Albany’s Glass Pony continue a hot streak that has seen the group persevere through a pandemic to build an audience and unique sound, and return from the studio with a strong sophomore album, Nowhere Daydream.
Comprised of Chanda Dewey (drums), Eddie Hotaling (guitar, lead vocals), Jeff Picarazzi (bass), and Greg Pittz (lead guitar), Glass Pony has used the last two years wisely, honing their craft in practice and performance, preparing for the return of live music and hitting the ground running. Expanding their touring area to Central New York and the North Country puts Glass Pony on an upward trajectory, fueled by Nowhere Daydream.
The album begins with the Hotaling composition “North Bound,” giving an early Ominous Seapods feel to the album, which dips quickly into a track that has quickly become a fan favorite, “Something Good.” The first notes to the album’s first single have a “Let’s Dance” intro vibe, a soaring guitar hook throughout from Pittz and serves as an upbeat post-pandemic anthem for an uplifting 7+ minute ride, .
“House on a Hill” has a happy, upbeat jamgrass vibe, with lyrics by Keith Drinkwine. “Mortimer” brings in a “Wife Soup” feel in the intro before entering a swing-revival section – this fiery instrumental segues neatly into the brief and ambient “GN-z11.” The guitar groove of “St. Atocaster” from Pittz fits snugly into a pocket created by Picarazzi and Dewey, a track that captures the Glass Pony sound that has developed these past three years.
Nowhere Daydream was recorded at Jellystone Park in Pound Ridge, NY; Blue Sky Studios, Delmar, NY; and Glass Pony Stables, Albany, NY. The album was mixed and engineered by Eddie Hotaling and mastered by Raelynn Janicke at Infrasonic Mastering, Nashville, TN. Matt Richards (Annie in the Water) is featured on keys on all tracks, with Will Hayes playing cello on “Lunar Flare.” Visit Glass Pony on Bandcamp.
Key Tracks: Something Good, Mortimer, St. Atocaster
Glass Pony will hold an album release show on May 21, 2022 at Parish Public House (388 Broadway, Albany. Tickets are $15, with 3 sets and doors at 7. Tickets are available via Glassponyband.com or guthriebellproductions.com
This summer, founding Grateful Dead member Phil Lesh will make his return to Bethel Woods Center for the Arts. And he’s bringing a few friends along with him. Phil Lesh & The Midnight Ramble Band will play one night on Saturday, August 20. It is slated to be part of the venue’s “Woodstock Anniversary Celebration” which will commemorate the 53rd anniversary of the iconic music and arts festival.
In addition to performing with the Dead at Woodstock, Lesh also made an appearance here in July of 2006. The second set included a sit-in from Phish guitarist Trey Anastasio on songs that were performed at the original festival in 1969 like “Dark Star,” St. Stephen,” and “Turn On Your Love Light.”
Lesh’s last appearance at Bethel Woods came in 2019 at Mountain Jam. Phil and Friends trotted out a cover of The Band’s “Chest Fever,” played the first ever “Midnight Highway” and closed out their set with an “Uncle John’s Band.”
This year’s band is dubbed The Midnight Ramble Band, in a nod to Levon Helm’s nearby legendary barn and its late night concerts, and will feature Amy Helm, Jim Wider, Brian Mitchell, Adam Minkoff, Steven Bernstein, Larry Campbell, Teresa Williams, Connor Kennedy, Shawn Pelton, Tony Leone, Erik Lawerence, Jay Collins and, of course, Grahame Lesh.
Tickets go on sale tomorrow at 10 am through Ticketmaster.
Caffe Lena will host the first annual Sing In The Streets music festival on May 22 to celebrate the venue’s 62 anniversary.
Music will take place at six sites in the historic downtown Saratoga Springs neighborhood, with each site having display photos and memorabilia associated with each decade of the venue’s operation.
Carolyn Shapiro, a Caffe Lena staff member and one of the performers for the afternoon, spoke in a statement about the festival. Shapiro also won an Eddie Award for Folk/Traditional Artist of the Year.
Sing in the Streets celebrates our venue’s history but it’s also a celebration of the community that helped our historic venue survive the turmoil of the last couple years. We’re encouraging people to visit every stage and get their Folk Passport stamped for a chance to win an Emcee Membership, which entitles you to two free shows a month for an entire year,
Also, Kira Favro, Caffe Lena’s Board President, spoke of the anniversary celebration.
We have a lot to celebrate this year. We marked our 60th during the peak of the pandemic. Now it’s time to gather in person and enjoy music and survival. Caffe Lena has a long history, but its future is going to be even longer.
The festival features various musical styles, like pop, country, folk, bluegrass, and children’s music. The festival is free, but people can donate to support Caffe Lena’s community services, like free shows for kids, music in nursing homes and homeless shelters, free music lessons, and more.
Pigeons Playing Ping Pong [PPPP] has experienced a momentous April and May in 2022 including the release of their latest album, Perspective. At the album release party at Brooklyn Steel, friends both on stage and off celebrated. This upcoming weekend marks the commencement of Domefest for the 12th year in production.
Rainbows Outside, Rainbows Inside by Em Walis
PPPP bassist Ben kept contact with Em Walis over the first two weeks in April about the creative process, rituals for wellness, farming, rainbows, Perspective, and their festival Domefest which is happening this weekend, May 19-21 at Legend Valley. Special commentary is provided by members of the PPPP fanbase affectionately nicknamed “The Flock” as well as Funky Dawgz saxophoinist Tommy Weeks and the gal changing the bass game, Karina Rykman.
Framework
Three conversations with bassist Ben Carrey coincided with three events. The first conversation occurred the week before the Perspective release. The second conversation happened two days after PPPP performed at Brooklyn Steel. The final chat happened the following week after PPPP played Brooklyn Bowl Nashville.
Each interaction with both Ben and the PPPP community at large illuminated more and more understanding as to why so many people choose PPPP for priority declaration and lifestyle identity. Commentary and elaboration follows each conversation.
At The Front Of The Flock. Perched on the rail. By Em Walis
Commentary On The Quest For Perspective:
Why this band? What is it about PPPP that compels someone to declare themselves a part of “The Flock”? How did this epiphany happen anecdotally for members of The Flock? These questions have no bias and could be asked to any dedicated fan in regards to any artist they plan their sacred and few vacation days around.
The current landscape for music provides what feels like infinite options available for dedicating a lifestyle to. New flavors of musical genre fusions, coinciding side orders of artist side projects and mini super-band collaborations form on what feels like a daily occurrence. Smaller festivals catered specifically to citizens of that community have been popping up everywhere. Streams and communities allow some to participate without traveling outside of their county, let alone outside of the United States.
PPPP Bassist Ben Carrey speaks by Em Walis
Conversation 1: March 26 2022 Before The Shift | Pre Perspective Release
Em Walis[EW]: Thank you for taking the time! Where are you right now?
Ben [B]: No problem! I am on a walk to get coffee now at home in Maryland.
EW: How do your routines differ from home versus being on the road?
B: At home, my main focus is this small farm where my wife and I live.. There might be metaphorical cultivating to do on the road, but there is not much room for physical crops. Finding routine for being at home and while on the road are equally important. Not finding touring hacks for prosperity and longevity in what could be a detrimental hamster wheel lifestyle.
EW: What are you growing?
B: Right now we have kale, other wintered greens, potatoes , as well as both white and red clovers. Clover isn’t a harvest crop, just ground coner between rows. We are also working on composting. I love it.
EW: What kind of advice do you have for someone that is either new to touring, or seasoned and seeking a better sense of existence?
B It is extremely important to have healthy routines. I recommend that anyone on the road carve out 5 minutes of quiet breathing before a show and 10 minutes of stretching after. It is not a big commitment but can make all of the difference. Greg is known for his post show routine. He is always full of smiles after a show, takes a shower, cleans up his guitar, does office work then goes to bed. The most he will differ from this would be getting a slice of pizza.
I recommend that anyone on the road carve out 5 minutes of quiet breathing before a show and 10 minutes of stretching after. It is not a big commitment but can make all of the difference.
Ben
EW: I can imagine that it can be easy to let certain aspects of your wellbeing go to the wayside amongst the constant motion that is being on tour.
B: It is all about finding what you need. Each person has different needs and to find attainable ways to feed that. Things like yoga and meditation can be great for dealing with issues like addiction which runs rampant in music. We discuss many of these topics on the podcast I have with Luke Bemand from Lespecial called Back2Bassics.
EW: Very cool. I hope you get to soak in your time at home before the upcoming excitement begins. Would you like tell me a little about what you have coming up?
B: Our new album is about to come out, we have a really exciting release party planned for Brooklyn Steel. Our friends TAUK are opening. It should be a great time. After that, we go back on the road. May 19-21 willl be Domefest which has some of my favorite artist like Lotus and Spafford.
EW: Excellent! Tim Palmieri has been doing such a great job with Lotus. I saw Karina Rykman is on the lineup. She is fabulous. How was touring with her?
B: Karina was a complete pleasure to have on our last tour. She really brings that positive energy similar to Marco [Benevento’s]. You can listen to some of my conversation with her on the podcast.
B: There are no overlaps in sets which means if you miss something, that’s on you. We aim to minimize the heartache here.
EW: Speaking of heartache, the day is March 26 and it would feel dishonorable to not mention the untimely passing of Taylor Hawkins. I know the news is still very fresh, but would you like to comment on this?
B: Taylor’s passing hit hard. The band actually comes pretty close to home for us. Jeremy’s dad was the was Dave Grohl’s orthopedic doctor while on tour. The Foo Fighters have had Jeremy’s dad up on stage to sit in for a song on multiple occasions. I’m sure you can find a video on youtube somehwere.
EW: Wow. That is wild. I will look this up as soon as we get off the phone. Thank you for speaking on this and sharing that extremely fun fact. It seems it has hit hard for a lot of people and that there is something to be said about doing everything possible to have a positive impact on those around us.
BI like to think that when great energy is released into the world, it becomes a better place.
EW: Thank you. That is a really refreshing way to look at loss.
Like father like son by Em Walis
EW: Not to try to crack jokes in order to break up a sad moment, but what a beautiful Perspective you have. Not getting back on track, what does the recording process look like for PPPP? Was this one different in any way?
B: Ha! I see what you did there. It is in fact, all about perspective. [Perspective] was tracked pretty quickly, though putting it all together definitely took some time. We put the drums down first and use the best take from that. We build off of those tracks and add layers. We could only get into the studio here and there. I am psyched on the song “Water.” It has a cool vibe with different sonic textures imbued throughout. “Elephante” features this Nashville brass band called Here Come The Mummies. We have a music video from that track.
EW: Super cool! Well I know we did not have a whole lot of time today, but I wanted to thank you for the introduction and I look forward to talking to you after the album release party?
B: Looking forward to it all!
Commentary 1: Contemplating Cultivating Wintered Greens and Home Routines
Greg shows up by Em Walis
It appears that PPPP do a lot of work individually to help improve their chances for showing up for the band in their best possible form. Having mindful routines and practices cultivate creativity, open-mindedness and good communication.
In dark times, it is all too easy to tend towards automatic negative reactions to any input. The desire to tune out or numb out. Letting the wind beneath our wings fall away can be normal, especially in the wake of such isolating times. It does not have to be this way.
Perspective is readily available and we have the power to choose. How we think about a situation, the behaviors associated. Narratives we tell ourselves and others reinforce similar feedback loops. It might be difficult to molt old beliefs, but over time, new instinctual responses occur, and a better example can be set for others.
PPPP Perspective Album Cover
PPPP have taken the endless void of shutdown and created a space for practice, looking at the feelings that would have been directed towards despair as an opportunity in order to improve their own sense of self-care and wellbeing. The finite resource of mental bandwidth and physical energy typically poured into touring provided a magnified fountain for energetic resource in the studio. Ben provided a great reminder of how small practices, repeated over time can improve the way we show up creatively and for those that we care about.
Karina Rykman flies with the flock by Em Walis
Guest Commentary: Karina Rykman Weighs In
When asked about her experience with Pigeons Playing Ping Pong, bass sorceress Karina Rykman had this to say:
I will never forget how kind and welcoming PPPP was to my band and crew, and the lengths they went to to make our daily lives better while we spent a month on the road together.
Karina Rykman
“I will never forget how kind and welcoming PPPP was to my band and crew, and the lengths they went to to make our daily lives better while we spent a month on the road together. They truly went above and beyond at every turn – sharing greenrooms, having us sit in, giving us their hotel rooms in Crystal Bay when their bus was leaving for the night, etc etc. They are truly one of the nicest touring operations, with everyone on their crew being spectacular at their jobs and hilarious to hang out with, respectively. I had no idea what to expect, and I’ve walked away with huge admiration for those guys. They take their craft wildly seriously – rehearsing new material every soundcheck until the minute they have to be done, and then rehearsing more in their practice room. I’m thrilled to be a part of Domefest and I can’t wait for our crews to be reunited!”
April 10 2022: Experiencing The Shift | Double Rainbow Album Release Party
Dramatization: This double rainbow was not taken at Brooklyn Steel by Em Walis
EW: How was your experience surriounding the album release party?
B: It was a really good time. Good vibes. There was like a double rainbow over the venue before the show. I remember there have been a few rainbow shows summer camp when we played the secondary sIt was a really good time. Good vibes. There was like a double rainbow over the venue before the show. I remember there have been a few rainbow shows… for example, at summer camp when we played the secondary stage. Ten minutes before we were about to go on… It’s been super hot all day to the point where like, I’ve tried having a breakfast of some gravy egg hodgepodge or other and I was laying in the back of one of our rental cars since we’d flown in and we were staying at a hotel which was like 45 minutes away. We had gotten there for soundcheck at like noon after not much sleep and didn’t play till like six or seven or something and I’m just like laying in the back of my rental car with AC on while the sun is beating down just like nauseous as fuck. This. Fucking. Sucks. I started to feel better in the hour or two before our set and then right before we go on…
Dramatization of Ben’s first rainbow show
I looked up and thought this is totally rainbow weather. I pointed to a security guard and told him to keep an eye out in that direction (opposite the sun) and let me know when you see a rainbow.. it’s gonna happen. We are literally about to walk on stage after we are announced and he goes there it is! There’s the rainbow! We walked on stage and behind this giant crowd of like 5000 people, the biggest we’d played in front to that point, there was a gorgeous, multi-hued arc of some facet of the universe saying…. We Good.
EW: That’s amazing. It was pretty magical. I was struck by the easygoing, fun atmosphere in the crowd. I had a blast that night and 3,000 frames were made without realizing. What is it about the The Flock that sets them apart from other music communities out there?
B: Inclusivity: the idea that we’re all in it together. The idea that we are all a part of the experience, its just different. We have different roles. I’m the bass player. Jeremy’s the guitarist. The audience is the audience. We’re all part of it. No one’s just observing or spectating in the flock. You’re co-creating essentially.
Moon Taxis’s Wes Bailey sitting in at Nashville show by Em Walis
I think people get that vibe and feel fulfilled. You know, creation is one of our Maslow’s hierarchy of needs. The creativity aspect. I think attending our show scratches that itch for a lot of people. It allows them to just be like, genuinely nice and genuinely want to share it.
We’ve worked hard and constantly over the years to help instill this mentality in the flock, from way back when we started the Facebook group ‘The Flock’ with the idea that our fans/friends are more than just a collection of people. We are an entity
Big leaf energy by Em Walis
EW: The negativity didn’t seem present at all.
B: The idea is, we’re all worshipping music together… it’s about proselytizing the power of Love & Music & togetherness.
Be kind Funky Dawgz by Em Walis
EW: Would you say that PPPP has a defined set of core values with which it conducts itself and its community at large and do you think it has had an impact on the ways in which folks conduct themselves?
B: The values of the band are obvious so those that are that are with you know why they’re with you. Two things we are certainly all about are valuing kindness and spreading positivity. Greg wore “be kind” on his [flocking] shirt on Saturday because… it’s not hard. We’re humans; we make mistakes. So just be kind to others, as well as to yourself. I think that shows through.
EW: This is all great stuff. Thank you and I will be in touch!
B: Anytime.
Commentary 2: The Brave Little Roll of Toilet Paper
Find a place safe to expose weaknesses by Em Walis
At the album release party, there was a ritual performed that at its surface might seem pretty silly. With an open mind to a fresh perspective, unraveling an entire roll of toilet paper could represent much more than a tool for bathroom emergencies. The delicate paper with tiny ribbed areas for easy tearing was held up for quite some time by many fans. The way the white paper glowed with such vibrancy was striking. The vulnerability and willingness to expose our areas of weakness, allows for more joyous color to enter the room. The decision to remain all coiled up with hundreds of protective layers might mean a little more resistance to spilled beer, but it lacks the ability for personal growth, or in this case, length.
Being at a PPPP show is all about mindset and how you show up. The experience is about showing up ready to have a good time, let loose and ecape from outside roles and responsibilities. What you wear, how you dance and who you are is accepted immediately. The crowd is welcoming and full of more smiles and fewer phones.
Guest Commentary 2: Tommy of Funky Dawgz and Sophistafunk
Taking care of each other with loving kindness is a practice that could help improve the overall landscape of live music. After sitting in with PPPP at the album release party, Funky Dawgz and Sophistafunk saxophonist Tommy Weeks shared his thoughts about how artists can help support each other better.
“Artists supporting artists is a great way to make for a kinder music community. There is so much room for different styles of music and so many people consume music on such a wide spectrum. There should be no competition. Promote each other’s releases, videos, and successes. Musicians are in a spot now where everyone wants to go out and see shows. Promote each other. Also more importantly, educate younger musicians. We all had music teachers; I see it as a duty of professional musicians. Inspire young musicians like you were inspired, we all have stories of great music teachers that we remember from when we were younger. Give the kids some stories to tell about you.”
Don’t know the Dargz? Now you do.
Conversation 3: Many Hats and Many Wraps
“These guys always put me in my happy place” – Uncle Kendall
EW: Your touring photographer Kendall McCargo has been a real pleasure to shoot with. What is it like having someone like him on your team?
B: Kendall is a hard worker and fantastic photographer. Everyone on the team works hard, but he works the hardest. Always going. Always helping us look and feel great.
Many Hats by Em Walis
EW: I have noticed that you are often wearing different hats throughout the show. This feels significant. Can you describe your relationship with “many hats” both physically and transcendently?
B: I suppose the hat is a representation of the ego/of a hat that we take on as we are born into this world and by changing it so often I remind myself that I am simply the wearer a hat or of an experience of a body… I’m not the hatbody experience itself!
Guest Commentary 3: Let’s Ask The Flock
Flock dedication by Em Walis
Gavin And His Fresh PPPP Tattoo Might Have Something To Say
Flock member Gavin was happy to share his story about how PPPP took center stage in his life during a tough time. “So in 2019 I went to Peach Fest, and they played one set and I was like, Okay, this is it. This is cool. I kept going and go and go and go into shows and about 25 shows. I was like, this is everything. This is it. this is everything.
I paid it back with my energy on the rail the best I could. I got right up front. You know, we needed it. They needed it.
Gavin of “The Flock”
Then COVID hit. I turned the streams on. They were my heavy jams. You know, the world’s still gonna be good one day just not today. We went for a drive-in show and I paid it back with my energy on the rail the best I could. I got right up front. You know, we needed it. They needed it. Crazy. So then I went to another drive in and then another so then I went to Domefest and got my poster signed. The Security guard went back and I was able to meet Ben and Jeremy and it meant the world to me“
Coop shares his chair by Em Walis
Coop
One moment observed at the Perspective release party encompassed everything important to the world of PPPP. When an entire beer rained upon the crowd beneath the balcony at the Brooklyn Steel, a young man with a very broken leg put this belief into practice. Temporarily injured and grounded Flock member Coop was asked to recount what happened.
“I forgot about that! I felt so bad for her! half a beer was spilled on this poor woman and just kept dripping on her from above and no one was doing anything about it. No one should have to put up with that especially if you are handicapped. I couldn’t just sit and watch that happen. It doesn’t matter that my leg was broken. I’m a young kid and my other leg works just fine! I offered up my seat and then went to make sure they cleaned it up. It was the least I could do. It took a while and I had to bug security a few times but they eventually got someone up there to mop it up.”– Coop of “The Flock”
I couldn’t just sit and watch that happen. It doesn’t matter that my leg was broken.
Coop of “The Flock”
Vibrancy derrived from kindness by Em Walis
After hearing the story of the raining beer, the obvious next thing to do was ask Coop about himself, his experience at the show and what his relationship with PPPP looked like.
“I’m just a dude with an afro and a broken leg who is a fan of PPPP. my name is Coop and I am a marijuana extractor out in Colorado. The show was spectacular and the new album is awesome! My favorite song on it is probably water. The community as a whole is much like the deadhead crowd. Weird and wonderful and kind. I feel at home within the trippy scene. I can show a more authentic side of myself and have the freedom to be me. Good vibes all around. Loved yours! You can use whatever you want in your article. I would love to read it when its done!“– Coop
I can show a more authentic side of myself and have the freedom to be me. Good vibes all around.
Coop of “The Flock”
Taking the TP metaphor to the limit by Em Walis
Commentary 3: Wrapping It All Up… Wait, What?
Without fully knowing about Here Come The Mummies,, or that they were based in Nashville, the idea about the toilet paper ritual had already formed. It was thus with complete shock and utter disbelief when, there it was, a group of people collaborating creatively while quite literally wearing what many use, toilet paper, for making mummy costumes!
Repetition of words like “kindness’ and themes about improving the lives of those surrounding came up with every participant. The sampling of PPPP community members speaking of their values in similar terms provide evidence to infer the true strength and shared belief system among a larger population of fans and associated artists. While this may seem like a no-brainer, not all music communities have maintained synchronicity with this level of cohesion.
Gavin’s story was striking because the proclamation story of shutdown and streams helped so many find their community in music. Livestreams truly helped know what day it way. Playing pretend festival during couch tour evoked a sense of normalcy and hope. Many friendships were formed on forums and online platforms. The story was not one that could only be applied to PPPP which indicates that despite difference in musical preference, common ground can be found among music fans that transcends genre.
Some takeaways from this experience: Show up. Breathe for 5 minutes before you do something important. Don’t take life to seriously, at least for the few hours during the show. Trust that you will be welcomed with open arms. Take care of yourself, take care of others. Make it to Domefest if you can. Give Perspective a try by all meanings of the definition.
By 1980, the Grateful Dead certainly didn’t feel like a stranger at Nassau Coliseum. The band had played ten shows at this arena already, five in 1973 and another five the previous year in 1979. However, 1980 would only see a single three-show run at Nassau. With the Brent Mydland era now fully initiated and underway, we take a look back at this opening night of the run on its anniversary, aided by a sterling soundboard recording.
The 1980 Nassau run kicks off with an “Alabama Getaway” that does nothing to wane the excitement present in the building. Some lively Brent Mydland harmonies and a few short but spirited guitar solos from Jerry Garcia highlight the opener that never really stops and instead instantly veers into a “Promised Land.” Bob Weir mans the vocals on the Chuck Berry cover and, by now, Mydland’s Hammond organ is fully turned up in the mix in a big way, adding a palpable layer of soul.
After that spirited 1-2 punch to open the show, the Dead then slow things down in a big way with a “Candyman” that hits all the right notes, with the band taking a delightfully patient approach to this live show staple.
Things then liven back up as the band takes a musical trip south of the border, so to speak, with an interesting “Mexicali Blues” and “El Paso” pairing. Bassist Phil Lesh throws down some stellar fills on “El Paso” before the Dead bring things back to the States with a “Tennessee Jed” that gets a roaring endorsement of approval from the Long Island crowd. “Jed” is played to perfection and after some brief deliberation, they jump right into “Let It Grow,” the second part of the esteemed “Weather Report Suite” that made its live debut at Nassau Coliseum nearly seven years ago. This elicits a brief but mesmerizing jam that sees Garica and Mydland fully in synch with one another.
They then take command of the next two songs, as Garcia lays down the opening guitar licks to “Althea” that, like much of the opening set, is played with a comfortably deliberate pace with each note serving a purpose. Lesh shines again on bass here, backing up another typical stirring Garcia guitar solo. Mydland then puts his signature raspy vocals on full display on the “Easy To Love You” that follows alongside some delightful play on the electric piano. The set then comes to a rousing finish thanks to “The Music Never Stopped” and a closing breakneck jam that sees the whole band immersed and engaged on this crowd favorite.
The second set begins with a rather funked out “Feel Like A Stranger,” a new weapon in the Dead’s live arsenal that just made its debut a few months ago at the Capitol Theater in Passaic, NJ. Weir handles the vocals with ease and the song is aided by some droning synthesizer work on Mydland’s end that peppers the song throughout. Instead of its traditional ending, they jam out the ending of “Stranger,” and rightfully so, until Garcia initiates the introduction to “Sugaree.” Garcia and Mydland, on organ now, lock in together once more on a rousing version with a jam that slowly builds in intensity.
This first show of the Nassau run then features another pairing of Dead songs, this time it’s “Lost Sailor” and “Saint Of Circumstance,” with the latter making it another song that made its live debut in New York State. The first “Saint” was played in Glens Falls in August of 1979. To slow things down once more, the Garcia-led ballad “Comes A Time ” then emerges, replete with one more emotion-laden guitar solo.
The harrowing outro jam to “Time” slowly but surely begins to increase in tempo, with Garcia fluttering all around the fretboard, until Phil Lesh rings out the signature bass line that begins “The Other One” and the Dead are off and running once more. A madcap, psychedelic journey ensues between the two main verses on this classic tune that harkens back to the days of San Francisco and “Cowboy” Neal Cassady. Once the second verse is completed, the band almost stops playing instantly and defers to Bill Kreutzmann and Mickey Hart for the “Drums” portion of the evening.
From the ashes of “Space” emerges the always reflective “Black Peter,” with Mydland once again lending a delicate touch thanks to the Hammond. The Dead then close the doors on the second set at Nassau with a couple of traditional rock and roll covers. Weir helms the vocals once more, starting with “Around And Around” and ending with “Johnny B. Goode,” rounding out a trifecta of Berry covers for the night. “Don’t Ease Me In” then served as a fitting encore for this show, with the Dead having laid the ground work for another memorable run of shows at Nassau Coliseum.
Listen to this show below or at Live Music Archive here.
View this show and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead Nassau Veterans Memorial Coliseum – Uniondale, NY 5/14/80
Set 1: Alabama Getaway > Promised Land, Candyman, Mexicali Blues > El Paso, Tennessee Jed, Let It Grow > Althea, Easy To Love You > The Music Never Stopped
Set 2: Feel Like A Stranger > Sugaree > Lost Sailor > Saint Of Circumstance > Comes A Time > The Other One > Drums > Black Peter > Around And Around > Johnny B. Goode
Performing under the pseudonym Monkeys On Ecstasy, moe. treated 350 lucky fans to a performance at Empire Underground on Thursday, May 12. With guitarist Chuck Garvey on the mend, Suke Cerulo (Schleigho, Lynch) and Nate Wilson (Ghosts of Jupiter, Blue Star Radiation), the now-sextet of musicians warmed up for the summer shows that lie ahead, with a powerful 11-song performance.
photo by Frankie Cavone
A Monkeys on Ecstasy show provides moe. with the rare chance for a club performance, making for an intimate and intense show, one that diehard moe.rons gravitated to, selling the show out within 24 hours. Hundreds more would stream the show online as well, bringing a little bit of the magic of this show to the masses. Monkeys on Ecstasy shows have been played periodically over the years, allowing for surprise treats for fans, including a 1998 performance in Utica at Captain Trips Rainforest Cafe.
Fans in the Capital District will recall the August 18, 2005 performance of moe. as The Vinnie Amico Experience, where drummer Vinnie Amico took centerstage at a sweat-stained Revolution Hall.
photo by Frankie Cavone
For Thursday night, the band began at 8:13pm with fan favorite “Happy Hour Hero” segueing cleanly into “Silver Sun” and then the ever rare “Johnny Lineup.” For 42 minutes, there was not a single break in the action on stage, and prior to a lengthy intro to “Lazarus” did the band finally take a moment to breathe and thank the audience for joining them this evening. Just prior to “Buster,” the beginning of “Rebubula” was teased, before Rob Derhak took the reigns and played the iconic bass intro to “Buster.” The set ended up with “Downward Facing Dog” and a band that was tight and familiar, as two seasoned musicians to provided an ample substitute for Garvey.
photo by Frankie Cavone
The four song second set began with the heavy as ever “McBain,” allowing for plenty of improvisation between Wilson and Cerulo and guitarist Al Schnier. A patient fade into “Brent Black” paid off with a significant ‘drums’ portion from Amico and Jim Loughlin, which found its way into Pink Floyd’s “Interstellar Overdrive” and finally the classic moe. jam vehicle, “Recreational Chemistry.” To close the night, the relatively new “Skitchin Buffalo” served as a long encore, the audience pouring out to the alley behind North Pearl Street, having witnessed a rare as ever performance.
moe. will return to the Capital District on July 6 with a free show at the Empire State Plaza. Full tour dates can be found here. See more photos at Mirth Films.
Monkeys on Ecstasy – Empire Underground – May 12, 2022
Set 1: Happy Hour Hero > Silver Sun > Johnny Lineup, Lazarus > Buster* > Downward Facing Dog Set 2: Skrunk > Brent Black > Interstellar Overdrive > Recreational Chemistry Encore: Skitchin Buffalo
The Catskill town of East Durham, NY will once again play host to Catskill Mountain Jubilee over August 11-14, 2022. Headliners for the festival include Dark Star Orchestra (performing four sets), The Disco Biscuits with two sets, Karl Denson’s Tiny Universe, The New Deal and many more.
Catskill Mountain Jubilee 2021 – photo by Em Walis
Blackthorne Resort will play host for the second annual event over August 11-14, with four nights of music starting on Thursday and ending on Sunday.
Giving back is a big part of the Jubilee community, as the festival contributes a portion of its profits to charitable causes. In 2021, over $15,000 was raised for three different nonprofits. Catskill Mountain Jubilee is brought to you by Drop the Mics and Full Circle Music Productions.
Catskill Mountain Jubilee 2022Lineup
Dark Star Orchestra (2 Sets) The Disco Biscuits (2 Sets) Karl Denson’s Tiny Universe The New Deal Star Kitchen Chali 2na & Cut Chemist Dogs In A Pile DJ Logic & Friends featuring Billy Martin, Jamie Shields, Dan Kurtz, Jennifer Hartswick, James Casey, Natalie Cressman Aqueous & Friends featuring Craig Brodhead The Garcia Project (2 Sets) Sophistafunk Mark Farina (2 Sets) Orchard Lounge Spaga DrFameus featuring Glyfiks Julia Govor Muscle Tough Kick The Cat LionDub (2 Sets) Beg, Steal or Borrow Freegrass Union Sundub Mike Greenfield Yesmann (Craig Brodhead) Baked Shrimp Rose Ganache Mizeyesis Mara SMInk Kandyshop Nah Mean?
Trey Anastasio Band played one of the newest music venues in Boston, Roadrunner, over May 7 & 8, playing a variety of TAB originals & Phish classics. The first night Trey played an acoustic encore featuring “Theme From The Bottom,” “More,” “Chalkdust Torture,” & “Harry Hood.” Highlights of the second set included dueling leads of James Casey & Trey, “Moma Dance,” “Camel Walk,” “Night Speaks to a Woman,” “Gotta Jibboo,” “First Tube,” and “Blaze On.”
Trey Anastasio Band is playing as good as ever and clearly having a lot of fun doing it. Mixing a good amount of Phish fan favorites, TAB classics, new Trey songs, and some acoustic songs the show is proven to be as diverse as it is entertaining. Setlists via Phish.net.
Trey Anastasio Band – Roadrunner, Boston, MA – Saturday, May 7, 2022
Set 1: Alive Again, Set Your Soul Free, Love Is What We Are, Magilla, Ocelot, Olivia, Camel Walk, Drifting, The Moma Dance, Night Speaks to a Woman
Set 2: Speak to Me, Everything’s Right, Gotta Jibboo, Hey Stranger [1], Liquid Time > Ghost > Mozambique, Ether Sunday, Rise/Come Together > Sand
Encore: Theme From the Bottom [2], More[2], Chalk Dust Torture[2] -> Harry Hood [3] > Chalk Dust Torture[2], Push On ‘Til the Day
[1] Debut. [2] Trey solo acoustic. [3] Trey solo acoustic; started mid song and unfinished. Cyro teased Watermelon Man before Gotta Jibboo.
Trey Anastasio Band – Roadrunner, Boston, MA – Sunday, May 8, 202
Set 1: Blaze On, Mercy, Undermind, Curlew’s Call, Tube, The Silver Light, Money, Love and Change
Set 2: No Men In No Man’s Land, Cayman Review, Simple Twist Up Dave, I Never Needed You Like This Before, Spin, 46 Days, Roll Like a River [1], Valentine, A Life Beyond The Dream
On the heels of an upcoming and ambitious new 4-album studio and film project, I Am The Moon, Tedeschi Trucks Band has just unveiled dates for their highly-anticipated annual return to the Beacon Theatre this fall.
The 12-piece rock and soul collective led by singer-guitarist Susan Tedeschi and guitarist Derek Trucks will play seven nights in New York City – September 29 & 30 and October 1, 3, 6, 7, and 8 –as part of their multi-year, dual city residency with MSG Entertainment, which also includes annual shows at The Chicago Theatre.
The 2022 Beacon Theatre shows mark the group’s 11th multi-night Beacon run, and will include their 50th lifetime show at the famed New York theatre on October 3. Tedeschi Trucks Band’s annual tenure in the Big Apple is a destination event, featuring surprise sit-ins, special guests, and set lists that go deep in the band’s catalog, becoming a can’t-miss concert experience.
The Beacon is always a place for us to stretch out and explore musical territory. We have an incredible amount of new material coming out this year with I Am The Moon and the Beacon shows will be some of the first where we’ll be able to draw from all of it and have the space to really dig in.
Derek Trucks
The 2022 residency will feature support from Amy Helm on Thursday, September 29 and Ruthie Foster on Thursday, October 6. Friday and Saturday nights will feature two sets of Tedeschi Trucks Band. This year will also be one of the few opportunities in the U.S. to catch the band live after all four albums of I Am The Moon, are released.
I Am The Moon is a creative milestone for us – and we’ve got our 50th show at The Beacon, another milestone. We’re looking forward to celebrating both and all the hard work that went into getting here – it’s not something that just happens.
Susan Tedeschi
I Am The Moon is the most ambitious studio project of Tedeschi Trucks Band’s storied career – comprised of four albums and four companion films to be released throughout the summer. Inspired by a mythic Persian tale of star-crossed lovers, and emotionally driven by the isolation and disconnection of the pandemic era, the thematic I Am The Moon totals more than two hours of music unfolding across a robust tapestry of genre-defying explorations that propel the treasured American ensemble into new and thrilling creative territory. Watch the project trailer below.
The four albums that comprise I Am The Moon — I. Crescent, II. Ascension, III. The Fall, and IV. Farewell— will be released in successive months beginning with I. Crescent. The corresponding films which combine studio and performance footage with atmospheric photography and imagery will debut three days prior to each audio release offering fans an early opportunity to digest each album in its entirety via the band’s YouTube channel.
The first film debuts Tuesday, May 31 followed by the first album release available digitally and on CD, Friday, June 3.
Tedeschi Trucks Band is Susan Tedeschi (guitar, vocals), Derek Trucks (guitar), Gabe Dixon (keyboards, vocals), Brandon Boone (bass), Tyler “Falcon” Greenwell (drums, percussion) Isaac Eady (drums, percussion) Mike Mattison (vocals, guitar), Mark Rivers (harmony vocals), Alecia Chakour (harmony vocals), Kebbi Williams (saxophone), Ephraim Owens (trumpet) and Elizabeth Lea (trombone).
Tickets for all seven Beacon Theatre shows will be available for purchase by the general public beginning at 11:00AM (ET) on Friday, May 13 via ticketmaster.com. Tickets will also be available at the Madison Square Garden, Radio City Music Hall and Beacon Theatre box offices on Saturday, May 14. Prices range from $29.50 to $135.00.
New York’s own Stella Blue’s Band, one of the premiere Grateful Dead tribute acts, will play a free show in Central Park on May 17. Starting at 4:30 p.m. at the Naumburg Bandshell on 72nd Street, the show will both raise funds for a good cause and also commemorate a Dead show at this very same location 54 years ago.
Donations can be made to Riverkeeper, which supports programs that protect the Hudson River, its watershed and the drinking water for New York State. Exclusive t-shirts featuring original art work by Jerry Garcia himself can be had for $40 donations. There’s also a poster available, done by Kenny Schneidman, for a $20 donation. Donations can be made through the event’s website as well.
The music pays tribute to the Grateful Dead’s show in Central Park on May 5, 1968. It’s one of the earlier Dead shows ever played in New York, with a rumored attendance near 5,000, but unfortunately no known recordings exist. And the exact set list is spotty as well, but can be reasonably pieced together.
The Dead were joined that day by their friends Jefferson Airplane who announced a free show in Central Park the night before at a show at the Fillmore East. The Paul Butterfield Blues Band also served as the opener, with Airplane following and then the Dead. Although the documentation of the actual set list is incomplete, there was a known “Morning Dew” played as well according to one eyewitness who also provided some detailed audio intel.
The Dead opened 5/5/68 with Bob Weir saying to the NYC crowd, “Welcome to San Francisco.” Then Phil hit the opening chords to Morning Dew on his Guild Starfire Bass, played through a bunch of Fender Showman and or Dual Showman Amplifier heads and Sunn 2000S Speaker Cabinets with 15″ JBL Speakers, reinforced through a PA with JBL and or Altec Lansing Speakers. Garcia played his ’52-early ’53 Gibson Les Paul Gold top, plugged into maybe 6-8 Fender twin Reverb Amplifiers with 12″ JBL Speakers. He had an octopus chord going to all the inputs of the amps.
– Steven Ross, eyewitness
As for the rest of the music, there’s a rumored “The Other One” that was played and sandwiched between “Cryptical Envelopment.” And “Alligator” was also allegedly performed as well, with Pigpen undoubtedly taking center stage.
And renowned Dead Head Gary Lambert, as told in This Is All A Dream We Dreamed, one of the more reputable Grateful Dead chronicles, fills in some other details as well.
“The Dead were terrific. They were the best band of the three that day… They played some of the material that would turn up on Anthem of the Sun: The Other One, New Potato Caboose, though I didn’t know those songs by name. I recognized Morning Dew from the first album. They finished with Turn On Your Lovelight, which I loved.
– Gary Lambert
Using all of this, a presumed a set list for this legendary Central Park gig might look something like what’s listed below. For more information on tomorrow’s show, check out the event website here.
Grateful Dead Central Park – New York, NY 5/5/68 (rumored)
Morning Dew, Cryptical Envelopment > The Other One > Cryptical Envelopment, Alligator, New Potato Caboose, Turn On Your Lovelight
