It’s that time of year for the Seneca Niagara Casino to host their annual outdoor concert series in Niagara Falls. On Friday August 26th, they hosted their first of two this year with Lionel Richie headlining. Richie of course is the American singer, songwriter, musician, and record producer who rose to fame in the 1970s as a songwriter and the co-lead singer of funk band the Commodores.
Photo Credit- Mike Miller
There was no opening act, just Lionel Richie performing. The casino had announced this was their largest attended event ever since they started doing these outdoor concerts many years ago. Almost every seat was filled and the general admission section in the back of the lot was packed as well.
Photo Credit- Mike Miller
It had been a very long time since Lionel Richie has played a show in our area. The last time he played Buffalo was in 2000. The show was scheduled to begin at 8pm but due to a flight delay due to weather in NYC, Lionel was about 80 minutes late arriving. Fans were very eager for the show to start as once they saw his police escort arrive behind the fence, the atmosphere changed and the crowd got louder.
Photo Credit- Mike Miller
Before Lionel took to the stage the band started with “Overture”, it had many older photos of Lionel throughout his history on the large video display wall panel on the stage. He played all of his top hits along with some Commodores tunes. After the second song “Running With The Night”, Lionel told the crowd a story why he was late tonight. He mentioned that the mayor of NYC was behind him at the airport and if he isn’t going anywhere due to the weather, neither is he.
Photo Credit- Mike Miller
Lionel and his band were on fire all night, getting the crowd to sing along to every word. Some other memorable songs in his setlist were “Three Times a Lady”, “Hello” and “Brickhouse”. He closed the night with “All Night Long” as his encore.
Michael Eck will celebrate his 40th Anniversary in live music with a special performance his “spiritual home” Caffe Lena, on Sunday, September 25th.
It was on Friday, October 1, 1982, that Michael Eck made his live musical debut, playing electric guitar with the hardcore punk band Deaf Zone in a Battle of the Bands at Bethlehem Central High School. The first they played was The Clash hit “Should I Stay or Should I Go.”
For four decades since, Eck, a self-described “Roots scholar and multi-instrumentalist,” has played in every band you never heard of in Albany and some you actually may have, like The Plague, Chefs of the Future, Stomplistics, Ramblin Jug Stompers, Lost Radio Rounders and Good Things. Additionally, as a singer/songwriter, player and producer, Eck has appeared on dozens of albums.
At his anniversary show on September 25, the veteran of “maximum solo acoustic gigs” in New York, New Orleans and Austin will offer self-written selections from across his career, including tunes culled from four albums (a number of which have been covered by regional artists) as well as a brace of new material (much of it never heard by a live audience), written “during the pandemic and following a stroke.”
Eck will be joined, on a select number of show-closing songs by his adult children, Lakota Ruby-Eck (guitar) and Lillierose Ruby-Eck (violin).
Importantly, the show will also be a release party for Eck’s fifth solo album, “Your Turn to Shine—New Songs, Live at WEXT.” Physical copies will be available at the event, with digital distribution to follow. The title bears witness to the fact that most of the dozen selections were played live for the first time, in any context, at public radio station WEXT.
Midnight. Blue recently connected the lines between a diverse selection of shooting star quality musical talent working today in order to create the perfect constellation of sound in Perception Records‘ first album, Celebration of the Midnight. Blue album release and launch of Perception Records will be held September 1, 2022 at the Bluebird Theatre in Denver, Colorado. Drummer Adam Deitch took time with NYS Music contributor Em Walis to discuss what makes a good studio experience.
Midnight Blue took musical ingredients from across the diverse offerings of the Denver music scene. Each componant melted into a record with a new take on Neo-Soul, R&B and funk. The sound of each artist is distinct, without overpowering the others. Like a good ensemble movie, plenty of space was provided in exactly the right places. The pristine execution which occurred between musicians friendly with each other outside of the studio allowed for an immersive listening experience.
Breathe by Midnight. Blue
Familiar Faces
Musicians that contributed to the Midnight. Blue studio sessions include: Lyle Divinsky (vocals – formerly of The Motet), Eric Benny Bloom (trumpet – Lettuce), Josh Fairman – (bass – Sunsquabi), Adam Deitch (drums – Lettuce), Ian Gilley (keys – Recess), Jake Jay.Greens Leventhal (guitar – Perception Records), Halle Tomlinson (vocals – The Voice), and G. Finesse (vocals – Black Eagle Society).
“We have a bond as musicians and as friends also.”
Adam Deitch
“It’s when you’re a musician, you do things called recording sessions, yeah. session or other people’s sessions for this thing or a session for a rapper sessions for a guitar player. So you know, I’m also a session musician, but it has to be with the right like minded people and good people, and you know, it’s gotta be worth it. It’s really not that often that I get called to do a session for somebody’s record, and I love doing it, especially if I like the music. This was a nice throwback to I guess, more, really the 70s and 80s early 90s.”
Some members of Midnight. Blue once called the areas in and around New York home. Common ground in Education, cutting teeth in performing and culture surrounding music in a place as special as New York arguably provided an unconscious undercurrent for cohesion between the diverse styles of each artist.
The trust in those enlisted to contribute went as far as songs by players being brought in for the record.
“We’re really comfortable with Josh Pearman, the producer of the record. Jake knew that and and wascool enough to ask me to bring in some songs that I wrote, and not just play drums and that’s how that song Let Me In came about.”
The creative trust in the group extended through the depths of songwriting and collaborative solutions in one instance of lost lyrics.
That was something that I recorded myself played every instrument and wrote the lyrics and sang on it. So I had the demo, but I hate the sound of my singing voice. So I never played it for anybody, it just sits there. Then for some reason, I thought oh, this is a great song that I would love to have somebody that has a great voice sing, you know? [Lyle] sure does. He showed up, and I had lost the lyrics. The lyrics were gone. So we had to like pick out the lyrics from the demo. And I was mumbling on the demo. It’s hard.
Lyle ended up having to write a bunch of lyrics that were lost in the recording. It ended up being a collaboration that I’m glad happened because Lyle added some lyrics that probably made better sense of what I had there first.
Familiar Places
Denver has been named current basecamp for the contributing artists. Recording close to home at a familiar studio created a comfortable atmosphere to produce creative work, without the typical distractions of a “home office” remote recording style many artists had to endure during shutdown.
“We all did it in Denver. We did the recording session right by Red Rocks. It’s called Stanhope and it’s a really cool studio and we’ve all recorded there over the past 15 years. Jake was there he was very quiet and very, very humble and chill and Josh did most of the talking about what he needed for his track. They had already discussed what was needed and, so I just came in and over the course of two or three days, I’d knock out the record.”
Adam Deitch
Some members of Midnight. Blue once called the areas in and around New York home. Common ground in Education, cutting teeth in performing and culture surrounding music in a place as special as New York arguably provided an unconscious undercurrent for cohesion between the diverse styles of each artist.
Feeling comfortable in the environment during creative work could be as important as the people involved.
“Stanhope is one of the best studios in Denver. It’s small. It’s cool. It’s got a basketball hoop outside. I love that basketball. You know, it’s nice to take a break. There used to be an alpac farm. You can see some alpacas and that’s cool. I think I wrote a song called llamas next door. I didn’t even know that they were alpacas and not llamas. So that’s cool about that place and it’s been a family for a while and it’s not corporate at all. It’s owned by a friend of ours, Joel and so you feel really comfortable there. There are sort of no rules besides just make good music and have fun.”
Mental Mosaic
“Small colored pieces of hard materials such as stone, tile or glass. Display arranging together small colored pieces of heart. The walls and vaults are decorated by marble and Mosaic. Okay, so it’s different, different materials that create one, one piece.
Yes. Definitely a collection of different musicians that that are from the Denver seeing that kick. Benny Blum and drew Sayers. Ian and and Josh, and a lot of great players that got together and even though we’re not in bands together. We’ve all played with each other, we all know each other. So, it just really happened and the sound of the band, even though it’s with a bunch of so called session, guys or whatever. It has that feel.”
Midnight. Blue and the story behind its conception felt similar to that of a mosaic. Familiar faces. Familiar places. Trusting individuality. Thoughtful composition uniquely assembled with intention allowed for simultaneous awareness of the beauty of each part as well as the product as a whole. A mosaic’s journey could be thought of in a similar way to a record for a non touring collective. The action could be considered the process of creation and after the release has been celebrated, the legacy will reside in the company it provides to those in possession over a long period of time.
Considerations were taken by contributors to the Midnight. Blue album in regards to what it meant to be a peice of a mosaic.
“What I want to do is switch my mindset from what I want and what I think is perfect. Finding out what they want that’s the most important thing that you know, someone that is hiring you to perform on their record. He wants to give them what they what they want from you and a lot of the times they just want what you would do, you know, like give me that Deitch shit.”
Perspective
Excitement for records, especially in genres that define themselves through attendance of upcoming events might not give a record with only one show scheduled a chance. There might not initially feel like a ton of excitement in listening to something carefully constructed in a controlled space and lacking the fond memories of times with friend associated with a live recording. The tracks might not feel enticing because every time the song is visited, it will be the same version, lasting the same amount of time with the same features.
“The collaboration. I love the vibe. It was so, fresh and what I think it’ll really open up how we kind of get pigeonholed when when you play a certain type of music of how how far the derivatives can go. It seems like this is just something that hopefully it’ll help be a little eye opening and broadening for some folks.”
Uncertainty
With uncertainty comes excitement. It could be asserted that there is more certainty, and therefore less excitement with an exclusive relationship with consuming exclusively live music. The notion of more certainty and less excitement goes for the culture which surrounds exclusive live music as well. The usual suspects will be riding the rail. Noah Ray will be doing something extremely nice for another fan, and each song will be a slightly different length with perhaps a slightly varying pace.
“I love that kind of music and even though it’s like hardcore funk, hip hop, you know, like, yeah, so, you know, we’re not really like, get credit. We don’t we’re not really getting the neo soul scene”
When keeping the musical company constant, suddenly a slew of new variables for experiences begin to present themselves. Not knowing how our relationship to the same songs and lyrics might change invites a leap of faith when connecting with certain tracks. The impactful nature music has on our entire executive function, memory and mood can create bridges to both wonderful and horrible places. Should we begin associating a record with a home, a person or a moment in time, the familiarity can instantly transport us back to the associations and feelings.
Excitement in Unexpected Places
Forming emotional bonds with a beautifully studio-tracked musical journey means not being able to discard live recordings of a favorite song because we were not there or distasteful experience on that certain day at that certain place. The one record is it and especially with a moody low-key feel like the one from Midnight. Blue, meaningful associations are bound to form. If a favorite song plays and desire to listen in the company of a certain someone start to form, it will be difficult to shift it to another person in the future. Hopefully that connection continues to reward with a warm uplift with every listen.
Naming Purpose
It might be interesting to consider the types of music consumed and what powers it could provide for us in the future.
Try looking at live music like the medicine. The guaranteed silver lining. If we are feeling sad and need a boost from people we know we will see and songs we know we will dance to, perhaps we could put on a song from a live show we loved and buy tickets for something coming up.
The studio record could be though of like the bit of artwork in our parent’s bathroom. It is consistent. It is in the same spot with the same colors. Some days we might notice the way it catches the light at a certain time of day and give it more attention. Other times, it is just there in the bathroom like always. The importance might only be realized when it is time to take that artwork down and all of the times it has kept us company in our most private moments, never judging if you forgot to brush your teeth or why you took solace by its side to cry in privacy.
Potential In The Unknown
A studio record like the one from Midnight. Blue holds a pleasant consistency yielding prosperous longevity. It could be put on when having a dashing new acquaintance over for dinner, or fill the space between turns in a boardgames played with friends or family. It is complex enough for a private meditative escape from reality. It might not provide the same high as pressing “confirm” for flights booked to attend that show in that cool place to hear that song played a new way and possibly with a record breaking length of jam. It will keep you company in the quiet times. It will yield no emotional rollercoasters due to permit revocations and festival postponements. Midnight. Blue will provide a positive stability and present its meaning as we make our way through this journey called life.
In a double bill for the ages, Matador Records label mates Interpol and Spoon joined forces for their first show on the “Lights, Camera, Factions” tour on Thursday, August 25 at The Stone Pony Summer Stage in Asbury Park, NJ.
Paul Banks of Interpol | Photo by Michael Dinger
Post-punk outfit Interpol, formed at New York University in 1997, have recently released their seventh studio album The Other Side of Make-Believe, which was produced by the legendary duo of Flood & Moulder at Battery Studio in London. Indie rockers Spoon, the 1993 brainchild of front man Britt Daniel and drummer Jim Eno (the band’s only consistent members), are touring in support of their latest album Lucifer on the Sofa, recorded in their hometown of Austin, Texas.
Britt Daniel of Spoon | Photo by Michael Dinger
With a glorious sunset sky as the natural background to their set, Spoon took to the stage a few ticks past 7:00 pm. Their opening number was “Held,” a cover by Smog (the alias of enigmatic singer/songwriter Bill Callahan), which also serves as the introductory song to their most recent studio release, the aforementioned Lucifer on the Sofa. Spoon would go on to perform a second cover near the halfway point of their 18-song set, John Lennon’s “Isolation,” taken from his first post-Beatles album released in 1970.
The Stone Pony Summer Stage | Photo by Michael DingerJim Eno of Spoon | Photo by Michael Dinger
The remainder of the quintet’s 75-minute set would be split up amongst their celebrated discography, with at least one offering from eight of their ten studio albums. Spoon fans eager to hear their new material in a live setting would also not disappointed, as they were treated to three tracks from Lucifer on the Sofa, including “Wild,” “My Babe” and “The Hardest Cut.” Albeit for some technical difficulties with Daniel’s guitar pedals late in their set, Spoon’s performance was filled with the high energy, crowd-engaging experience that you can always count on them to deliver.
Britt Daniel of Spoon | Photo by Michael Dinger
After a 30-minute turnover of the stage, and nightfall having settled over the beach boardwalk venue, the trio comprised of Paul Banks (lead vocals, guitar), Daniel Kessler (guitar) and Sam Fogarino (drums) unassumingly appeared in the dark shadows of the stage. Accompanied by a touring bassist and keyboardist, the set’s opening number was “Untitled,” taken from 2002’s critically acclaimed debut album Turn On the Bright Lights, written specifically to open the band’s live shows.
Paul Banks of Interpol | Photo by Michael DingerDaniel Kessler of Interpol | Photo by Michael DingerSam Fogarino of Interpol | Photo by Michael Dinger
Sharply attired in tailored suits, the band was often immersed in a deluge of smoke haze, heavily backlit with dramatic strobe lights, which made for a visually stunning experience. Like Spoon before them, Interpol’s 15-song set would also bestow upon their fans a representative sampling of their impressive music catalog, with the exception of 2010’s self-titled release, their fourth album overall.
Paul Banks of Interpol | Photo by Michael DingerDaniel Kessler of Interpol | Photo by Michael Dinger
A third of Interpol’s set was composed of songs from this year’s The Other Side of Make-Believe, namely “Fables,” “Toni,” “Something Changed,” “Gran Hotel” and “Into The Night.” However, the clear highlights of their 70-minute act included “Obstacle 1,” the second single from Turn On the Bright Lights and “Rest My Chemistry,” from 2007’s Our Love to Admire, which would see many of the nearly 3,000 fans light up the night with their raised cell phones to capture this fan favorite. As the show closed shortly after 10:00 pm with another one of Interpol’s biggest hits, “Slow Hands” from their sophomore album Antics (2004), my only regret is that it all happened too quickly.
Paul Banks of Interpol | Photo by Michael Dinger
Interpol and Spoon’s 18-date “Lights, Camera, Factions” tour will conclude mid-September in Portland, Oregon with a pair of shows at Pioneer Courthouse Square.
Spoon Setlist: Held (Smog cover) > The Fitted Shirt > Wild > My Mathematical Mind > Do I Have to Talk You Into It > The Way We Get By > The Underdog > My Babe > I Summon You > Got Nuffin > Isolation (John Lennon cover) > The Hardest Cut > Inside Out > I Turn My Camera On > Don’t You Evah > Do You > Jonathon Fisk > Rent I Pay
Interpol Setlist: Untitled > Narc > Fables > Evil > Pioneer to the Falls > Toni > Something Changed > Obstacle 1 > Gran Hotel > All the Rage Back Home > Rest My Chemistry > Into the Night > The New > The Rover > Slow Hands
Sci-fi Middle Eastern fusion prog rockers Consider the Source announced their fall “Maxx Power Tour” and released a cover video of Opeth’s “Death Whispered a Lullaby”.
Maxx Power Tour
Consider the Source is a Sci-fi fusion trio blends progressive rock and improvisatory jazz, soaked in Indian and Middle Eastern styles. Their latest electric album, You Are Literally a Metaphor, reaches a peak of their fifteen-year musical journey. It includes he same fury and dazzling virtuosity of their previous work, Metaphor is also a portrait of three musicians reaching new levels of maturity.
Consider the Source
The “Maxx Power Tour” will be their return to a fully electric performance since they performed a hybrid acoustic electric tour with their “Hybrid Vol. 1: Such As A Mule”. From the bluesy swing of “When You’ve Loved and Lost Like Frankie Has” to the ethereal electro-synths of “Sketches From a Blind Man”, they continue to infuse minimalist pop, progressive metal, and freewheeling improvisation in their omnivorous musicality.
Three of Metaphor’s nine songs are Eastern European traditionals. Bassist John Ferrara’s new Taurus bass pedals and guitarist Gabriel Marin’s new custom Vigier double-neck guitar add new dimensions to the band’s already diverse sound.
As for their new cover music video, Opeth is one of the few bands who influenced the three of Consider the Source individually during our adolescent years and later collectively as a group.
They write extended compositions that are emotionally dark and brilliantly tie together sections of extreme heaviness with mellow acoustic passages. Their top-notch production, tight rhythms and catchy melodies have become something we strive for in our own original music. We’ve wanted to cover one of their songs for a long time but couldn’t pick just one favorite. We hope you enjoy our interpretation of “Death Whispered A Lullaby” with a couple of our favorite riffs added in at the end from “Closure” and “Deliverance”.
Consider the Source
FULL SCHEDULE:
09.02 Millersville, PA – Phantom Power * 09.03 Stuart, VA – Front Porch Fest 10.13 Baltimore, MD – The 8×10 ** 10.14 Abingdon, VA – Between the Vines 10.15 Pamplin, VA – Fly High CROPtober Fest 11.04 Portland, ME – Bayside Bowl 11.05 Hartford, CT – Arch Street Tavern *** 11.10 Saratoga Springs, NY – Putnam Place 11.11 Burlington, VT – Nectar’s 11.12 Asbury Park, NJ – Wonder Bar **** 11.17 Sellersville, PA – Sellersville Theater * 11.18 Pembroke, MA – Soundcheck Studios ***** 11.19 Brooklyn, NY – Brooklyn Made **** 12.01 Charlottesville, VA – The Southern 12.02 Asheville, NC – Asheville Music Hall 12.03 Charlotte, NC – Heist Brewery and Barrel Arts 12.08 Atlanta, GA – Smith’s Olde Bar 12.09 Raleigh, NC – The Pour House Music Hall * w/ Chestnut Grove ** w/ Seven Teller *** w/ The Mushroom Cloud **** w/ Baked Shrimp ***** w/ Bella’s Bartok
Thursday, August 25 marked the debut performance of Joe Russo’s Almost Dead (JRAD) at Saratoga Performing Arts Center (SPAC), a remarkable step for the all-star Grateful Dead tribute act featuring drummer Joe Russo, guitarists Scott Metzger and Tom Hamilton, keyboardist Marco Benevento and bassist Dave Dreiwitz.
photo by Zak Radick
An enthusiastic Saratoga Springs crowd – one that has seen JRAD perform from Brooklyn Bowl to The Palace Theatre and stops across the country – was treated to a fitting opener of George Jones’ “The Race Is On,” followed by an extensive “Shakedown Street” that followed. After “Row Jimmy” (which had a “They Love Each Other” tease at the start), the band shifted into “Dancing In The Street” and then seamlessly into “The Music Never Stopped,” which featured teases of “Dancing” and “Shakedown Street” intertwined throughout, then provided a sharp return to the end before closing the set with “Touch of Grey.”
photo by Zak Radick
After a setbreak full of Tom Petty songs, Russo, wearing a Late Night with Seth Meyers shirt, led the band through a rousing jam that worked its way into “Playing in the Band.” Hinted at by pre-show MoTown songs (and The Chordettes “Lollipop” post show music), JRAD then debuted Smokey Robinson’s “Second That Emotion” after the 20 minute “Playing.” The highlight of the night would arise in “Brown Eyed Women” that found Hamilton, Metzger and Benevento alternating in taking the lead in the jam, each of them finding higher peaks to reach with each passing of the baton. “Let It Grow” and Dylan’s “When I Paint My Masterpiece” followed the scorching “BEW,” and the set was brought to a close with an upbeat “Franklin’s Tower.”
During the encore of “I Know You Rider,” Hamilton found every peak to take the envigorating jam up another step, as JRAD gave the SPAC crowd an uplifting number on which to end their historic night.
Set 1: The Race Is On, Shakedown Street > Row Jimmy > Dancing In The Street > The Music Never Stopped > Touch Of Grey
Set 2: Playing In The Band, Second That Emotion > Brown-Eyed Women > Let It Grow > Masterpiece > Franklin’s Tower
Nostalgia, Hawaiian shirts, good vibrations and the sounds of Motown were abound in Saratoga Springs on Thursday August 18th, as legendary summer surf rock pioneers The Beach Boys and iconic Motor City hitmakers The Temptations belted out classic after classic at the Saratoga Performing Arts Center (SPAC). Celebrating Sixty Years of The Sounds of Summer, the evening played out like a trip down memory lane, taking the mostly older audience back to a time when, on the surface, things just seemed simpler. Like a snapshot through American history, fans welcomed the chance to hear the songs that provided the soundtrack to so much of their lives.
The Beach Boys took fans at SPAC on a Surfin’ Safari on 8/18/22
From Hitsville USA to the Spa City, the evening kicked off with the Motown soul of The Temptations. Dressed in matching green suites, the dapper looking group was led by original member Otis Williams along with Ron Tyson, Terry Weeks, Tony Grant and Jawan M. Jackson and also included a full orchestra as part of the backing band. With vocals ringing true and like a well-oiled machine, the tightly choregraphed set included fan favorites “Get Ready,” “I’ll be in Trouble, “Just My Imagination (Running Away With Me), “Papa Was a Rollin’ Stone” and “Ain’t Too Proud to Beg.” With the crowd fully engaged and singing along to almost every song, not only were fans having a good time, but it seemed like the members of The Temptations were too, exchanging smiles and high five handshakes that felt genuine and unchoreographed. After a medley of songs paying homage to other Motown greats of the era, The Temptations closed their set with a song everybody knows, their signature hit “My Girl.”
Otis Williams and The Temptations performing at SPAC 8/18/22 – Photo by Zak Radick
After a brief break to clear the stage, the fun-filled evening continued with an elaborate pre-produced video introduction that flashed images and soundbites of The Beach Boys storied career. With the group’s 60th anniversary of their first album, Surfin’ Safari, approaching in October – their impact on American culture through the decades cannot be overstated. Watching the montage of popular television shows and movies the band has been featured in – from Good Morning Vietnam, Cocktail, Look Who’s Talking, and the closing credits of Boogie Nights, to shows like Full House and Friends and their complicated association with the Fab Four, it’s clear not only does this band continue to have a wide-ranging generational appeal, but that their songs have indeed stood the test time.
Have Mercy: A career spanning video montage of The Beach Boys plays moments before showtime on 8/18/22
With a minimal stage setup that simply included some artificial palm trees and a jumbotron LED screen, original Beach Boy Mike Love and longtime member Bruce Johnston walked to the front of the stage and showed their love for the Saratoga crowd by blowing them kisses before launching into the first of many surf rock medleys, kicking the party off with a “Do It Again”>”Surfin’ Safari”>”Catch a Wave” trifecta. Bolstering their iconic sound with help from talented supporting musicians Tim Bonhomme, John Cowsill, Brian “Ike” Eichenberger, Christian Love, Randy Leago, Keith Hubacher and Scott Totten, this incarnation of The Beach Boys both looked and sounded great.
Working their way through all the fan favorites – the surfing songs like “Rockaway Beach,” “Surfin’ USA,” and ” Surfer Girl,” to the cruising anthems like “Little Deuce Coup,””409” and “Little Honda” it was clear The Beach Boys not only welcomed the nostalgia, but thrived in it. With their signature sun-drenched vocal harmonies for days, hearing songs like “Don’t Worry Baby,” “I Get Around, “Wouldn’t it Be Nice” and “Sloop John B” felt truly special and provided some of the biggest ovations of the evening, but perhaps the loudest came on the heels of an emotional rendition of “God Only Knows,” a song many consider to be one of the greatest ever written.
After telling a short story about the time he ran into The Beatles in India, Mike Love would sing an original song called “Pisces Brothers”, before the band would string together another series of love songs (“Darlin,” Then I Kissed Her,” Help Me Rhonda”) that saw some of the elderly couples embrace in sentimental overload. Picking the tempo back up, possibly out of fear of being too mushy, “Dance, Dance Dance, ”Do You Wanna Dance?” and a cover of Chuck Berry’s “Rock and Roll Music” came next, followed by everyone’s favorite a luau anthem ”Kokomo,” which had everyone on the SPAC lawn singing and smiling, making the final song of the set, “Good Vibrations,” very fitting. The Beach Boys would return to the stage for a two song encore, “Barbara Ann” and “Fun, Fun,Fun,” sending the audience home satisfied and happy.
After more then six decades of performing, both The Beach Boys and The Temptations have proven they still have what it takes to entertain at a high level and that there is still an audience hungry to see them. With an astounding catalog of songs that have become engrained in American culture and themes that remain universal – teenage love and angst, rebelling against authority, driving fast and having fun in the sun, hearing them played live can feel almost surreal at times. It didn’t seem to matter the original members of each group were few and few between, it was all about being there in the moment, singing the songs you grew up on, and rediscovering a piece of your own youth. A great night of ‘Greatest Hits,” have mercy on me for saying it, but even Jess and the Rippers would have found this show satisfying.
If you missed the stop in Saratoga Springs, don’t worry baby, New Yorkers still have a few more chances to catch the Sixty Years of The Sounds of Summer Tour. The Beach Boys and The Temptations play Bethel Woods on August 25th, the Chautauqua Amphitheater on August 26th, and swing by Wildwood, NJ on August 27th.
The Beach Boys | August 18, 2022 | Saratoga Springs, NY | SPAC
Setlist: Do It Again, Surfin’ Safari, Catch a Wave, Hawaii, Little Honda, Rockaway Beach, Surfin’ USA, Surfer Girl, Don’t Worry Baby, Little Deuce Coupe, 409, Shut Down, I Get Around, Be True to Your School, Getcha Back, You’re So Good to Me, Darlin’, God Only Knows, Pisces Brothers, California Girls, Sloop John B, Wouldn’t It Be Nice, Then I Kissed Here, Help Me, Rhonda, Do You Wanna Dance, Kokomo, Good Vibrations
Encore: Barbara Ann, Fun, Fun, Fun
The Temptations | August 18, 2022 | Saratoga Springs, NY | SPAC
Setlist: Get Ready, Girl (Why You Wanna Make Me Blue), The Girl’s Alright With Me, Beauty is Only Skin Deep, I’ll Be In Trouble, The Way You Do The Things You Do, Ain’t Too Proud to Beg, Ball of Confusion (That’s What the World is Today), I Wish It Would Rain, Just My Imagination (Running Away With Me), Papa Was A Rollin’ Stone, I Can’t Get Next to You, Is It Gonna Be Yes or No, Get Up (I Feel like Being a Sex Machine / I Want to Take You Higher / Let’s Get It On, Treat Her Like a Lady / Ain’t No Stoppin’ Us Now, My Girl
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 Lucas Garrett, Architrave, and Scothcka.
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 and showcases new music on EQXposure. 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.
Lucas Garrett – “Together”
Lucas Garrett is a musician from Upstate New York, who has played professionally for over nine years. He has a unique style that blends progressive rock, folk, new wave, and indie, which audiences enjoy. His newest single “Together” is out now.
Architrave – “Lorem Ipsom”
Architrave is a synth-pop duo from Ballston Spa, made up of Jennifer Maher Coleman and Paul Coleman. Their unique blend of synth and alternative sounds makes listeners really enjoy them, and their new single as well as an accompanying video is out now.
Scotchka – “Painted World”
Scotchka is a rock band from Albany that blends emo, pop punk, and alternative influences for an energetic, introspective style. Formed in 2016 under a different name, the band released their first EP, Locket, as Scotchka in 2018. Their song “Painted World” off of their new album Corinthians will be played on EQXposure.
Twenty One Pilots stopped at Madison Square Garden on Tuesday August 23, the fourth stop of the group’s “The Icy Tour.” Along with performing songs from their 2021 album Scaled and Icy, the duo performed many of their old hits including “Ride” and “Stressed Out.” The show proved why they are considered as one of the most successful bands in the last decade.
Twenty One Pilots – Photo By: Lucas Kurzweil
Setlist: Good Day, No Chances, Guns for Hands, Morph, Holding on to You, The Outside, Message Man, Lane Boy, Chlorine, Mulberry Street, Addict With a Pen / Forest / Ode to Sleep / Hometown / Bandito / Choker, The Judge, Migrane, The Hype / Nico and the Niners / Tear in My Heart, Halo Theme (Martin O’Donnell Cover), Jumpsuit, Heavydirtysoul, My Blood / Saturday, Level of Concern, Ride, Shy Away, Car Radio, Stressed Out
Fans of classical music and the Chamber Music Society will now get the chance to hear them in Saratoga throughout the entire year instead of just the customary summer performances. Saratoga Performing Arts Center (SPAC) has announced a new year-round residency for the Chamber Music Society of Lincoln Center that is slated to begin later this year. 2023 marks the 10 year anniversary for this yearly residency, which is now extended throughout the entire year, affirming SPAC’s commitment to providing programming outside of the traditional summer season.
Performances from the Chamber Music Society of Lincoln Center will return to the Spa Little Theatre for the first time since 2019. The next scheduled dates are on October 15, March 18 and May 13 with the summer performances to be announced at a later date. All scheduled musicians and accompanying selections can be found below.
While CMS may have just taken their final bow for the summer, we can’t think of a better way to celebrate the residency’s upcoming SPAC 10th anniversary in 2023 than by extending the scope of what they do in Saratoga.
~ Elizabeth Sobol, President and CEO of Saratoga Performing Arts Center
Subscriptions to all three programs will be available to purchase at spac.org beginning August 26 at 10 a.m. for SPAC members. Member presales are tiered by level, and members will receive their presale start time via email. Subscriptions will be available to the general public beginning August 31 at 10 a.m. Single tickets will be available to purchase on September 8 at 10 a.m.
Monday, October 15, 2022
MICHAEL STEPHEN BROWN, Piano
KRISTIN LEE, Violin
RICHARD LIN, Violin
JAMES THOMPSON, Violin
MATTHEW LIPMAN, Viola
MIHAI MARICA, Cello
JOSEPH CONYERS, Double Bass
Bach Concerto in D minor for Keyboard, Strings, and Continuo, BWV 1052 (1734)
Schubert Rondo in A major for Violin and String Quartet, D. 438 (1816)
Handel/Halvorsen Passacaglia in G minor for Violin and Viola (1894)
Mendelssohn Double Concerto in D minor for Violin, Piano, and Strings (1823)
Saturday, March 18, 2023
JESSICA RIVERA, Soprano
MICHAEL STEPHEN BROWN, Piano
GILLES VONSATTEL, Piano
NICHOLAS CANELLAKIS, Cello
IAN DAVID ROSENBAUM, Percussion
CoplandEl Salón México for Piano and Percussion (arr. Bernstein) (1932-36, arr. 1941)
BernsteinThree Meditations from Mass for Cello, Piano, and Percussion (1971, arr. 1977)
Ginastera “Chacarera” from Cinco canciones populares argentinas for Voice and Piano, Op. 10 (1943)
Chávez “North Carolina Blues” for Voice and Piano (1942)
Ginastera “Gato” from Cinco canciones populares argentinas for Voice and Piano, Op. 10 (1943)
Ponce “Estrellita” for Voice and Piano (1912)
Bernstein “I Feel Pretty” from West Side Story for Voice and Piano (1957)
Bernstein “Somewhere” from West Side Story for Voice and Piano (1957)
Golijov Mariel for Cello and Marimba (1999)
Villa-Lobos“A maré encheu” from Guia prático for Piano (1932)
Villa-Lobos “O polichinelo” from Prole do bebê for Piano (1918)
Ginastera Pampeana No. 2, Rhapsody for Cello and Piano, Op. 21 (1950)
León “Oh Yemanja” from Scourge of Hyacinths for Soprano, Cello, and Piano (1994)
Gershwin Cuban Overture for Piano, Four Hands, and Percussion (1932)
Saturday, May 13, 2023
WU HAN, Piano
ARNAUD SUSSMANN, Violin
DAVID FINCKEL, Cello
Beethoven Sonata in F major for Violin and Piano, Op. 24, “Spring” (1800-01)
Beethoven Trio in G major for Piano, Violin, and Cello, Op. 1, No. 2 (1791-93, rev. 1794)
Dvořák Trio in E minor for Piano, Violin, and Cello, Op. 90, “Dumky” (1890-91)
