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
Critically acclaimed singer/songwriter Sam Beam, better known by the stage name Iron & Wine, made a long overdue visit to the Capital Region Sunday night, bringing the “Back to Basics Tour” to a mostly sold out Swyer Theatre crowd at The Egg. Delivering a masterful set of original music while simultaneously putting on a clinic of “cool”, the thought provoking and soul-searching show was the kind of thing every fan of modern folk music dreams of. Straddling the line, but always finding the balance between intensely personal pain and lighthearted laughter, the stripped-down performance was nothing short of mesmerizing.
The evening began with a brief opening set from female singer/songwriter Hannah Cohen who was marvelous in her own right. Quickly making mention of how nice and clean the venue was, for whatever reason, it made her want to be dirty and curse out loud. “Fuckitdy fuck fuck fuck,” she blurted out, breaking the ice as the audience doubled over in laughter. After playing her first song, she told the crowd “This is not working for me, you guys are just way too quiet. You always hope for an attentive audience, but what do you do when you actually get one?” she pondered. Her beautiful and delicate voice juxtaposed with her raw sense of humor, foul language and a “tongue in cheek” invitation to pass one of her smelly shoes around for the room for anyone who wants a whiff all made for a memorable opening act for an artist worth keeping an eye on.
Hannah Cohen gets a leg up at The Egg
After a brief intermission and the customary dimming of the lights five minute prior to showtime, just a stool, a glass of water and a rack full of Taylor acoustic guitars set the stage for the evening’s headliner. No flashy lights, no fog machines, no video projections. Just a soft-spoken man named Sam and his signature “Rick Rubin-like” beard. Taking the stage to a hearty applause, Iron & Wine surveyed the audience while tuning up, asking where everyone was from and essentially letting them know it was ok to let their hair down a bit and interact. “They say I’m a folk singer, which isn’t exactly true. But I don’t give a shit, if it fits, it fits.”
Papa died Sunday and I understood; All dead white boys say, “God is good” -Sodom South Georgia
After a bit of noodling on the nylon, Iron & Wine opened the set with some heavy subject matter in the form of “Sodom South Georgia,” likely in acknowledgment that it was a Sunday evening during the coldest month of winter. The well-mannered crowd hanging on every word in total silence from the get-go, then unanimously erupting in approval upon the song’s final note, an ovation so loud even Sam seemed surprised. “Oh, it’s gonna be that kind of night. Ok Albany, I see you. As a performer, you have no idea how strong that kind of applause makes us feel,” Beam said. “But no matter how many times I’ve played this next one, all the clapping in the world won’t stop me from messing up.”
Alone and vulnerable on darkened stage Sam did screw up, even stopping mid song at one point and telling us there were just so many chords to remember. “I probably should have practiced.” Charming in his honesty, it’s part of what makes Iron & Wine so endearing and relatable to both new fans and old. “It’s ok Sam, we still love you!” shouted a female voice near the front. “Thanks for coming, Mom” Beam immediately responded with razor-sharp wit. “I’m so glad you could make it out tonight.” A joke that had everyone laughing and one he’d play up for the remainder of the show. Beam’s personality always showing through, despite a set made of mostly melancholy material. “Now I don’t know about you,” he joked, “but when I think about uplifting feel good albums, ones you can throw on at the gym, I think we know who’s right at the top. These little rooms are fun though, yeah? For some people.”
Some call it talking blues (talking blues) Some call it bitter truth Some call it getting even in a song
I can’t read it, didn’t mean it As you would rage how I was wrong Life is too short, and you’d stay too long Let’s be honest, we were strongest till I let you drag me down I was sorry then, I’m not now
You’d better love yourself, ’cause I tried
-Bitter Truth
“What a weird job. You can say bullshit and people will clap. It’s amazing, you guys should try it. Just go to your job and like totally fuck up everything that you try to do, curse, and see what happens. You never know, you might be rewarded like me? It’s fucking crazy.” And with that confession, came perhaps the standout song of the night and also the biggest hit in the brilliant Iron & Wine catalog; a hauntingly unique, vocal only rendition of “Flightless Bird, American Mouth.” Prominently featured in Hollywood’s ultra-successful Twilight saga, the song currently has over 162 million streams on Spotify alone. Claiming vampires have long been a great muse for songwriters, he is very aware of just how pretentious some people view his music. “It’s pretty crazy to write these songs and put them out. You don’t know who it lands on. Sometimes it lands pretty hard though and you have no idea. I just want to say ‘thanks.’”
Watch Iron & Wine perform “Flightless Bird, American Mouth” live at The Egg!
All tallied up, Iron & Wine played a total of 16 songs spanning across 10 albums. Fans were also treated to an as-of-yet unreleased song called “Why Hate Winter.” Other notable highlights included “Grace for Saints and Ramblers,” Each Coming Night, ”Autumn Town Leaves,” “Call it Dreaming,” and the set closing “Waitin’ for a Superman.”
The story the setlist doesn’t show, however, is what the audience brought to the table. While it may have been a one man show mostly consisting of slow and sad songs, the crowd was fully invested and lively the entire night. A mutual back-and-forth- feeding of energy through off the cuff banter, a little beatboxing, and lots of mutual laughter, this was the variable that truly made the show something special. Combined with a carefully crafted setlist chosen specifically for Albany, you won’t get this same show the next time, or in the next city. While Beam’s playing wasn’t aways perfect, he’s a perfect example of personality going a long way and that it’s somehow possible to turn sorrow into success. A special kind of artist capable of changing the way you think and how you feel. I dare say anyone who was at Swyer Theatre on Sunday night left The Egg as a different, more complete person.
Up next for Iron & Wine, a few weeks of rest before returning to the road for the remainder of the Back-to-Basics tour. After that, Beam will join up with his ultra-talented buddy Andrew Bird for the recently announced Outside Problems Tour. The co-headlining jaunt is set to bring the two acclaimed artists to more than 25 cities later this summer, including stops at both Pier 17 in New York as well as Beak & Skiff Apple Orchard in LaFayette, New York. The smart money says you’re not going to want to sleep on this one.
Iron & Wine / February 27, 2022 / Swyer Theatre at The Egg, Albany, NY
Setlist: Sodom South Georgia, Follow the Water, Lion’s Mane, Bitter Truth, Lover’s Revolution, Each Coming Night, Flightless Bird, American Mouth, Autumn town Leaves, Woman King, Resurrection Fern, Rabbit Will Run, Grace for Saints and Ramblers, Why Hate Winter, Call It Dreaming, Waitin’ for a Superman.
Metalcore and screamo titans Underoath are currently on tour supporting their ninth LP Voyeurist. Since hitting the road in early February, the Voyeruist North American Tour has been making stops along the west coast but on March 17th the band will make their way to Bushwick’s Brooklyn Steel. The gig will mark Underoath’s first New York show since playing The Saratoga PAC back in August of 2019. Support on these shows comes from the newly formed Canadian metalcore band Spiritbox, and recently Stray from the Path and Bad Omens have been added to the bill. Find the full tour details HERE.
Underoath took a new approach to the album process on Voyeurist, their second album from Fearless Records. The band self-recorded the entire record with collaborator and engineer JJ Revel. Referring to the album as “high-def violence” Underoath utilize modern technology and recording techniques while still harnessing the energy from the band’s raw, chaotic metalcore style. Every track on Voyeurist pays homage to the band’s distinct sound while coming through the speakers as sharp as ever. Check out the official video for lead single “Damn Excuses” below.
“Damn Excuses” by Underoath. Via YouTube
The bill is rounded out by fellow screamo veterans Stray from the Path and relative new comers Bad Omens and Spiritbox. Bad Omens have just released their third LP (all on Sumerian Records) The Death of Peace of Mind last Friday, February 25th and Spiritbox is also supporting their last album Eternal Blue, released last September on Rise Records. Spiritbox is led by the incredible vocalist Courtney LaPlante of Iwrestledabearonce fame. The Voyeurist tour has put together a terrific lineup showcasing the legacy and future of metalcore in one night.
Underoath – Photo by Dan Newman
Tickets are still available for the Brooklyn Steel gig, but they are running low. The show is certain to sell out in advance so secure a ticket now to catch this incredible lineup and stay tuned for our photo gallery from the concert.
Gooseberry show a ton of promise. The four-piece band met through the Brooklyn music scene and consists of Asa Daniels on guitar and vocals, Evin Rossington on drums, Sam Rappaport on keys and vocals, and Will Hammond on bass.
The band has played in classic venues across the city like The Bowery Electric and The Knitting Factory. They have also written and released several singles since they were formed in 2019. The synthesis of these factors have allowed Gooseberry to develop a definitive sound and a deep sense of confidence in their delivery.
This confidence reigns through on their newest indie release, “Sleep,” which highlights their potential. Much like “Come A Little Closer” from Cage The Elephant, the track has a soulful body over which a whimsical battle between melancholic vocals and electrifyingly chaotic breakdowns occurs. The sum of these genre-bending characteristics all equates to an indie culmination of sonic mastery.
The band blends and switches between sounds with such grace, you would think the four had been playing together for years. However, quite the opposite reigns true. Although the band has only been together for two and half years, they play like they have a decade under their belt. With that being said, “Sleep” is sure to become an underground indie classic and a staple piece in the band’s discography.
In association with the single’s release, the band has announced the release date for their debut EP, Broken Dance, which is set to release May 6th. So long as the contents on the EP are a fraction of what the band displayed on “Sleep,” it is sure to be a banger.
After a successful first year, Pine Barrens Jam has announced their 2022 return to Blue Point Brewing. On August 20th, festival goers will once again have the opportunity to hear acts from around Long Island.
The new festival will celebrate all of the musical and artistic talent that Long Island has to offer. Add to this, its unique set up and you have a recipe for success. The “Jelly-Jam Stage” and the “Peanut Butter Poetry & Arts Stage” will provide the perfect settings to watch musicians and artists prove their talent. In addition, last year’s acoustic stage will be transformed into a roots and songwriters’ stage, in honor of songwriter and LI native, Travis McKeveny.
Leading up to festival day, Pine Barrens Jam will be hosting several fundraisers, including an Earth Day picnic on 4/24 and a “Start of Summer” Sunday Funday on 6/12 . Local businesses can also get involved in festival activities by emailing festival executive director, Nick Balzano.
“Blind Faith” tickets, as well as more information, are available here. The festival’s first line up and VIP packages will be available starting 4/25. The complete line up for both music stages and the spoken word stage will be released 6/13.
Each Sunday evening from 7-9pm 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, Honey Suckle Vine, Patrick Sargent, The Young Love Scene and many more!
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.
Honey Suckle VIne – “Painted Nights”
Honey Suckle Vine (HSV) is a high-energy 4-piece blues-rock band based out of the Capital District of New York State. The songwriting team of Joey Jaquez (vocals, harmonica) and Jeremy Silverman (guitar, vocals) have been creating original material for over 20 years across the USA. Joined in 2017 by long time friends Graham Espe (bass, vocals, recording and production) and David Snediker (drums, vocals), Their latest “Painted Nights” is featured on this week’s EQXposure.
The Young Love Scene – “Honey”
The music of The Young Love Scene was born in 2014, a year in which Gordon Goldsmith faced challenges he did not know he could surmount. After releasing the EP Haypenny Hashcandy under his own name,Goldsmith was burned out, jaded, and flat broke. TYLS began as a way for him to work through his feelings of loss and alienation after he moved back home to recuperate. Frustrated with Haypenny’s failure to portray the full range of his emotions, he started over. Listen to their later “Honey” below and on Sunday night between 7-9pm.
Patrick Sargent – “Rebel Yells”
Patrick Sargent was born in Phoenix, AZ and grew up in Concord, NH now resides in Sunderland, VT. An avid lover of music from an early age Patrick started playing music at three years old as well as doing theater and writing novels. After having gone through some ups and downs Patrick dedicated his entire life to music playing original songs and covers. Somewhat of a multi-instrumentalist Patrick plays bass, drums, guitar, and sings. Most known for his guitar skills and unique voice, Patrick is excited to finish up work with the local Old Mill recording studio.
The Seven Wonders – Fleetwood Mac Tribute and Ladysmith Black Mambazo take the stage in Saratoga Springs at the Universal Preservation Hall the first week of March. On Friday, March 4th at 7pm, the The Seven Wonders will perform and Ladysmith Black Mambazo on Saturday, March 5th at 7pm.
The seven premier musicians from Western New York make up the Fleetwood Mac Tribute band, the Seven Wonders who play homage to Fleetwood Mac’s music. The Seven Wonders shows are packed full with liveliness that creates energetic energy and passion into the renditions of the timeless tunes performed by the band.
The Seven Wonders – Fleetwood Mac Tribute draws fans from all over the region as they continue to have numerous sold out shows with packed venues from now and back to when the band was established in 2017.
For over 60 years, the uplifting harmonies, the signature dance moves, and the onstage teasing remarks from Ladysmith Black Mambazo has touched the hearts of their audiences tremendously with their message of peace, love, and harmony.
The group caught the public eye after the late former South African President, Nelson Mandela named the group “South Africa’s cultural ambassadors to the world.”
The young farm boy, Joseph from Ladysmith Black Mambazo assembled the group in the early 1960s where he constructed the groups name from familiar things he surrounded himself with. Joseph’s hometown where he grew up was Ladysmith, Black is a reference to the farms strongest animal that was an Oxen and Mambazo being the Zulu word for chopping axe.
https://www.youtube.com/watch?v=rCfoyYKUM20
The Seven Wonders – Fleetwood Mac Tribute, UPH at 7:00 p.m. on Friday, March 4; $20-45 and Ladysmith Black Mambazo will be at UPH at 7:00 p.m. on Saturday, March 5; $35-65.
For tickets and information, call the Box Office at Proctors 10 a.m. – 2 p.m. Monday-Friday at 518-346-6204 or visit https://universalpreservationhall.org
Indie rock band The Stereo release new music for the first time in 20 years on Wednesday. “Kings of No Hope” is the first single from their upcoming album Thirteen, scheduled for release on May 13.
Along with the single and album announcement the band will also release five part podcast series about the band’s history. Also called “Kings of No Hope,” the podcast series details the band’s founding in 1999, it’s multiple dissolutions in 2001 and 2004, and subsequent reassembly in 2011. The podcast features interviews with the band members and notable music industry figures including Chris Carrabba (Dashboard Confessional) and Patrick Stump (Fall Out Boy).
The current iteration of The Stereo original members Jamie Woolford and Rory Phillips along with bassist Chris Serafini, and drummer Sam Hardwig.
While never receiving widespread critical or fan acclaim The Stereo was always well respected by other indie rock musicians. “I think that there’s about 600 to 1,000 bands currently that owe their career to The Stereo,” said Jack Antonoff, the lead singer of Bleachers.
As part of the album’s announcement The Stereo launched a Kickstarter campaign to support a vinyl production of both “Thirteen” and “The Kings of No Hope” podcast series.
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.
