 and called “truly diverse” by Rolling Stone Magazine. The band had just finished recording a new album when Miller tragically passed away.
M. Ward graced Levon Helm Studios with his presence this past Sunday, March 27. The singer-songwriter, and fans alike, waited two years for this Woodstock show, and the wait only made the night more special. For folks who have seen a show at Levon Helm Studios, you know just how incredible the venue’s acoustics are, and M. Ward played the barn’s walls like they were instruments. He opened the show and silenced the crowd without speaking a word.
Ward began with ‘Duet For Guitars #3.’ This started the night off perfectly by showcasing some of Ward’s most intricately dynamic guitar playing. His pinch harmonics resonated beautifully throughout the studio, and his individual style of strumming filled the room with chords that sounded too full to have been made by a single guitar. The crowd erupted after the song ended and they had their first glimpse into what was in store for them.
Ward then rolled into one of his most popular songs with ‘Chinese Translation,’ which allowed his voice to take center stage and play with Levon Helm Studios’ walls. You can take a listen to M. Ward’s 2011 performance of the song that he did for Kink FM in the video below. This clip is a great representation of just how smooth Ward is, both in his guitar playing and in his singing. At times during the show on Sunday, Ward would step away from his mic entirely and allowed his voice to carry itself throughout Levon Helm Studios. There are few venues, if any, that can compare to the sonic experience in this setting with a musician as skilled as M. Ward.
M. Ward played his first of two covers for the night with his rendition of Buddy Holly’s ‘Rave On.’ He slowed things down in the best way possible, and truly made the song his own, almost unrecognizable from the original. Ward’s second cover was one that caused an interesting response from the crowd. The lyrics to Daniel Johnston’s ‘Story of an Artist’ come off as humorous to some when sung in such a new tone. The song was featured on his 1983 album Hi How Are You, and its lyrics explore Johnston’s lack of support and belief in his art from his family. It is truly a sad, sad song, but what brought out the laughter seemed to be the juxtaposition of Ward captivating the crowd with his musical abilities while singing lyrics about a family telling their son that the world will never like his songs. The two observations clash, but the effect is powerful as the laughing fans soon saw and felt the seriousness of Ward’s voice.
The show’s pace picked up for the final few songs as Bat Fangs came out to accompany Ward. The group rocked the barn after an intimate set of songs, and left the Woodstock crowd on cheering on their feet for a few minutes. The crowd cheered until Ward and Betsy of Bat Fangs returned to the stage, and started the encore like the show began, with a song off Ward’s 2003 album Transfiguration of Vincent: ‘Helicopter.’ The duo would go on to end the night by fielding crowd suggestions, and settled on ‘Poison Cup,’ which managed to bring one fan to tears even.
M. Ward just finished up the last of his American tour dates until June, and will be flying across the pond to play three weeks of shows in Europe. When Ward returns to the U.S. he will be playing four shows in Texas before heading back overseas to tour the UK. If you have travel plans, be sure to check out M. Ward’s website. For future shows at Levon Helm Studios, check out their events page.
Setlist (partial): Duet For Guitars #3, Chinese Translation, Fuel for Fire, Rave On (Buddy Holly), Vincent O’Brien, Here Comes the Sun Again, Story of an Artist (Daniel Johnston), Never Had Nobody Like You, To Go Home
