On Wednesday October 26, Renaissance made an appearance at The Homer Center of Arts on their historic Legacy Tour. Renaissance became a progressive rock band starting back in 1978 when top hits “Carpet of the Sun” and “Ashes are Burning” came out.
The Legacy Tour was a celebration for Annie Haslam’s 75th year, in celebration to Annie’s solo music career and The Renaissance band for over 50 years. The group includes Jason Hart, David Keyes, Rave Tesar, Frank Pagano and lead vocals Annie Haslam and Michael Dunford. Combining rock, classical folk, jazz, and the lead female vocal, Renaissance has maintained their musical groove.
The Homer Center of the Arts was the perfect venue for hosting the Legacy Tour. The U shaped arranged seating brings the audience together. Renaissance welcomed the crowd from beginning to end which truly connected the crowd.
Renaissance’s great success began in the 70’s, and this show made it clear that their passion for music has carried with them throughout the decades. Highlights of their success in the 1970’s included sold out shows at Carnegie Hall, Royal Albert Hall and The Royal Chorale Society, while also recording and releasing these sold out shows as live albums.
Wednesday’s show at Homer Center for the Arts did an outstanding job bringing the 70’s rock back on stage. While Renaissance still pursues their music career, fans are nothing but excited to see what’s next in store for these progressive rock legends.
From his earliest days of musical self-expression, Harry Nichols has had deep passion for music and an ear for melody. He has released music independently since 2010 and continues to do so with his upcoming LP, Songs for the Rich and Beautiful.
Currently living and playing gigs around Ithaca, Harry Nichols announces his first full length album in 8 years, Songs for the Rich and Beautiful. The record, conceived during COVID lockdown 2020, is the result of a challenge with fellow Ithaca songwriter Samuel B. Lupowitz.
Songs for the Rich and Beautiful came out an eclectic, beautiful meditation on friendship, and testament to the power of camaraderie in the face of great difficulties. Both agreed to create new records, song for song responses, to each other’s efforts from 2012.
Songs on the album like “What’s Eternity?” have deep meaning and a nostalgic vibe when listening to the lyrics. Nichols pours his heart out to his audience about his past experience of nostalgia of his childhood growing up.
The song “Mecca” has an upbeat vibe that is incredibly catchy, yet the lyrics are more hitting to the heart. When trying to find the meaning in life, there are a ton of ups and downs. Nichols sings, “nothing goes as planned,” throughout the chorus.
Others songs like “Breathstroke” and portray a lighter side to the album, Harry Nichols gives us heavenly vocals and bright guitar chords. The song “Space Girl” also has amazing vocals and meaningful lyrics paired with Nichols guitar melody. Likewise, “Heteromasculine Lovegame” is quite the opposite, giving us a more fun indie/alternative upbeat song about how love and relationships can be such a game.
To check out more of Harry Nichols music, click on the link here to find more of his music on Bandcamp.
It’s not without calculated risk that Joe Satriani can take his guitar to places that no other guitar has gone to before. That’s what makes his music and his shows so unique and extraordinary. Sunday October 30th 2022, brought Joe Satriani and his band made a stop at Babeville in Buffalo. The venue is an old church turned into a beautiful concert hall.
Babeville
After two years off the road, and two full length albums released (2020’s Shapeshifting and 2022’s The Elephants Of Mars) , it was time for Satriani to return to the stage. For this tour titled “Earth Tour“, he’s put one of his best bands together. It features legendary session drummer Kenny Aronoff, bassist Bryan Beller (from Steve Vai and Dethklok), and keyboardist and guitarist Rai Thistlethwayte.
Joe Satriani
Most performers play all of their hits and little newer material, but Satriani played almost half of his songs from his past two albums. His new music is just as innovative and made for live performance as his more well-known songs. Given the fact that he’s playing only instrumental music, probably makes the blend a little more transparent.
Visually, Satriani and Aronoff, are both bald and brandishing similar wraparound sunglasses, marked an intriguing contrast to longhairs Beller and Thistlethwayte. Together, they mesh like a band should, with the spotlight mainly on Satriani the whole night, both Aronoff and Thistlethwayte had their own featured solo segments.The drum solo kicked off the second set of music. The bassist Beller consistently rattled the walls with his chunky bass lines.
The performance offered a full overview of Joe Satriani, where he’s been, where he’s at now, and where’s he going next. All of the musicians were at the top of their game and the crowd gave standing ovations many times during the show.
Set 1: Nineteen Eighty, Sahara, The Elephants of Mars, Ice 9, Thunder High on the Mountain, One Big Rush, Blue Foot Groovy, Flying in a Blue Dream, Spirits, Ghosts and Outlaws, Faceless, Crystal Planet, Summer Song
Set 2: Drum Solo, E 104th St NYC 1973, Keyboard Solo, Cool#9, Ali Farka, Dick Dale an Alien and Me, Shapeshifting, Teardrops, Luminous Flesh Giants, If I Could Fly, Always With Me, Always With You, Satch Boogie
Prominent actor and screenwriter, John Cameron Mitchell, and 1972 Cabaret film lead actress, Amber Martin, will collaborate together in the premiere of their Cassette Roulette show performances at MassMOCA and BRIC Celebrate Brooklyn. A series of songs, stories and characters will be featured in their performance, which will be backed by Justin Craig and the Hedwig house band Tits of Clay, additionally featuring an introductory set from J. Hoard.
Songs covered will be from notable works directed by John Cameron Mitchell, such as the films Hedwig and the Angry Inch, Big River and The Secret Garden and his musical Anthem: Homunculus. Amber Martin is performing works derived from roles played and paying tribute to some characters part of her casted roles during her acting career.
Their vibrant stage acts are planned to be continued in 90-minute shows, designated for a smaller range of audiences, at Joe’s Pub on Jan. 21, Feb. 4, Feb. 11, Feb. 19, Feb. 26. Each will start at 6:30p.m., with tickets being on sale at The Public Theater, located at 425 Lafayette Street near Astor Place in Manhattan.
Tickets for the Cassette Roulette Residency at Joe’s Pub can be bought on the Public Theater website.
In the 1920s, “Rent Parties” were a common place in Harlem. As the end of the month approached, with rent looming and no way to pay, tenants would host a musician and invite friends, raising money and having fun, dancing and listening to music with their community in a place safe from discrimination. In 2020, as the pandemic struck, esteemed jazz pianist Emmet Cohen started hosting Rent Parties in his own Harlem apartment. He played with his trio and live streamed the event, calling it “Live From Emmet’s.” This event isn’t where his inspiration from Harlem’s jazz scene ends, though; Emmet Cohen’s newest record was made in Harlem’s spirit as well — Uptown in Orbit was released on October 28.
Uptown in Orbit presents huge energy through bright and powerful chords while showcasing immense talent and control. When listening, you see the view of bustling Harlem like you’re looking down on the streets from an upstairs apartment window. It’s all perpendicular and over-excited, but still perfectly harmonious, timed absolutely naturally. It feels like the song’s subject is orbiting, either we’re all circling around it or it’s circling us, either way the album brings the listener straight into this orbit.
The highlight of this album is the title track, “Uptown in Orbit.” Use of hemiola gives the song veritable bounce, as the ¾ rhythm is coupled into rhythmic pulses of three against two beats. The timing is swinging, and though Cohen likes to call back to the jazz hay days of the early 1900s, this track still has a modern feel with its energy and brightness. A saxophone comes soaring in during the second half of “Uptown In Orbit” — wailing with so much passion and grace, before turning brassy and raspy, almost like the voice in Pink Floyd’s Great Gig In The Sky.
Cohen has said jazz boils down to connections; between the musicians performing and the audience, as well. This album exhibits that connection flawlessly, with brass that floats over Cohen’s dextrous, easy-going piano, drums that shake the background, adding fuzzy sparkles and backbone to the other instruments’ colorful musicality.
Since he was three, Cohen has been devoted to the piano. He earned a Master of Music from the Manhattan School of Music after graduating from University of Miami, and has since performed in international events, such as the Newport, Monterey, Detroit, North Sea, Bern, Edinburgh and Jerusalem jazz festivals, in addition to playing in some of the most storied jazz clubs across the world.
The pianist is currently touring Europe, but in December he will be back in NYC for five days at Dizzy’s Club with his trio and Mary Stallings, starting December 8. You can RSVP for tickets here.
Greensky Bluegrass have announced their Winter Tour 2023, featuring 16 dates with a kickoff on January 12 in Buffalo, followed by stops in Port Chester and Utica. The Michigan jamgrass band will make their debut performances at the Stanley Theater in Utica, as well as the historic Count Basie Center for the Arts in Red Bank, NJ.
They’ll bring along with them support acts including Mikaela Davis, Neighbor, Mihali, Daniel Donato’s Cosmic Country, Railroad Earth and Holly Bowling.
Greensky Bluegrass are widely known for their thoughtful lyricism, edgy and genre-expansive sound, dazzling live performances and relentless touring schedule. Featuring Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin], the five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down.
For the past century, bluegrass music has traditionally relayed real tales of American life, struggle, tragedy, and triumph. It gives a voice to the quiet, yet colorful stories woven into the fabric of the country itself. Greensky Bluegrass live these stories through their records and performances.
Greensky is and always has been very unique in our world. We put our love, energy, and focus into what we appreciate about our music. We come together as a band in a way that’s organic. We take a lot of pride in how we grow and challenge each other too. We’re maturing together. I think we get more Greensky all of the time.
In September and October 1980, the Grateful Dead did a brief concert tour of shows with three sets each, one acoustic set followed by two electric sets. The acoustic sets were the first ones the band had performed since the early ’70s aside from a few rare one-offs. The final shows of this legendary Dead tour, which yielded both an audio and video release, took place at New York City’s Radio Music Hall with the last one taking place on none other than Halloween. NYS Music, along with a strong lending hand from YouTube, now presents a look back at this holiday gig at one of America’s premier musical venues.
Bob Weir greets a raucous Radio City Music Hall to start things off and also says hello to all the “folks who are filtering in to the various theaters around the country.” This show was both simulcasted across the country, apparently, and released to the public the following year on video as Dead Ahead. Things get off to a rocky start with Phil Lesh’s amp producing some decidedly spooky feedback. So he is whisked away and the rest of the band opens with a bass-less instrumental in “Heaven Help The Fool.”
With Phil and his bass still on the sidelines, Jerry Garcia leads the ensemble through another rare instrumental. This time it’s “Sage and Spirit,” a song that appears on 1975’s Blues For Allah and was only ever played live twice, with this being the last one.
The Dead keep the rare acoustic hits coming at Radio City with the cover of “Little Sadie” that appears next, with Jerry Garcia on lead vocals. It’s a song that hadn’t appeared live since a show at San Francisco’s Family Dog in 1970 – a dark tale of murder befit for a Halloween show.
Weir then shifts the theme from “tragedy” to “tragedy narrowly averted” with “Monkey and the Engineer,” which finally sees Phil Lesh and his bass return to the fold.
“Boy we’re really having fun now,” notes Weir afterwards. Up next, the Dead grace Radio City with “It Must Have Been The Roses.” A staple of Jerry Garcia solo shows in the ’70s, it would go on to be played for the rest of the Dead’s touring career. Garcia seems to visibly enjoy this one coming to life in the Dead setting.
Up next are two Grateful Dead live staples, starting with a percussion-heavy and crisp “Cassidy.” WIth one small drum kit, Mickey Hart moves over to the congas, after previously utilizing the maracas on “Roses.” This “Cassidy,” which even elicits a bit of a jam, serves as an MTV’s Unplugged-type version of a Dead classic well before the program ever existed.
This is followed up by “Bird Song,” by far the longest and most experimental of all the first set songs. Garcia leads the way once more with a blistering guitar run and the rest of the band now firing on all cylinders.
A very enjoyable opening acoustic set of Grateful Dead music then comes to a close with “Ripple,” much to the delight of the Radio City crowd, with special attention paid to the “let there be songs to fill the air” lyric.
With the acoustic setup gone and the traditional dual drum kits returned, the Dead then go on to play another two sets of electric music at Radio City Music Hall in their typical concert format. The second begins with a vibrant “Jack Straw” that sees Bob Weir bouncing up and down in earnest at one point.
This is followed by a fairly standard run through of “Cold Rain and Snow” that gets a very warm reception from the New York city crowd at first.
Bob Weir then takes lead once more and navigates the band through “Me And My Uncle.” With the drum beat never fully stopping, the Dead then slide seamlessly right into “Mexicali Blues,” completing a popular pairing of songs.
The “first set” vibe of this second set carries right along with “Ramble On Rose.” As expected, Radio City greets the “Just like New York City” line with a massive roar of approval. Garcia graces this version with a pedal steel-esque guitar solo that’s rife with emotion.
As is their custom, Bob Weir on slide guitar then tags in for lead on the next song, a cover of the blues song “Little Red Rooster.” Garcia is playing slide as well and drops another notable solo and Brent Mydland even gets into the action a little as well with some standout organ play.
Afterwards, the Dead rip through a pristine take of “Brown Eyed Women,” with Garcia back on lead vocals and Weir and Mydland ably tending to the harmonies.
From “Women” the music then shifts almost immediately into the ever poignant “Looks Like Rain.”
The Dead then close out the second set of Halloween at Radio City with a rousing “Deal” that’s carried by the strength of two more powerful Garcia guitar solos.
To start the third and final set at Radio City, the Dead kick things off with a short but sweet “Don’t Ease Me In.”
Next, it’s time for another signature pairing of songs, with the Bob Weir-helmed “Lost Sailor” that flows seamlessly right into “Saint Of Circumstance.”
With the third set energy peaking, Garcia initiates the familiar opening chords of “Franklin’s Tower” and the band is off and running once more. Playing his legendary “Tiger” guitar, Garcia obliterates another run up and down its fret board, spearheading a brief jam that reaches a quick peak before mellowing out and devolving into the “Drums” only portion of the evening.
Unfortunately, there doesn’t seem to be video of the “Drums” > “Space” sequence for this evening, but emerging from the psychedelic mist are the opening notes to “Fire On The Mountain.” While not necessarily jammed out, it’s a clean and pure take of a Dead classic, with Phil Lesh coming in loud and clear now, his bass issues a thing of the past.
The band takes a nice, relaxed approach to the introduction of the “Not Fade Away” that follows. The Grateful Dead deliver their own bluesy take of this Buddy Holly cover, with Radio City singing along in earnest.
Instead of keeping up the pace and stretching it out, however, the tempo slows to a crawl. This sets the stage for Garcia to take lead once more for “Stella Blue” and to unleash one last gorgeous guitar solo.
As the last notes of “Stella” drop, the Dead immediately steer back into the show’s closing sequence with a blistering cover of “Goin’ Down The Road Feeling Bad.”
Instead of ending the set right then and there, the Dead throw in one last cover for the Radio City faithful. This time it’s The Young Rascals’ “Good Lovin’,” sung by a spirited Bob Weir in the only way he knows how. He even throws in some Pigpen-esque vocal riffing at the end for good measure as the crowd eats every bit of it up.
Weir then wishes both the audience at Radio City and everyone else around the country “good night” and the Grateful Dead encore with “Uncle John’s Band,” closing out quite a memorable three-set show in the heart of the city.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead – Radio City Music Hall – New York, NY 10/31/80
Set 1: Heaven Help The Fool, Sage And Spirit, Little Sadie, Monkey And The Engineer, It Must Have Been The Roses, Cassidy, Bird Song > Ripple
Set 2: Jack Straw , Cold Rain And Snow, Me And My Uncle > Mexicali Blues, Ramble On Rose > Little Red Rooster, Brown Eyed Women > Looks Like Rain > Deal
Set 3: Don’t Ease Me In > Lost Sailor > Saint Of Circumstance > Franklin’s Tower > Drums > Space > Fire On The Mountain > Not Fade Away > Stella Blue > Goin’ Down The Road Feeling Bad > Good Lovin’
From Monday, October 24, to Friday, November 4, 2022, A Celebration of Hmong Culture Through the Arts is being presented through the collaboration of The UAlbany Performing Arts Center and New York State Writers Institute. The multi-series event is focusing on Hmong culture and history, with an emphasis on Kao Kalia Yang’s memoir, The Latehomecomer: A Hmong Family Memoir.
Gaosung Heu in The Latehomecomer
Through the collaboration of the Hmong Museum in Minnesota with UAlbany, there will be a display of Hmong story/flower clothes, known as Paj ntaub, presented throughout the course of the entire event, from 11am to 4pm, during the weekdays. The material of these intricate textiles are a significant aspect of Hmong culture, particularly the variety and quality of the content integrated on the story clothes, which helps provide a broader understanding of Hmong tradition.
‘Crossing the Mekong River’ Story Clothe
The documentary Being Hmong Means Being Free that was screened on Thurs., Oct. 27, at 4:30pm, which frames a lens of modern-day Hmong life in America through the perspective of program host, Lia Vang, centers around a Hmong immigrant community in Wisconsin. The film further examines concepts rooted in ancient Hmong culture and provides a connection to how these traditions have progressively shaped the Hmong community, and also looks at the challenges in Hmong life during contemporary times.
Secondly, a duo-performance of the Literature to Life stage adaptation of The Latehomecomer is set to happen at the Performing Art Center. On Thurs., Nov. 3, a pre-talk show will be presented at 7pm, prior to the public performance starting at 7:30pm, following a second part of the performance on Fri., Nov. 4 at 10am, which is solely for high school students.
Directed by Elise Thoron, The Latehomecomer this theatre work starts as author Kao Kalia Yang is born in the Ban Vinai Refugee camp in Thailand and eventually arrives in the United States. The book and stage presentation follow her journey from a quiet, reticent student struggling to speak English while facing racial discrimination to a self-empowered young woman claiming her voice to tell the untold story of her people. They tell a universal story of immigration through the specific lens of this ancient culture inextricably bound to the history of the war in Vietnam.
Driven to share her family’s history after her grandmother’s death, The Latehomecomer is an eloquent, firsthand account of a people who have worked hard to make their voices heard. In search of a place to call home, thousands of Hmong families made the journey from the war-torn jungles of Laos to the overcrowded refugee camps of Thailand, finally emigrating to America. Winner of a PEN USA Literary Award for Nonfiction and Readers Choice Award, The Latehomecomer is the first memoir written by a Hmong-American to be published with national distribution. A Hmong written language was not taught or used until the 1950s so the author plays a significant role in bringing the culture into the realm of literature.
The Latehomecomer is performed by Gaosong Heu, a performance artist, musician, vocalist, published writer, educator, arts administrator and entrepreneur based in Saint Paul, MN. She received her B.A. in Theater Arts from the University of Minnesota-Twin Cities and her Master of Arts in Arts Administration from Columbia University. Gaosong has over 15 years of training in Western Classical music, as well as training in traditional styles of Hmong folk music.
There will be a public performance at the UAlbany Performing Arts Center on Thursday, November 3, 2022 at 7:30pm, preceded by a pre-show talk beginning at 7pm. A second performance will take place on Friday, November 4, 2022 at 10am exclusively for high school student groups.
Advance tickets for the public performance are $15 for the general public and $10 for students, seniors and UAlbany faculty-staff. Tickets purchased on the day of the show (pending availability) are $20 for the general public and $15 for students, seniors and UAlbany faculty-staff. Individual tickets can be purchased on the UAlbany Performing Arts Center’s site at www.albany.edu/pac.
Admission to the morning matinee is free for high school student groups. Reservations are required. Educators wishing to bring groups can contact the UAlbany Performing Arts Center office at (518) 442-3995 or PAC@albany.edu. Home school students and parents are also welcome.
Produced by Brandon “Brick” Lohr and Jason “J” Hubert, the inaugural Ramble Festival held at Camp Ramblewood in Darlington, MD from October 7-9, transpired smoothly, as fans enjoyed nearly perfect fall weather near the Susquehanna, mere miles from Pennsylvania. Camp Ramblewood has held other music events, but Ramble Fest hosted a wide variety of bluegrass, brass, indie rock, blues, country, Americana and folk music from Maryland, Virginia, North Carolina, Massachusetts, Indiana, Colorado, California, and many other states, with fans traveling from all over the US and internationally to enjoy fun in the sun with cool nights & campfire jams.
Headlined by Leftover Salmon, Keller Williams, and The Traveling McCoury’s, along with many local and national bands, Ramble Festival had numerous activities, a busking competition, kids’ shows and play areas, yoga, charity auctions & raffles, live art painters, an on-site art gallery, and numerous clothing, food & art vendors. Art Director Lindsay Jamison and her staff of volunteers spent weeks getting the site and the art gallery in the Beer Hall ready for the event. Street Team lead Will Gibbons also ran the instrument raffle, where two fans won a guitar and banjo signed by the headliners, with proceeds donated to Backline and Rage Against Addiction.
Camping was superb. Ramblewood has 200 pristine acres on a rolling hillside, with a lake, fire pits, large cabins, and wide fields, with ample trees & grassy shade. Food & drink vending was plentiful, including local microbrews, and food trucks with typical festival fare such as pizza & burritos, as well as veggie and farm-to-table options. There was onsite parking for the thousand or so attendees (though the lot nearly filled up during the peak on Saturday night). There were a few RV spots (no power & water hook-ups), as well as car camping, but the best camping was near the stages.
Fri. Oct. 7: Abby Bryant & The Echoes, Caleb Stine Band, Kendall Street Company, Rufus Roundtree & Da B’More Brass Factory, Arkansauce, Bella’s Bartok, Big Something, Keller Williams Grateful Grass feat. The Hillbenders, Kendall Street Company & Dirty Grass Players – late-night in the barn.
Friday started off smooth and sunny, with Rufus Roundtreee and his band leading a second line march from the campsites down the hill, where Abby Bryant & The Echoes kicked off the weekend on the Main Stage. Abby is a vocalist & guitarist from Charlotte (since relocated to Asheville), who performed a mix of soul & Americana, with great instrumental work by her band & cohort in songwriting, guitarist Bailey Faulkner.
A quick jaunt up the hill and past the food trucks brought us to the Beer Hall, an indoor stage with standing room for a thousand. Caleb Stine & Band treated us to cool country with a tinge of bluegrass. Kendall Street Company from Charlottesville next played on the Main Stage, with thoughtful and often funny lyrics, great harmonies, and energetic, punk stylings, deft guitarwork, sax, and engaging vocals by lead singer Louis Smith.
Back at the Beer Hall, Rufus Roundtree, who is from Parliament Funkadelic, led his band Da B’More Brass Factory on vocals & trombone, with fiery NOLA-style, Go-go tinged funk, supported by trumpet, sax, tuba, guitar & drums. Arkansauce next tore up the Main Stage with speedy banjo riffing by Adam Collins, Ethan Bush on mando, Zac Archuleta on guitar, and Tom Andersen on upright bass.
The wildness of Bella’s Bartok engaged our feet as we returned to the Beer Hall, with fast, energetic fiendish horns, driven by lead singer Asher Putnam, with Alex Kogut on accordion, synth, and keyboards, Riley Goodemote on trombone, and Julia playing feisty washboard. Mixing sonic styles of Googol Bordello with punk, folk, and klezmer music, an amalgam of genres and theatrical sensibilities. They were a new discovery to me, and fan favorites by the end of their set.
Big Something, a hip hop pop rock fusion jam band from Burlington, NC, heated up the Main Stage at sunset, with Casey Cranford’s signature EWI and sax work driving the melodies along with dueling guitar monstrosities Jesse Hensley and Nick MacDaniels, with Josh Kagel on keys and trumpet, Doug Marshall on bass and Ben Vinograd on drums holding it down. Stylistically chameleons, they drift from tight riffs to expansive jams, sometimes evoking Lettuce, other times Lotus, and at times channeling Umphrey’s McGee, basically all over the place, with aplomb.
The incredible sound and lights apparently challenged the main stage power generator, which failed shortly thereafter, and was not resurrected until the next day. This only major glitch of the weekend was trouble, but thankfully, the production team planned generous stage switchover times, so crews had time to migrate Keller Williams over to the Beer Hall. Stage Manager George Barrick reactivated that stage, which had prepared to close for the night.
Keller and The Hillbenders treated us to his widely-popular Grateful Grass set. The Beer Hall was a bit crowded, so staff asked fans to help move tables and chairs out of the way, which quickly added enough space to get everyone inside – just in time, since the only few raindrops of the weekend fell outside and chilled the night air as temperatures fell into the low 40s. Keller & friends treated us to a fun-filled set of Dead classics, including a killer Scarlet > Stranger, and a trippy They Love Each Other back and forth into and out of Cumberland Blues, followed by a lovely Bird Song > Cassidy [24-bit SBD/Stage Matrix recording by George Barrick].
No proper first day would be complete without a late night set, held in the Ramble Stage, aka “The Barn” (a nice, cozy place to warm up as temps dropped further at night). Kendall Street Company joined The Dirty Grass Players, which was the most musicians jammed onto that tiny stage. The Barn was well-appointed, with brass chandeliers, hanging flower arrangements and festive lighting. There were two late-night picking circles, one at the Hill Camp w/ Bella’s Bartok, and another down at the Lake Camp, with Deer Creek Sharpshooters & Fishing for Hippies to end the night.
Sat. Oct. 8 – Dogs in a Pile, Arkansauce, Armchair Boogie, Dirty Grass Players, Toothless (kids set), Rev. Peyton’s Big Damn Band, Underground Springhouse, AJ Lee & Blue Summit, Kyle Hollingsworth Band, Leftover Salmon, Neighbor.
After much-needed rest, I arose Saturday morning to the distant sounds of another second line by Naptown Brass Band from Annapolis, MD. I ran up the hill to meet them as they marched down into the main field and kicked off the day for Charm City Junction, towing along recently-rousted dancing campers, led by the Vibe Tribe‘s Holly Reasner.
Arkansauce fired up the Beer Hall next. Saturday Bands played with some overlap, as there were 17 or more performance on Saturday. Dogs in a Pile was another great band that all my friends recommended. They had a great turnout, especially since they started around 1pm, and many campers partied quite late the night before.
Baltimore’s finest, the Dirty Grass Players kicked it up in the Beer Hall, with some overlap with Armchair Boogie on the main stage, another new band I really enjoyed. Toothless played a kids’ set on the small barn stage. Underground Springhouse continued in the Beer Hall, while Caleb Stine returned in the barn.
We kicked our socks off to Reverend Peyton’s Big Damn Band (a funny name, because it’s only 3 people). Hailing from Indiana, the “Big” is for Jayme Peyton, who is a ginormous human as well as guitarist. They’re a wild country blues band, with heavy guitar shredding and “reckless” washboard by Breezy Peyton. Breezy actually lit her washboard on fire in the middle of a song!!! The band and audience had a good laugh; neither eyebrows nor hair were burnt in the process.
AJ Lee & Blue Summit, a bluegrass/Americana band from Northern California, continued at the Beer Hall, playing towards dinnertime. Heading back to the Main Stage, I wolfed down some tasty mac & cheese from Cosmic Charlie’s Grateful Grill, one of my favorite food trucks conveniently located between the two biggest stages.
Maryland native Kyle Hollingsworth (from String Cheese Incident) and his Band lit up the main stage, with a mix of organ and keyboard-infused jammy rock, tight & funky drums, bass & guitar. They played a variety of originals and classics, rearranged with speed & intensity, sprinkled with riffs & quotes from various well-known songs. Kyle is a killer clavinet and synth player, playing with percussive rhythm, electric piano and effects, his talented band adding fuel to his fire.
Ramble’s resident emcee, Libby Eddy (plays fiddle in The Jakobs Ferry Stragglers), got up to announce Leftover Salmon dressed as a giant avocado. She wrote page-long summaries of each band. As she rattled off superlatives, Vince Herman (in a blue unicorn costume) laughed and told the audience, “first time our band has ever been introduced by an avocado“! Ramble Festival founders Brick and J dressed as a tiger and bumblebee, to fit the costume theme, “furry creatures”.
Another favorite band, Neighbor (founded by Pink Talking Fish’s keyboardist Richard James), capped off Saturday night in the barn, followed by late-night campfire jams by Fishing for Hippies, Caleb Stine, Annie Sellick, and Pat Bergeson.
Sun. Oct. 9 – Travers Brothership, Country Current, AJ Lee & Blue Summit, Woody! kids set, Neighbor, Bella’s Bartok, Busking Competition, Empire Strikes Brass, Armchair Boogie, Pink Talking Fish, The Travelin’ McCourys, AJ Lee & Blue Summit, Arkansauce, & Armchair Boogie – late-night in barn.
Travers Brothership, based near Asheville, started the last day off with searing blues guitar intensity by frontman Kyle Travers, who formed the band with his twin brother and drummer, Eric. They’ve played all over the US & Europe, and are widely praised. Their new album is slated to be released next year, so they played a song or two off their new album.
The bluegrass band, Country Current, is the US Navy’s official band, formed in 1973. They’ve played for Presidents Bush, Clinton, Obama, and have toured nationally as well as overseas. They are all Musician Petty Officers, wearing their uniforms proudly on stage in the Beer Hall, playing guitar, banjo, bass, drums, fiddle, mando, and pedal steel guitar.
AJ Lee and Blue Summit returned to play the main stage, followed by Muskrat Flats in the beer hall, and another special kids’ set by Woody!, who is Jon Wood of Dancing Bears, ELM, Psycho Killers, and other Baltimore-based bands. His 7-yr-old daughter Ella helped her dad set up his mic and danced with her friends and other kids in the barn.
Neighbor treated us again to another tasty set on the main stage in the mid afternoon, followed by another wild dance party by Bella’s Bartok in the Beer Hall. The horn-heavy Empire Strikes Brass hit the main stage in the afternoon, and Armchair Boogie returned to the Beer Hall to close out the afternoon.
Pink Talking Fish brought resounding thunder and intermingling of songs by Pink Floyd, Talking Heads, and Phish to the main stage, as a massive flurry of bubbles filled the air and caught the brilliant light trackers scanning over the field, filling it with geometric patterns and a spectrum of color.
Emcee Libby Eddy introduced The Traveling McCourys as “the best band on the planet!!!” – the final headliner set of the weekend. This long, wonderful weekend of music ended with a joint collaboration between AJ Lee & Blue Summit, Arkansauce, and Armchair Boogie, packed into the barn with as many fans as could still stand or dance, with a couple more campfire jams that lasted until 3 or 4 am.
Few festivals are successful upon inception, but through great planning, Ramble Festival attracted over a thousand people to its first annual event. They sold a hundred tickets at the “steepest discount” to fans on site.
“It takes a village”. I met dozens of staff, volunteers, artists, campers, production crew from Harford Sound, lighting engineers, photographers & videographers, vendors, artists, medical personnel (Bear Care), and vendors. There were zero injuries or problems, nobody got stuck in the mud, the weather was absolutely perfect, and the camping is the best of any music event I’ve attended. Everyone was friendly, helpful, fun, and smiling all weekend.
Brick and J are music lovers first and foremost. They hired a skilled team, adept at multiple roles. They asked their friend Phil Chorney (Charm City Bluegrass) to recruit a wide cast of musicians from all over. Skilled directors & coordinators were carefully chosen for Volunteers, Artists, Hospitality (Sandee Taylor), Marketing (Kelsey Riegger) and Media Coordination (Zach Ubaldini), as well as staff photographers Chris Gamber among many other pros.
Some of these bands I’d heard about, and saw them for the first time at Ramble Festival, a sentiment shared by many fans. I’ve seen all the headliners multiple times, which got me interested when J told me about Ramble at B Chord. I did some research on only a few of the bands I hadn’t seen, which left the rest as pleasant surprises.
Ramble Festival was quite smooth, even though it’s only in its first year. Everyone felt like family, with an atmosphere reminiscent of Catskill Chill, Bear Creek, and High Sierra Music Festival. Brick, J, Phil, and their wonderful cast & crew deserve accolades for making Ramble the best music and art experience of the year.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Ian Nichols, mrhs, and Northern Faces.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Ian Nichols – “Killer Corpse”
Ian Nichols is a singer-songwriter from Albany who is an indie rock/ Lo-fi composer. His fourth full-length album is scheduled to be released in November. He has worked on various other projects and produced the score and music for the 2014 horror film Lake Nowhere. His single “Killer Corpse” will be played on EQXposure.
mrhs – “Old Fashioned Hurgusburgus”
mrhs are a synth-punk group from Albany. They recently released a new album, Poo Brain. The song “Old Fashioned Hurgusburgus” from that record will be played on EQXposure.
Northern Faces – “Feelings”
Northern Faces are a rock band formed in 2012. The band features Bryan Shortell and Marco Testa on vocals and guitars, and Matt Ippolito on bass.
