A festival staple of the Catskills, Mountain Jam, has recently announced the event will return in 2023. Last held in 2019 at Bethel Woods Center for the Arts, the festival, presented by Radio Woodstock and Warren Haynes, Mountain Jam will return to Bethel Woods for the 2023 installment.
The 2020 Mountain Jam lineup, which was cancelled due to COVID-19
Despite the 4 year hiatus, the festival looks to return strong, boasting four days of music on three stages, featuring more than 40 artists.
At Bethel Woods, the home of the original 1969 Woodstock Festival, Mountain Jam has embraced a wide array of musicians, with a focus on rock, jam and indie bands over the festival’s history, which started in 2005.
In 2011, Pollstar recognized Mountain Jam with a nomination for Music Festival of the Year. The Festival offers 3-day festival tickets with and without camping, premium Jammer (VIP), Super Jammer (Super VIP) and Ultimate Jammer Passes, and single day tickets. On-site camping and condos, and a variety of nearby hotels, lodges and ski chalets offer attendees a wide variety of accommodations.
Over the years, Mountain Jam has hosted some of the top names in live music, including Gov’t Mule, The Allman Brothers Band, Phil Lesh & Friends, Bob Weir & Ratdog, Widespread Panic, My Morning Jacket, Dispatch, The Lumineers, Steve Winwood, The Avett Brothers Alison Krauss & Union Station, Ray LaMontagne, Ben Folds Five, Primus, Michael Franti & Spearhead, Tedeschi Trucks Band, The Roots, Umphrey’s McGee, Béla Fleck & The Flecktones, James Murphy (of LCD Soundsystem), Robert Randolph & The Family Band, Edward Sharpe & The Magnetic Zeros, Grace Potter & The Nocturnals, Mavis Staples, Girl Talk, The Hold Steady, Coheed & Cambria, Drive-By Truckers Yonder Mountain String Band, Les Claypool, Matisyahu, Dave Mason, Gary Clark Jr., Medeski Martin & Wood, Mike Gordon, G. Love & Special Sauce, Richie Havens, Martin Sexton, Ozomatli, Galactic, Brett Dennen, Gomez, New Orleans Social Club, Jackie Greene, Ingrid Michaelson, and The Felice Brothers, among many others. In 2010, the festival presented Levon Helm‘s 70th Birthday Jubilee with very special guests Warren Haynes, Donald Fagen, Ray LaMontagne, Sam Bush, Steve Earle, Patterson & David Hood, Jackie Greene and Allison Moorer.
Trey Anastasio has released his first-ever solo acoustic album, Mercy, on Friday, March 11. The album, produced Bryce Goggin and Robert “rAab” Stevenson was engineered and mixed by Mike Fahey.
Trey Anastasio “Mercy” album cover
Music journalist David Fricke shared in the album’s liner notes, “Mercy is a genuine and surprising first for Trey Anastasio: his studio debut as a solo, acoustic singer-songwriter. The nine songs were all written in the emotional ricochet of recent, pandemic life, then recorded with the absolute purity of one man with a guitar and a microphone. There is nothing like it in Anastasio’s lifetime of albums, even after nearly four decades as the singer, guitarist, and primary composer in Phish, numerous side projects, collaborations, and the long-running Trey Anastasio Band.”
Anastasio shared “I’ve never done anything like this before.”
The past two years of fear, loss, and, at times, devastating quiet have been unlike anything many have ever known. Mercy is Anastasio’s account of that confusion and isolation in unresolved questions and conflicted passions, in a music of quietly gripping force.
Mercy also arrives just weeks after Anastasio recorded it and two years, nearly to the day, since New York City went into lockdown. Anastasio adds, “Mercy is like a bookend. It’s two years since we went into hiding. This is still going on, and it’s an even lonelier trip.” Even with the release of the Phish studio album Sigma Oasis in April 2020; Anastasio’s ‘Beacon Jams’ charity concerts later than fall, and Phish’s return to the road in the summer of 2021, Anastastio still looked inward as he wrote these songs. “Here I was, still at home, playing acoustic guitar. I thought, ‘These songs just want to be one guy with a guitar, singing.’”
The roots of Mercy go back further, to Anastasio’s first tours as a solo, acoustic performer, starting with three shows in 2017, followed by longer runs in 2018 and 2019, highlighted by a sold-out two-night stand at New York’s legendary Carnegie Hall. The setlists were largely made up of Phish songs stripped to their chord progressions, signature licks, and vocal melodies.
But I found this weird thing happening, where “Maze” worked on acoustic guitar. Who would have thought that? It’s about the jam, the organ solo. Turns out it wasn’t. It was about the lyrics and the music.
Trey Anastasio
In June 2021, Anastasio played his first shows for live fans in more than a year, with a week of solo, acoustic gigs in Saratoga Springs, and a pair of shows at the Beacon Theatre. The songs again were mostly from the Phish catalog, but the emotional exchange was, per Anastasio, “like a direct path from my heart to the audience. The honesty and simplicity of those shows – without it, this album would not have happened.”
As noted in the press release, Anastasio plays on Mercy a custom-designed guitar, hand-crafted from century-old wood by a luthier in Burlington, Vermont. McConnell commissioned the instrument as a birthday gift, presenting it to Anastasio last fall during a Phish rehearsal at the Barn. “That was the turning point,” Anastasio declares. Back in New York, “I’d get up early every day, make coffee and write these songs on that guitar.” Then while recording Mercy, “The decision was made very quickly: ‘Let me double the guitar.’ I was listening to the first take on headphones and playing off it. It was like jamming with myself.”
Mercy comes with long, deep echoes: Laurel Canyon’s golden age of woodsmoke and introspection; the confessional streak running through Britain’s folk revival in the late Sixties; the slow-dance spell and modal-guitar inventions of Joni Mitchell. A future waits in here too. “Definitely,” Anastasio replies right away when asked if he can imagine playing these songs with Phish or TAB, improvising in the psychedelic glow of “6 and 1/2 Minutes” or building on the eccentric guitar ride at the end of “Arc.” “Songs are like children,” he says. “They will tell you what to do. But when I was writing these songs, I thought, ‘I have to go direct to the finish line’ – to be able to play these songs on acoustic guitar first.”
He mentions a favorite quote that goes back to Leonardo da Vinci: “Art lives by constraint.” Mercy “is a perfect example,” Anastasio says. “One mic, one stool, one guitar. It’s a new outlet. And I love it.”
Long Island-based jam trio Baked Shrimp have announced the initial lineup for the 2022 edition of LonCon Festival. The two-night camping event, running September 8-10, 2022, will be hosted by the Yasgur Road Campground in Bethel, just a stones throw from the site of the 1969 Woodstock musis festival.
This year’s event, the second iteration of the band’s annual festival, will feature headlining appearances from lespecial and Baked Shrimp, performing two sets. Also making two set appearances are Pennsylvania based roots act Cabinet, and Brother Maker, a new project featuring former members of Turkuaz.
The lineup includes an eclectic mix of notable Northeast jam acts, including Star Kitchen, Dogs in a Pile, ElephantProof (featuring Ben Atkind of Goose), Soule Monde, Escaper, and more. The event will also see the debut performance of Aliens Among Us, an all-star lineup featuring members of Twiddle, Goose, Dogs in a Pile, and more. Drunken Doja Monkey and Doey Joey will ensure the music never stops, with both acts scheduled to perform DJ sets.
We are beyond excited for LonCon this year! We really worked hard to bring in some incredible talent from all different corners of the jam scene. Many of the performers I grew up going to see live, so having them at LonCon, and having the whole thing at Yasgur’s is really such an amazing collision of dreams coming true.
Jared Cowen – Guitar – Baked Shrimp
The festival is hosted in memory of Lon “Conscious” Gellman, a longtime figure in the northeast jam scene who passed away unexpectedly in November 2020. A portion of the proceeds will be donated to the Lon Conscious Gellman Memorial Scholarship Fund, benefiting music students at Queens College.
A limited number of early bird tickets will be available through Friday, March 11th, followed by a general on sale. For more information, and to purchase tickets, visit Lonconfest.com
On Wednesday, March 5, 1997, Phish was the musical guest at The Ed Sullivan Theater on Broadway, performing “Character Zero” on the Late Show with David Letterman.
The band had just returned from a tour of Europe a few days prior, with Trey Anastasio and Jon Fishman both sporting a post-international tour/vacation beard.
Following the performance, Letterman came over to shake the band’s hands, saying “Nice to see you again” to which Anastasio replied, “Hope you got the ice cream,” referring to the new Ben and Jerry’s ice cream flavor, Phish Food, just released nationwide a month prior. A concert at the Flynn Theater in Burlington, VT on March 18, 1997, would officially release the flavor, including an appearance by Ben Cohen and Jerry Greenfield just before the show began.
Guests on the show this evening included Chevy Chase and Mary McCormack from the ABC show Murder One.
https://www.youtube.com/watch?v=F7frkMAW6-g
One of the arena rock songs in the Phish repertoire, “Character Zero” typically is found as a set closer in recent years, putting an exclamation point on a show and extracting jubilation from fans in the song’s refrain.
I was taught a month ago To bide my time and take it slow But then I learned just yesterday To rush and never waste the day Well I’m convinced the whole day long That all I learn is always wrong And things are true that I forget But no one taught that to me yet
I ought to see the man Mulcahey
I was taught a month ago To bide my time and take it slow But then I learned just yesterday To rush and never waste the day Now I’m convinced the whole day long That all I learn is always wrong And things are true that I forget But no one taught that to me yet
Annie in the Water has released their third studio album, Sun at Dawn. After Michael Lashomb and Bradley Hester met at Hobart College in Geneva, the band has gone through a plethora of changes. Since its nascency in 2007, founders Michael Lashomb and Bradley Hester have led the band, and their newest album, Sun At Dawn, shows the band in a new light.
Beautiful & Figurative Storytelling
Sun At Dawn is a story that takes place in a tropical setting, yet it provokes much deeper thought than the sound that it embellishes. It tells a story of love and loss, and lust and gluttony, all over surf jam-rock instrumentation. An oxymoronic approach to a concept album is nothing particularly new or innovative to music at all, but it takes a certain level of mastery to execute it in a mature manner. Additionally, over what is essentially a beach playlist, this approach may be hard to execute. One can go the easy route and make an entire album over summer beach jams. However, with only a few minor criticisms to the album, Annie in the Water does an excellent job creating an invigorating piece of art.
The album starts with “Bloom,” leading with an intoxicating synthesizer and warm guitar progression that immediately hypnotize the listener. In a way, the song feels kaleidoscopic. The instruments work off of each other beautifully and transport you to a tropical setting. This is a skill that Annie in the Water demonstrates throughout the whole album, including “In The Sand,” a song about being lost in the desert.
Lyrics read “I’ve arrived it seems, but nothing here is green, no rain just shine, no roads in sight, to lead me to the land, I’ve yet to find.” They continue: “I’m lost in my plan, burning up in the desert sunset, pull the map out of the sand, although there’s nothing written there.” While these lyrics articulate and describe the situation our protagonist is in, the feeling extracted from the song would be nothing without the instrumentation’s ability to complete the story. The key the instruments work in completes the deserted feeling the protagonist feels. The guitar feels sandy and the sporadicalness of the keys adds a layer of confusion. On the other hand, the percussion and bass add the perfect amount of bounce to maintain an oxymoronic element of stoke in such a depressing song. “In The Sand” is a song about feeling lost after losing a partner you care deeply for, and it is a beautiful way to articulate this emotion.
Another song that transports the listener and contemplates an oxymoron is “Water.” Like the previous song, this song is also about losing a partner. The lead singer feels that their ex-partner is omnipresent and they feel an incredible, insatiable lust for them. They know, however, that they can never go back to them, and while this fact is never explicitly stated in the lyrics, the instrumentation communicates an entirely different story.
This song, a step away from the tropic jams on this album, also makes beautiful use of the mark tree. In every verse, the lyrics start off incredibly abstract, drawing metaphors to the rain and the moon when speaking about this person. As the verse progresses though, the lyrics get more and more real, at which point the singer eventually breaks and confesses that their former lover moved to California, a far detour from the Upstate New York-based band. At the end of each verse, however, the mark tree melodically transports both the listener and the protagonist back to a dream-like state, where they can feel free to live in the fantasy with this partner. Sounds of pouring water also play at the end of the song, suggesting this person will always be a part of this person.
Jam Bands Jam
As stated earlier, a major feat of the band is the ability to bounce their instruments off of each other. “Lights Up,” for instance, begins with a feeling of slight dissonance between the instruments. This is totally intentional; the instruments follow the same time signature, there is just a slight air in between them. Without even realizing it though, the instruments were jamming together in perfect unison. Notably, the instrumentalists seem like they are enjoying themselves and that joy is contagious for the listener.
Similarly, “In The Sand” ends in a beautiful cacophony of jam rock. The guitar solo reeks of swagger, sludge, and beautiful vibes. Accompanying it is a beautiful percussive beat and the two instrumentalists work off of each other in an infinitely excellent and masterful way. It is impossible to finish this song without bobbing your head.
Sun at Dawn definitely has a unique sound to it, however, this does not stop the listener from hearing some obvious influences, including the whammy guitar from “Seeds.” It sounds exactly like something Hendrix would have played, but Hendrix would have played better. The guitar of “Bloom,” on the other hand, doesn’t feel like a carbon copy. Instead, it more so pays a nod to Jimmy Page. In the same essence, “Water” draws a striking similarity to Guns N’ Roses’ “November Rain.”
Now, every artist wears their influence on their sleeves from time to time. My only concern for Annie in the Water is that, even though this album displays incredible personality, whether or not that personality is distinct to the album only and not the band. Additionally, throughout the album, the presence of synthesizers, for the most part, at the very least add something of value, although on a song like “Water,” an incredibly introspective song about long-lost love, can be heavy at times.
Overall, Sun At Dawn is an excellent album with some minor flaws. The band’s contagious and figurative instrumentation alongside introspective lyricism makes for an enjoyable seven-track run. Sun At Dawn is available on Spotify and Apple Music now. For more information, check out their Facebook or Instagram.
The 2022 summer concert season will kick off on Memorial Day weekend with Twiddle & Frends at the inaugural Memorial Meltdown. Scheduled to take place at the Charles R. Wood Festival Commons in downtown Lake George on Saturday, May 28 and Sunday, May 29, the Memorial Meltdown will feature two sets each night by Vermont jamband Twiddle, along with performances by Lucid, Marble Eyes and the Whiskey Dicks (with special guests Ryan Dempsey of Twiddle and guitar virtuoso Joe Cirotti) on Saturday and Roots of Creation, Sophistafunk and Baked Shrimp on Sunday.
The two-day event, produced by the same folks who bring the Labor Day music extravaganza Adirondack Independence Music Festival at the same location, will also feature a variety of food and craft vendors. Gates open each day at 1:30pm with music set to begin at 2:30pm and run until about 11pm.
Now in their 17th year, Twiddle has built an impressive resume spanning Red Rocks to Bonnaroo, and multiple sellouts of historic rock venues across the country. In the live setting, more and more people are invigorated by Twiddle’s community, promoting positivity and the band’s skillful improvisational music. So many like-minded people believe in the greater good, and they find that good in Twiddle, who donates $1 of every ticket sale to The White Light Foundation, Twiddle’s affiliate 501c3 organization. The White Light Foundation, in turn, makes financial contributions to non-profits local to where the band is playing.
Memorial Meltdown Schedule
Saturday, May 28
Twiddle (2 sets) Lucid Marble Eyes The Whiskey Dicks featuring Ryan Dempsey & Joe Cirotti
Sunday, May 29
Twiddle (2 sets) Roots of Creation Sophistafunk Baked Shrimp
Tickets for the all-ages event go on sale Friday, March 4 at 10:00am. Single-Day and 2-Day General Admission Tickets and a limited number of VIP tickets are also on sale. For more info visit memorialmeltdown.com.
*VIP tickets include: Admission to the show, a meal, snacks, half-priced adult beverages, $2 waters / soft drinks, access to a VIP viewing area (with private bar) and access to VIP bathrooms.
** $1 per ticket supports The White Light Foundation, Twiddle’s affiliate 501c3 organization. The WLF makes financial contributions to non-profits local to where the band is playing each night.
February 26, 2022 is a day I will remember for the rest of my life. The last time I was this excited to see a band for the first time was for Phish in June 2012. Just over two years since the 1/25/20 “Hot Tea” earwormed me and I dove into the Goose rabbit hole, I was finally able to see them live – and not just any show. The eighth annual Goosemas celebration at and their first ever show in an arena, at Mohegan Sun.
Mohegan Sun was absolutely bursting at the seams from the beginning of the day. I spent most of the afternoon at the PhanArt “The Hometown Flodown” show (shoutout to the El Goose Times and GrooveSafe crew) before heading into the venue a little before showtime. I was stationed with one of my Always Almost There co-hosts Neal on the floor Peter side.
Goosemas VIII was not about massive jams. It was about a single statement: this band is built for arena rock.
Three sets with nary a ballad, two debuts, and a distinct shift away from the expected songs (I hit just two of my Fantasy Goose picks that were largely comprised of longtime setlist staples). Percussionist Jeff Arevalo even remarked how he was glad they had to reschedule Goosemas from December – this gave the band the opportunity to incorporate many of their more recent songwriting efforts that had yet to be debuted in 2021.
The lights dropped around 8:15 and thousands of people simultaneously yelled “GOOOOOOOSE!”. The band walked on stage and started into holiday classic “Linus and Lucy,” Peter’s special grand piano shining from the get-go. Ripping a hot “Yeti” next, the energy in the venue seemed to grow with each note as I basked in finally hearing one of my favourite bands live for the first time.
After “Yeti” came a fantastic “Atlas Dogs,” one of the best songs debuted by the band in 2022, Peter yet again shining on piano. The sound in the room was crystal-clear, and Spuds’ tom work especially cut right through and sent vibrations through the room.
The uptempo “Echo of a Rose” arrangement came next and got my feet grooving through another fantastic jam. The big musical focal point of the night, as mentioned earlier, was Peter’s grand piano. Dominating almost every jam with its incredibly deep sound, the ivories were sounding phenomenal.
The first set came to a close with an always-fiery “So Ready” and a new, reworked “Silver Rising.”
Goose came out swinging in set two with a “Rockdale” that built to FIVE peaks and rivals the 11/21/21 version for G.O.A.T. status (note: this is a #HastyRank and is subject to change). A song that has become special to me recently, “Red Bird” (written about Peter’s mother), began with soft “Vintage Vibe” work as we all were #StraightBirdn. Continuing the theme of the night, the jam was relatively short, packed some serious energy, and faded nicely into “Rosewood Heart.” The band made the long-awaited live debut of Nina Simone’s “Sinnerman” before blasting into “The Empress of Organos” to close the set.
“Empress” is one of my favourite songs and I was OVER THE MOON to see it live at my first show. From Trevor’s bass solo to the blistering peak, I was dancing my ASS off until the end and was just about to head to the bathroom when Spuds grabbed the mic and called his girlfriend Sam on stage.
What followed was an incredibly heartfelt proposal (somehow not involving potatoes) as the whole arena cheered the two of them on.
Set three consisted of three songs, all 2022 debuts and the first three songs on the upcoming Dripfield album.
“Borne” opened the final frame, and while it lacked the extended groove-based jam of its L.A. and Seattle counterparts, Rick and Peter’s guitar/synth build seemed to stretch out forever as Andrew Goedde’s expanded arena-size light rig washed colours and patterns over the audience.
Moving next into the debut performance of “Hungersite,” the band established it quickly as a top-notch jam vehicle as the energy in the venue continued to climb higher and higher.
The jamming highlight of the show, however, would come in the live debut of “Dripfield.” The title track to the band’s upcoming album and most recent single release, this song showcases the dual-drummer attack of the band in a Peter Gabriel-esque vibe (Thank you Becky Chinman for that fantastic parallel!) that came close to shaking the walls. A jam like the San Francisco “Wysteria” but without some of the evil, Spuds’ incredible tom work pushed Rick and Peter’s dueling guitars into a churning and rhythmic groove that stretched for minutes (#HastyRanking as a top jam of the year so far).
There was only one song that the band could encore with, despite the setlist saying “Tumble.” Mohegan ERUPTED as Rick strummed the familiar opening chords to “Arcadia” and thousands of people sang along to the lyrics of what is arguably the quintessential Goose song. The band drove this jam into a piano-led and bright space before the second-ever “slow ending” (LTP 6/18/21) to the song built into the typical scorching final “Arcadia” solo to end the third set.
Mark my words: this was Goose’s first arena show, but it is far from the last. The band’s sound will continue to evolve and grow, and so too will its fanbase. We are incredibly lucky to witness this growth firsthand and I can’t wait to continue listening to and enjoying every note they play for decades to come.
There was a moment during “Arcadia” where I realized that decades from now, I’ll be taking my children to Goose concerts and passing on the live music gift that my dad has given me my whole life. Thank you to this incredible band for welcoming me (second set “American Woman” and all) and cultivating an environment of positivity and love while producing some truly mind-blowing music.
Shoutout to everybody who came up and said hello at Mohegan as well – such an honour and a pleasure to meet all of you!!
And an extra-HUGE thank you to Jake Silco for bringing me on Goose tour as assistant/driver – having the opportunity to travel and see this band is amazing!!
Tune into a special Always Almost There Goosemas recap episode here.
Goose – Mohegan Sun, Uncasville, CT – Goosemas VIII – February 26, 2022
Set 1: Linus and Lucy, Yeti, Atlas Dogs > Echo of a Rose, So Ready, Silver Rising Set 2: Rockdale, Red Bird > Rosewood Heart, Sinnerman*, Empress of Organos Set 3: Borne, Hungersite* > Dripfield* Encore: Arcadia
Live music is back and so are The Furious Bongos. In celebration, The Furious Bongos playing the music of Frank Zappa, is making its way through six different cities in April, two of those cities being Buffalo and Albany. The band will perform at The Linda in Albany on the 9th and Buffalo Iron Works on the 10th.
After working alongside great acts such as Oasis, Alice In Chains, REM, and a plethora of other bands, the band has built versatility and shown immaculate prestige in their career.
In honor of live music’s return, the band will be playing songs from Frank Zappa’s discography, regarded by the band as the mother of all musicians, a pun based on Zappa’s involvement with The Mothers of Invention. When it came to his music, Zappa was a pioneer of change and innovation. He allowed his band members to improvise and just have fun on stage. To honor Zappa’s legacy, The Furious Bongos will be doing the same. It will be a night to remember.
Live music is just now making its comeback, and on Saturday, February 26 at the Palace Theatre in Albany, everyone was absolutely ready to get back to normal. Since their visit last fall in Lake George, Twiddle hasn’t really been back to the area, and not only was it a momentous occasion for everyone who was dying to see their favorite band again, the boys from Vermont absolutely brought the heat and brought the house down alongside Midnight North.
Midnight North
Midnight North kicked things off with an incredible opening set. Their unique mix of rock, Americana, and roots music was the perfect kickoff for the evening. One thing is absolutely certain — it’s impossible to tell that the members of this band have spent most of the past two years in completely different states. It’s like they haven’t missed a beat.
Twiddle
Everyone was extra excited about the main event and their excitement was not misplaced. Not only was last night a stupendous family reunion for everyone in the crowd, but the band also has never sounded better. It seems the bands we are going to see have missed playing together as much as we have missed seeing them.
Mihali Savoulidis (lead singer/guitar), Ryan Dempsey (keys, vocals), Zdeneck Gubb (bass, vocals) and Adrian Tramontano (drums) did not let up from the first note to the last. We got some classics, some of their new songs, Gubb dumps, drum solos, and epic sit-ins with some extra special friends.
Twiddle setlist:
Set 1: Enter>Orlando’s, Syncopated Healing, White LIght, Apples, Angel From Montgomery [1]%, Stroganoff
Set 2: Latin Tang, Mildew Man > Shakedown Street [2]$, The Box, Lost in the Cold
Encore: The Devil
[1] John Prine [2] Grateful Dead % – w/Joe Cirotti & Elliott Peck $ – Grahame Lesh
Songs from famous artists Prince and David Bowie are joined together to create the Prince/Bowie tribute fusion band that brings their music together, generating high energy live shows. The tribute band will perform in Saratoga Springs next month at Putnam Place.
The Catskill Chill Music Festival, Wanee (Pink Talking Fu Kuaz), Adirondack Independence Music Festival, and at a Phish After Party at Putnam Place have previously featured the Prince/Bowie concept and it has since turned into a band on the scene.
The frontman of the band is led by Eric Gould, founder/bassist of Pink Talking Fish. Eric Gould will be accompanied at every show with Cal Kehoe from Pink Talking Fish and The Horn Section with Josh Schwartz, Greg Sanderson, and Chris Brouwers formerly of Turkuaz.
Full list of tour dates and lineups: 3/13: Denver CO at So Many Roads Brewery and Museum Bass: Eric Gould – PTF Guitar: Cal Kehoe – PTFDrums: Zack Burwick – PTF Keys: Richard James – PTF Percussion: Chuck Morris – Lotus The Horn Section
3/17: Saratoga Springs NY at Putnam Place Bass: Eric Gould – PTF Guitar: Cal Kehoe – PTF Drums: Adrian Tamontano – Kung Fu/The Breakfast/Marble Eyes Keys: Richard James – PTF Sax: Matt Wayne – Bobby Deitch Band The Horn Section
4/29: Norwalk CT at The Wall Street Theater Bass: Eric Gould – PTF Guitar: Cal Kehoe – PTF Drums: Mikey Carubba – Death Kings (formerly of Turkuaz) Keys: AC Carter – TAUK Sax: Matt Wayne – Bobby Deitch Band The Horn Section
4/30: Beverly MA – The Cabot Bass: Eric Gould – PTF Guitar: Cal Kehoe – PTF Drums: Mikey Carubba – Death Kings (formerly of Turkuaz) Keys: AC Carter – TAUK Sax: Matt Wayne – Bobby Deitch Band The Horn Section
