NYS Music 202​2

Category: Central NY

  • Wilco Closes Out Beak and Skiff’s Summer Concert Series with a Blowout

    From Phil Lesh to Courtney Barnett and everyone in between, by all measures it’s been the most successful summer yet for the new-ish big outdoor venue in central New York, Beak and Skiff Apple Orchards. The apples are starting to ripen, almost ready for picking, so the loud thumps of live music will have to make way for the low rumble of tractors. But there was time for one more big show to thrill the hungry ears of Syracuse and beyond, and alt-country heroes Wilco came to provide the fans with one last blowout to finish the season.

    With an expansive concert field with great sight lines, sound that is crisp but not too loud, absurdly punctual start and finish times, friendly organized staff, quality reasonably priced food and their own line of fabulous ciders, Beak and Skiff is quite the comfortable place to take in some live music on a nice summer evening. Wilco fit well with the vibe and provided comforts of their own.

    Touring behind their 2022 Cruel Country release, they promptly opened the show with the album’s first two tracks, “I Am My Mother” and the title track. The new songs blended together superbly with their more well-worn material. Being a double album, they had plenty of new material to pull from, but it seems like they’ve already plucked some live favorites. Later “Story To Tell” saw Nels Cline on a haunting lap steel, while “Bird Without a Tail / Base of My Skull” rolled along slowly before building behind Glenn Kotche’s brilliant drumming to a rollicking two-guitar workout.

    Wilco served up more comfort for the ears with their oldies but goodies. The reliable bass groove laid down by John Stirratt on “Handshake Drugs” paved the way for a three-guitar assault behind more fantastic work from Kotche. “At Least That’s What You Said” was an unsurprisingly excellent rock out, like sitting with an old friend. The unadulterated shredding by Nels Cline on “Impossible Germany” slid into the ears with ease. “Jesus Etc.” said it best, “You can rely on me honey.”

    The most surprising moment from the show came at a juncture of the old and new. “Via Chicago” was blasting along on it’s usual reliable path, Kotche thrilling with his typical drum freakouts. It all fizzled out into a nice slow developing segment snagged from a piece of “Many Worlds.” Pat Sansone and Cline’s guitars swirled around each other as it extended further and deeper, reaching a southern rock style fever pitch.

    The encore saw further blending of old and new. “Falling Apart (Right Now)” a country romp featuring a detuning guitar solo from Sansone preceded “Box Full of Letters” off of their debut album, A.M. Tweedy sent the song out to the people who bought the early album. When that was met with a huge roar, he responded: “No way, I’d have nicer clothes if that was true.” The show ended though with more comfortable Wilco classics, “The Late Greats” and “I Got You (At the End of the Century)” with the crowd appropriately singing along, singing back to the band: “Got you and it’s all I need / I got you / I got you and I still believe / That you’re all that I’ll ever need.” The fans got what they came for, Wilco delivered a reliably stellar rock show like only they know how.

    On the flip side, opener Kamikaze Palm Tree reveled in the uncomfortable. The art rock quartet is led by Cole Berliner on drums and vocals and Dylan Hadley on guitars, and were joined by bass and keys players. Experimental and avant-garde, the music took wild left turns and wasn’t for passive listening. Deadpan singing, unexpected rhythm shifts, slow languid moments bursting into grungy rock; it was difficult to keep up but once you got on board it was an exciting ride.

    Their intent came into better focus the closer you got to the band. The visual aspects married with the audio output provided the full experience of Kamikaze Palm Tree as they played material off their brand new release Mint Chip. Hadley had heavy red eye makeup, wore a purple tux, and moved like an animatronic character in a haunted house, staring deeply into the crowd. Berliner’s singing, sometimes behind the kit, sometimes in front, was joined by dramatic motions and expressions. A nice discovery and rewarding listen for the open-minded listeners in the audience.

    Wilco Setlist: I Am My Mother, Cruel Country, I Am Trying to Break Your Heart, Hints, Handshake Drugs, Story to Tell, Either Way, War On War, If I Ever Was a Child, Via Chicago / Many Worlds, Hummingbird, At Least That’s What You Said, Bird Without a Tail / Base of My Skull, Jesus Etc., Impossible Germany, Love Is Everywhere (Beware), California Stars, A Lifetime to Find, Heavy Metal Drummer, Spiders (Kidsmoke)

    Encore: Falling Apart (Right Now), Box Full of Letters, The Late Greats, I Got You (At the End of the Century)

  • The Decemberists Arise at Beak & Skiff Orchards

    After multiple cancellations and postponements, the indie-folk legends out of indie-folk heaven (aka Portland, Oregon), The Decemberists finally made it out for a proper summer tour. They arose from the bunkers, as it were. The tour brought them around to Beak and Skiff Apple Orchards in LaFayette, NY, which has emerged as a bit of an indie-folk heaven of its own this summer.

    In a pre-tour tweet, lead singer Colin Meloy threatened to not end their show with “Mariner’s Revenge Song” as they had done countless times over countless years. Indeed, they did not play it this night, nor have they all tour. Three years off the road with no album to promote brought forth quite a varied set list.

    They dug back to their first album for set opener “Leslie Anne Levine,” a ghostly tale brightened by a beautiful acoustic mix of upright bass, accordion and pedal steel. From there they jumped straight ahead to “Sucker’s Prayer” off of their latest release, 2018’s I’ll Be Your Girl. There was no “Mariner,” but “Leslie” and the “Sucker” set the stage for a show full of other characters, both real and imagined, like only Meloy and the Decemberists can present.

    “Song for Myla Goldberg” brought to life the novelist in song, including the site-appropriate refrain, “I know New York, I need New York, I know I need unique New York.” Sure it’s meant to be the City but what’s more unique than a concert in an apple orchard in upstate New York? Later the Lin-Manuel Miranda penned “Ben Franklin’s Song” explored the historical U.S. figure in hilariously vulgar fashion, “Do you know who the fuck I am? I am Poor-Richard’s-Almanack-writing Benjamin Fuckin’ Franklin!”

    Amidst the clever lyrics, musical highlights were abound. Jenny Conlee and Chris Funk squeezed tasty piano and guitar licks into every nook and cranny of “Down By the River.” Newest touring member Lizzy Ellison filled in a lot of gaps on keys, guitar, banjo and vocals. She also brought the house down with hauntingly incredible singing on “The Wanting Comes in Waves.” Funk once again shined bright, as the LEDs seemed to pierce right through him, with some all-out shredding on “Severed.” The full power of the band came together nicely on the plodding and beautiful “California One” which extended with a nice mellow groove that morphed it’s way to set closer “Youth and Beauty Brigade.”

    It seems impossible for artists to abstain from including the surrounding apple trees into their shows when playing Beak and Skiff, and indeed Meloy picked “June Hymn” to kick off the encore for its orchard-appropriateness, singing: “A barony of ivy in the trees / Expanding out its empire by degrees / And all the branches burst abloom / In the boom.” But perhaps even more appropriate was the line: “We’ll fill our mouths with cinnamon from the show closing “Sons and Daughters.” The show ended with the whole crowd singing and swaying along to “Here all the bombs, fade away.” And the night faded away, at the early hour of 9:30pm.

    Georgian folk singer Jake Xerxes Fussell set out on the seemingly impossible task: opening for The Decemberists in a large field on a large stage, a man, his voice and his guitar, the short brim on his askew hat no match for the setting sun beaming directly into his eyes. But from the opening notes of “Jump For Joy,” his uniquely folksy voice and uniquely intricate finger picking on his six-string Fender, zoned the gathering crowd to attention. He pulled songs from relative obscurity and made them his own, like the Georgia Sea Island Singers’ “Raggy Levy” and Jean Richie’s “Swing and Twirl Jubilee.” The only problem with the set was it’s length, just as it got going it was over. With the concert over at 9:30pm it seems there was plenty of time for more.

  • In Focus: Keep Flying at Nail Creek Pub & Brewery

    Keep Flying headlined at Nail Creek Pub & Brewery in Utica on Aug. 18. The band was excited to perform following their recent debut EP Revival. When stepping on stage most performers work hard to encourage the crowd to stand up and dance, this wasn’t quite the case for Keep Flying.

    Northeast six-piece punk-rock band, Keep Flying features a horn component and revealing lyrics that hit close to home. Although it was the band’s first show in Utica, they plan to make a reappearance soon. Keep Flying is currently touring the United States.

    Nail Creek Pub & Brewery has an outdoor stage. The pit and seating area were at maximum capacity. Opening performances from Pepper on the Salad and Career Mode warmed up the large crowd.

    Keep Flying began their set promptly at 9:30 P.M. Moments after the group began, a mosh pit formed and others in the crowd who didn’t participate were jumping and fist-pumping. Several people surfed throughout the set, even the show host, AJ Bates. The precise sound of the saxophone played by singer, John Ryan, was played with a significant amount of high energy as he danced and jumped around the stage while playing. 

    At the tail end of the show, the crowd cheered “another song!” repeatedly. With their final burst of energy, Keep Flying played an encore. The group is an absolute must-see act that left all in the crowd desiring more.

    Keep Flying Tour Dates

    Aug. 21 – Fork in the Market – Roanoke, VA

    Aug. 30 – Local 724 Studio – Beaver Falls, PA

    Aug. 31 – Mahall’s – Cleveland, OH

    Sept. 1 – Buffalo’s Mohawk Place – Buffalo, NY

    Sept. 2 – Hoosier Dome – Indianapolis, IN

    Sept. 3 – Legends Bar & Venue – Cincinnati, OH

    Sept. 4 – Cobra Lounge – Chicago, IL

    Sept. 5 – The Record Mill – Ames, IA

    Sept. 6 – The Great Untamed – Laramie, WY

    Sept. 8 – Ace Of Spades – Sacramento, CA

    Sept. 9 – Silver Moon Brewing – Bend, OR

    Sept. 10 – Roseland Theater – Portland, OR

    Sept. 11 – Showbox SoDo – Seattle, WA

    Sept. 13 – Knitting Factory Concert House – Boise, ID

    Sept. 14 – The Depot – Salt Lake City, UT

    Sept. 15 – Summit Music Hall – Denver, CO

    Sept. 16 – Slowdown – Omaha, NE 

    Sept. 17 – The Pageant – St Louis, MO

    Sept. 18 – The Summit Music Hall – Columbus, OH

    Oct. 7 – Queen City Cinema Club – Bangor, ME

    Oct. 8 – Amityville Music Hall – Amityville, NY

    Dec. 31 – Amityville Music Hall – Amityville, NY

  • Sharon Van Etten, Angel Olsen and Julien Bakers’ Hearts Run Wild at Beak and Skiff

    Just two days removed from the Here and There Festival bringing four female-fronted bands to Beak and Skiff Apple Orchards, The Wild Hearts Tour landed with three more incredible women artists: Sharon Van Etten, Angel Olsen, and Julien Baker. All three would have fit perfectly well in Courtney Barnett’s lineup, but they were on their own mission with it’s own purpose.

    There’s was borne of a common bond, a post-pandemic search for connection to like-minded souls. The cross-country trip brought them closer together and felt “like summer camp,” the bands enjoying a game Scattergories pre-show. More importantly lifetime bonds were solidified.

    Before the show could begin, the ashes and destruction left behind after Barnett’s barn-burning set Sunday night needed to be washed away. Mother Nature obliged with an afternoon deluge. The rains delayed the venue’s opening, cancelled Quinn Christopherson’s opening set and everyone else’s soundchecks. The crews worked hard to get the show prepped regardless and they were thanked profusely throughout the night.

    Sharon Van Etten was blown away by how many came out to see them play in LaFayette New York, in what was likely her first ever show at an apple orchard. The feelings were mutual, and the crowd was also feeling enormously lucky to get the opportunity, repeated opportunities in the grander scheme, to see such world-class talent in an area that isn’t known to consistently draw bigger shows.

    The rain subsided, the sun was on its way toward the distant hills, the crowd assembled, ears pricked, and the stage was set and ready to go, a grey velvet curtain draped along the back, ready to absorb whatever light came it’s way.

    Julien Baker got the Wild Hearts night rolling with her emotive indie-rock. “Heatwave” and “Ringside” were early opportunities for Baker to show her vocal range, her mouth gaping open as her keenly observant lyrics spilled out like she was saying them for the first time. She allowed herself to let loose in short bursts on her guitar, but finally burst the dam on set-closing “Ziptie,” her instrument finally meeting the power of her voice. She prepared us for the rest of the evening, “Sharon and Angel will come melt your faces… in a tasteful way.” She wasn’t wrong.

    Olsen and her band arrived next. Guitar, bass, drums, keys, cello and fiddle all there to help color in Olsen’s beautiful songs, and each outfitted brightly to emphasize that. “Right Now” filled in the blue from the organ and backing vocals. “Shut Up And Kiss Me” getting a splash of green guitar. “Lark” with streaks of hot pink and lavender from the string section before getting ignited with color as it all builds together. Olsen, in bright yellow, brought a palette all her own, her buttery voice melting into each song. A country twang coming through in “Big Time,” sultry and soulful on “Go Home,” deep and rich like the darkening and colorful hues in the skies around the venue.

    Contrasting with the Angel Olsen’s colorful display, Sharon Van Etten arrived to a darkened stage, only illuminating once the band fully launched into “Headspace.” Van Etten stood out like a flame in the midst of her all black clad band. Distant lightning strikes provided a nice addition to their more extensive light show.

    Van Etten showed off the range of her songwriting throughout the set. The funky crunch of “No One’s Easy to Love” gave way to the slow drawn out “Used To It.” The nice slow build in “All I Can” contrasted with the upbeat and poppier “Every Time the Sun Comes Up.” The set burst into a dance party by the end, on stage and off, closing out with the disco beat of “Mistakes” and infectious “Seventeen.”

    The night ended with Van Etten bringing Olsen back on stage to join on their co-written song “Like I Used To.” A wonderful way to close out the show, though it did leave us regretting that the camaraderie between the three leading ladies offstage didn’t produce more sparks on it. Perhaps we’ll have to wait for the Wild Hearts Tour 2023?

  • Here and There Festival Brings Courtney Barnett And Friends to Beak and Skiff Orchards

    Australian rocker Courtney Barnett has long dreamed of curating her own music festival. As a kid she crafted mix tapes of fantasy lineups, and designed t-shirts for the fantasy merch tent. With 2022’s Here and There Festival, she has finally realized her dream.

    The title comes from a lyric from “Scotty Says,” an early Courtney Barnett song about touring around Australia: “I got lost somewhere between here and there / I’m not sure what the town is called.” With that as the inspiration, booking the tour stop in Syracuse, specifically LaFayette, seems quite appropriate. No offense to our beloved Syracuse.

    Each stop of the tour features a different lineup, handpicked by Courtney Barnett, featuring friends new and old. For this gig, at Beak and Skiff Orchards, Hana Vu opened the night up with “Aubade,” a punkish rocker. Her quartet played in front of static and slightly distressing images of an eye, mouth and ear. “My House” followed and it was immediately apparent that Vu’s voice would carry the set, searing and soaring. Accentuating the strong point, she employed a cool echo at times, doubling her voice with a slight delay. The band squeezed a quick eight songs into their 30-minute slot, from the slow and groovy “Everybody’s Birthday” to the more powerful rocking closer “Public Storage.”

    To Barnett’s credit, the festival, on this night at least, and we suspect across the board, was very well curated. The crowd seemed to be only there for whoever was on stage at that time. Singing all the lyrics, calling out the obscure requests, pumping all the fists, screaming during all the breaks. For a four band bill to keep the crowd thrilled throughout a five hour show is no small feat.

    Next Faye Webster brought her quintet to the stage. The music was more demure, but no less exciting. They were accompanied by a large blow up bust of a woman, a bit ostentatious which didn’t quite match the music, but Webster was full of interesting surprises. The band glided through the set, pedal steel riding the crest of light slinky grooves, with Webster’s distinct nasal and airy voice getting her points across with complex repetition. A combo of “I Know I’m Funny Haha” and “Johnny” highlighted the band’s strengths. Then the crowd was hit with a massive left turn as they then played a piece of music from Pokemon. A catchy and dreamy 8-bit sounding instrumental that was equally fun and intriguing. An indie-pop band that features a pedal steel and a fiddle without much of a glint of country is sure to keep things interesting.

    Opening with “Heat Wave,” Lindsey Jordan’s Snail Mail immediately amped the energy back up, returning to Vu’s punk trend and adding a layer of 90’s grunge. Another distinct female voice to fall in love with, Jordan emoted her lyrics, dropping to her knees even during “Madonna.” “I consecrate my life to kneeling at your altar,” she sang, guitarless. Bass-heavy melodies and rhythms were interesting on their own, but unfortunately tended to drown out the rest of the band. Switching out guitars on every song, Jordan kept her roadie busy, who swapped her out with the swiftness and stealth of a tennis ball boy. A cover of Muse’s “Starlight” fit into the set’s originals nicely. Near set’s end, the crowd was polled for the last song. “Pristine” beat out “Valentine” in a hands-in-the-air landslide. Fortunately, there was time for both. It would have been a shame to skip “Valentine,” what with Cupid projected on the screen and the roses wrapping Jordan’s mic stand. Though the fans vote proved justified and the catchy synths of “Pristine” and its and powerful bass closed out the set in style: “This feels like the same party every weekend.”

    With her hand-picked festival mates paving the way, young and vibrant artists one and all, Courtney Barnett and her trio took the stage for the final set with their work cut out for them. With the sun fully down, the video screen and lights in full effect, and with the help of three guitar amps, they flexed their headliner muscle immediately. Her set opened as her latest release does, with “Rae Street,” singing, “Time is money / and money is no man’s friend.” She dove back into her catalog with “Avant Gardener” previewing everyone’s next morning with the line “It’s a Monday, it’s so mundane.”

    Barnett’s music is the rare beast that combines incredible wordplay behind a driving raw rock power. Fans were eager to sing along and did so with gusto, keeping up with the at times rapid fire lyrics.

    “Small Poppies” was a rock beat down, a slog through the mud with a heavyweight, Barnett’s searing guitar noise cutting through the bass and drums bombast. The thrashing continued with “Turning Green,” Barnett playing a classic rock staple cowbell simultaneously with her guitar, before tossing it aside and letting loose on the six string.

    Faye Webster, in another welcome surprise, returned to the stage to provide some added guitar and vocals to “An Illustration of Loneliness” late in the set. Her fuzzy guitar tone fit in musically while her royal blue shirt and pants blended perfectly with the lighting scheme on stage.

    Courtney Barnett knocks your socks off, stuffs them down your pants and then proceeds to kick them repeatedly for an hour. A relentlessly and powerfully good set from her power rock trio. And she proved to be a damn good festival producer as well, proved to be a great way to spend a Sunday evening at an apple orchard that may not have been here or there.

  • Trey Anastasio Band and Goose Team Up for 8 Show Tour, Stops in Syracuse and Glens Falls

    The Trey Anastasio Band and Goose are teaming up for an eight-show tour in November, with stops in Syracuse and Glens Falls. Fans can expect a full set from each band, as well as unique collaborations.

    trey anastasio band and goose

    Goose is currently traveling on their biggest North America tour thus far after the success of their acclaimed new album Dripfield. They have many sold-out shows coming up as well as a few festival stops including Charleston, SC’s Resonance Music & Arts Festival, and Austin, TX’s Austin City Limits Music Festival. Goose is a four-piece indie groove band from Norwalk, Connecticut made up of members Peter Anspach, Jeff Arevalo, Ben Atkind, Rick Mitarotonda, and Trevor Weekz.

    The Trey Anastasio Band is composed of the lead guitarist and founding member of the famous rock band Phish, for whom he has acquired several Grammy nominations for his work. In the summer of 2017, Phish completed a residency at the world-renowned Madison Square Garden in New York – an unprecedented 13-night run known as The Baker’s Dozen. They return to the road in September with a headline run before teaming up with Goose on the eight-run tour.

    The tour will be stopping in Glens Falls at The Cool Insuring Arena on Nov. 13 and in Syracuse at the War Memorial Center on Nov. 18. re-sale tickets for the tour begin Aug. 17 at Noon ET. General public tickets will go on sale on Aug. 19 beginning at 10 A.M. (local). To purchase tickets, go here.

  • Papa Roach Comes To Lakeview Amphitheater

    On August 4, the iconic Papa Roach came to Syracuse with the Rockzilla tour at the St Joseph’s Health Amphitheater at Lakeview. The tour consisted of Falling In Reverse, Hollywood Undead, and Bad Wolves. The Amphitheater has been host to a long list of big shows, like Foo Fighters, Slipknot, and Shinedown, who is coming back. The venue was host to Incubus and Sublime the night before. The weather could not have been any more perfect but that wasn’t the case for the Rockzilla tour, as many fans were parking and lining up, a rain delay was called for a hour due to passing storms, many stayed out as to not lose their spot. The gates opened a hour and 15 minutes later than originally planned. 

    First band to get the show going was Bad Wolves, who formed in 2017. Up after them was Hollywood Undead who is a treat to watch, with members switching instruments during songs. To Follow after Hollywood Undead was Falling In  Reverse. The singer Ronnie Radke was on a set of risers that spanned most the stage and was moving swiftly back and forth. 

    To close out the night, is Papa Roach, who has been around since 1993 and still rocking on with the release of their latest album, Ego Trip back in April. When the band hit the stage, the crowd went into a roar. Jacoby disappeared from the stage during one of the songs and many were looking around, then behind the pit, you could seen phones in the air and the spot lot on him as he went through the crowd. Then for one song song, he was up in the pit the barricade, with the barrier between him and the fans.

    Though the show started off with bad weather, It wasn’t enough to stop it from going. They have many other concerts lineup of various genres, so head over to their site to see who’s coming next!

    Bad Wolves

    Hollywood Undead

    Falling In Reverse

    Papa Roach

  • In Focus: The Big Takeover Band at Levitt AMP Utica

    Dynamic septet, The Big Takeover Band, headlined at Munson Williams Proctor Arts Institute in Utica on Monday, August 8. The show was a Levitt Amp Utica Music Series segment funded by the Mortimer & Mimi Levitt Foundation.

    The Big Takeover Band is rooted in the Hudson Valley. The group is led by charismatic Jamaican-born singer-songwriter Nee Nee Rushie. They play an extraordinary blend of Jamaican pop and reggae, with a touch of retro soul and Motown. The band is touring throughout August to the middle of September.

    The Big Takeover Tour Dates

    Aug. 11 – Ithaca, NY @ Downtown Ithaca

    Aug. 12 – West Stockbridge, MA @ The Foundry West Stockbridge

    Aug. 13 – Killington, VT @ Cooler in the Mountains Concert Series

    Aug. 15 – Tupper Lake, NY @ Monday Summer Sunset Stage Series

    Aug. 20 – Weston, CT @ Music in The Meadow

    Aug. 26 – New York, NY @ Sunset on The Hudson

    Sept. 04 – Saranac Lake, NY – Northern Current Music Festival 2022

    Sept. 10 – Bozrah, CT – Camp Creek 2022

    The Big Takeover Band conducted an upbeat performance compelling the audience to dance and clap along throughout the show. They commenced with an original instrumental piece. At the beginning of the second set, stage lights followed as Rushie walked out with a captivating smile and she began to sing. Her powerful voice matched with the spectacular sound of the band promoted excitement for most in the crowd.

    Closing the show, The Big Takeover Band played a Jamaican pop original song. The crowd appeared joyful and cheered as if they didn’t want the show to end.

  • In Focus: B2Wins at Levitt AMP Utica

    The identical twin brothers, Walter and Wagner Caldas of B2Wins headlined at Kopernik Park in Downtown Utica on Monday, July 11. The show was a Levitt Amp Utica Music Series segment funded by the Mortimer & Mimi Levitt Foundation. In association with the humid weather, the B2Wins duo performed a fiery set bringing most in the crowd to their feet.

    Far from a traditional band, B2Wins consists of Walter, who sings and plays the violin, and Wagner, who plays the ukulele and runs the soundboard. They have a unique style of music, ranging from hip-hop and reggae to classical and jazz. Previously, the Caldas twins resided in the slums of Brazil and then moved to America without knowing English. Never letting fear get in the way, they remained optimistic while battling to commence in the music industry before headlining shows themselves. They planted Brazillian roots in Utica before their next stop in Des Moines.

    B2Wins began the set with warm, soft-to-the-ear classical music. Astonishing the crowd, they effortlessly covered popular songs by Bon Jovi, Louis Armstrong, Dua Lipa, and more. The crowd appeared blissful and danced throughout the entire set, despite the hot temperature. The brothers interacted with the audience through motivational speaking on behalf of culture and self-pride and encouraged everyone to get out of their seats to dance.

    Closing the show, Wagner and Walter walked around the fence separating the stage from the crowd to perform. Eyes followed as they stood back to back, playing the ukulele and violin energetically while singing.

  • Robert Fripp and David Singleton Announced Fall “An Evening Of Conversation” Tour

    Legendary King Crimson founding member Robert Fripp and producer David Singleton announced their speaking tour this fall. They will present an “Evening of Conversation” at the Carrier Theater in Syracuse on September 19, the City Winery in New York on September 23, and the Swyer Room in Albany on September 24.

    Robert Fripp and David Singleton

    Likely topics that will be explored during their time on stage will include: Where does music come from? What does it take to survive the music business? When does the impossible become possible? Can music change the world? Why did Fripp put on a tutu and dance to Swan Lake at the end of his garden? Who is The Vicar?

    Robert Fripp is a British musician, songwriter, and record producer, also known as a founding member of the progressive rock band King Crimson. He is also a session musician, contributor and collaborator with Brian Eno and other excellent people, and originating director of the Guitar Craft and Guitar Circle program.

    David Singleton is an English record producer, audio engineer, record label director, musician, songwriter, author, and Internet entrepreneur. He established DGM with Robert Fripp in 1993 and has reluctantly managed King Crimson since 2018. David is King Crimson’s producer and author of The Vicar Chronicles.

    Robert Fripp and David Singleton Tour Dates:

    Sept. 16 – Toronto, ON – Royal
    Sept. 17 – Montreal, QC – Club Soda
    Sept. 18 – Quebec City, QC – Imperial Bell
    Sept. 19 – Syracuse, NY – Carrier Theater
    Sept. 21 – Ridgefield, CT – Ridgefield Playhouse
    Sept. 22 – Boston, MA – City Winery
    Sept. 23 – New York, NY – City Winery
    Sept.     24 – Albany, NY – Swyer Room
    Sept. 26 – Bethlehem, PA – Musikfest Cafe
    Sept. 27 – Red Bank, NJ – The Vogel
    Sept. 28 – Philadelphia, PA – City Winery
    Sept. 30 – Washington, DC – City Winery
    Oct. 1 – Annapolis, MD – Ram’s Head Live
    Oct. 2 – Oakmont, PA – Oaks Theater
    Oct. 4 – Ferndale, MI – The Magic Bag
    Oct. 5 – Cleveland, OH – Music Box Supper Club
    Oct. 8 – Milwaukee – Wilson Theater-Marcus Center
    Oct. 9 – Chicago, IL – City Winery

    For more information:www.dgmlive.com