Long running series Bowlive returns to Brooklyn Bowl in July. Bowlive IX will celebrate Brooklyn Bowl’s 13th Anniversary with a three-day celebration featuring soul-jazz organ trio Soulive on Thursday, July 7th, Friday, July 8th and Saturday, July 9th.
For the debut performance of their three night run at the Bowl, Soulive will perform a special Rubber Soulive Beatles Set. Marking their only performances in 2022, the trio will be joined by legendary Meters founding bassist George Porter Jr. on Friday, July 8th and Saturday, July 9th for a special performance to showcase Brooklyn’s iconic venue in style. Three day passes are sold out but you can purchase individual passes for Bowlive IX for 7/7, 7/8 and 7/9.
Bowlive is one of Brooklyn Bowl’s most unique traditions. It’s New Orleans at three in the morning after Jazz Fest and one of the venue’s longest running residencies. Guitarist Eric Krasno, drummer Alan Evans and keyboardist Neal Evans have been playing every year since 2010 and have welcomed a number of world class musicians to the stage over the years, including Derek Trucks, Susan Tedeschi, Warren Haynes, members of Lettuce, Joe Russo, Marco Benevento, Karl Denson, Questlove, Chris Robinson, Luther and Cody Dickinson, Bernie Worrell, Talib Kweli, Anders Osborne, GRiZ, Lee Fields, Los Lobos’ David Hidalgo, Run-DMC’s Darryl McDaniels, Nicki Bluhm, Steve Kimock, Citizen Cope, Matisyahu and more.
Brooklyn Bowl New York is the flagship venue for the Brooklyn Bowl franchise, with its groundbreaking integration of premiere music, 16 lanes of bowling, a bar featuring locally crafted beers, and food by the acclaimed Blue Ribbon restaurant group. Keeping its homegrown values on its sleeve, the Brooklyn Bowl is the first ever L.E.E.D.-certified bowling alley in the world and boasts a sound system and amenities that “no other local rock club can offer” (The New York Times). Open seven days a week, Brooklyn Bowl has become a mainstay for New Yorkers and has hosted greats like Guns N’ Roses, The Roots, Lauryn Hill, and Elvis Costello.
The Peach Music Festival celebrates its 10th anniversary this weekend, with performances by Trey Anastasio Band, The Black Crowes, Billy Strings, Joe Russo’s Almost Dead, Goose, the Revivalists, Pigeons Playing Ping Pong, and the reunion of The Word. The daily streaming schedule has just been announced for Peach Festival this weekend, free for Nugs.net subscribers.
Inspired by the legendary Allman Brothers Band, Peach Music Festival will feature founding member Jaimoe with Jaimoe and Friends, as well as Friends of the Brothers, and Brother & Sister (featuring Butch’s kids, Melody and Vaylor). Check out the daily Peach Festival schedule below!
Beyond the four days of live music featuring over 50 artists, this one-of-a-kind experience features food and craft vendors on the grounds and access to the scenic Montage Mountain Ski Resort’s large water park, zip line and ski lift rides.
Buzz among attendees this year centers on if Trey Anastasio will invite a member of Goose to join his band’s headlining set on Saturday night, following Goose inviting Trey on stage at Radio City Music Hall this past week.
The 10th anniversary celebration of The Peach Music Festival will conclude with a spectacular Independence Day Weekend fireworks display on Sunday, July 3.
The Supreme Court overturned the landmark case Roe v. Wade this month, which deals a shattering blow to healthcare and reproductive rights, notably ending the constitutional right to an abortion. This passes it back to the states who will each decide what healthcare women can receive, instead of making the decision themselves.
Photo by Anna Moneymaker/Getty Images
The troubling decision comes as SCOTUS Judge Clarence Thomas adds that the Supreme Court “should reconsider” previous cases such as “Griswold, Lawrence, and Obergefell,” which protect contraception, same-sex relationships and same-sex marriage, respectively.
New York is one of the many states who are going to allow abortions to continue. Gov. Kathy Hochul said it was a “dark day for women across this nation” who have “long fought for the right to have control over their own lives.” The ruling means that women will be forced to have “government-mandated pregnancies,” she added.
A lot of musicians took to different social media platforms like Twitter and Instagram to show their outrage and frustration at the decision.
Manhattan-born influential singer Carole King took to Twitter to say “taking a right away from more than half the population affects every member of the family.”
More artists born in NYS, like Mariah Carey express their disappointment in the decision, Carey saying “It is truly unfathomable and disheartening to have to try to explain to my 11 year old daughter why we live in a world where women’s rights are disintegrating in front of our eyes.” Cyndi Lauper is rereleasing her song “Sally’s Pigeon” due to the decision.
Maggie Rogers tweeted “abortion is healthcare. bodily autonomy is a human right.” Phoebe Bridgers tweeted “fucking evil.” She also talked about the decision at Glastonbury Festival, while leading an anti-SCOTUS chant.
Olivia Rodrigo did something similar at the festival as well, name dropping each Supreme Court member who voted to overturn Roe v. Wade, while also bringing out singer Lilly Allen to sing her song “Fuck You.”
https://www.youtube.com/watch?v=Fpc40dmPlVM
Artists who are not from the United States have also shared their thoughts. Pop-rock musician Yungblud spoke on Twitter, saying “The Supreme Court just ended a constitutional right to obtain an abortion, saying it should be left to each state to decide, this is horrible!” Swedish singer Zara Larsson also tweeted, in all caps, “MAKING ABORTIONS ILLEGAL WONT STOP PEOPLE FROM HAVING THEM, IT STOPS THEM FROM HAVING SAFE ONES.”
There are many many more musicians and celebrities who have shared their disappointment about the decision. Although things look bleak at the moment, hopefully the talk never stops and people keep going out and protesting to promote some real change the country desperately needs.
Mayan Warrior brought their immersive and otherworldly Art Car to The Brooklyn Navy Yard for two shows this past weekend on Friday June 24th and 25th. The legendary music collective has been a part of Burning Man for ten years now and has a long history of bringing the spectacle outside of The Playa for shows in cities across the United States.
These shows are the only chance to see the Art Car this year outside of the festival and also serve as a fundraiser for the collective’s ability to travel to Black Rock Desert and fund their charitable work. June saw the collective stop in Austin, TX as well as New York City and there are two more events in Los Angeles and San Francisco in the months following Burning Man.
Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx
The Mayan Warrior Art Car is one of the most unique music and art installations in the country. “The mutant sound system has attracted hundreds of thousands, blazing a trail of sonic creativity that celebrates the burgeoning underground Mexican electronic scene and pairs ancient art with modern technology.” The car itself is a large bus that has been stripped down and rebuilt with the goal of portraying ancient Mexican art and culture. The front of the bus adorns a large Mayan head and the entire production is laced with vivid lighting, pyro, and laser features. Even in such a large room, the production is mesmerizing no matter your perspective.
Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx
The music for the night came from the Mayan Warrior community and musical curators including Mandrake, Perel, Jenia Tarsol, Dramian, Asaf Samuel, Chaim Avital, Moscoman, Robin Scott, and Lovecraft. While you can not pin down the music to a particular genre, there is a strong deep house background but all of the performers brought unique and interesting elements to their sets. From live guitars, to vocalists, and deeply experimental tangents the music never stopped evolving throughout the weekend.
Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx
Stranger Than partners with Mayan Warrior to design a truly immersive experience around these shows. The Art Car itself is a dominant presence in the room, but there are also art installations, vendors selling jewelry and art, food vendors, and advocates. While the music is certainly a major proponent of the experience, it is far from the whole story. Fully costumed dancers and acrobats are seen dancing and engaging with the crowd. Two dancers on stilts put on a spectacle on the dance floor while fire breathers were seen blowing flames from the Art Car. The fans that Mayan Warrior attracts also contribute with costumes and wearable art of their own. Combined with the Pride celebration in NYC over the same weekend, the energy and atmosphere of these shows was unmatched.
Mayan Warrior at The Brooklyn Navy Yard, 6/24/2022. Photo by Tyler Alixx
Next up for Mayan Warrior is The Playa at Burning Man. After that, you can see the Art Car in Los Angeles in October and San Francisco in November. Check out a photo gallery below for more photos from Night 1 at The Brooklyn Navy Yard.
Youngstown, NY, located in Niagara County, will host their 3rd Annual Village Music Fest on August 6, 2022 at Veterans Park. The event runs from 12pm-10:30pm, with Canadian Rock band “The Trews” headlining the night.
Youngstown is an historic village in the Town of Porter located 11 miles north of Niagara Falls. Situated at the mouth of the Niagara River where it meets Lake Ontario, residents and visitors to Youngstown enjoy the local shops and restaurants, water activities and amazing sunsets.
Don Ames, a village of Youngstown Historian notes that the area was known to Native tribes for hundreds of years before the French explorer La Salle left his mark by building a small fort in 1670, less than a mile north of where the village is now located. The French gained control of the Great Lakes area and by 1727 built the “Castle” which became the centerpiece of Old Fort Niagara.
Presented by Barry Entertainment, the 3rd annual Village Music Fest features more than 25 local vendors and artisans, food trucks, drinks, games and much more.
Live music can be found all day from artists including The Trews, Melissa Barry, Scott Celani, Tonemah, Grub, No Vacancy, Moondog, Busted in Eden and more.
Tickets will also be available at the gate or can be purchased in advance – $20 for General Admission and $40 for VIP, which includes front of stage viewing.
Queens native Action Bronson put on a free show for Summerstage at Flushing Meadows Corona Park on Saturday, June 25th. The show was part of Queens Live thrown by the City Parks Foundation and also featured Karen Y Los Remedios, Statik Selektah and host Ralph McDaniels. Queens Borough President Donovan Richards was also in attendance. Richards said “Queens Live! isn’t just back for a second year, but it’s coming back bigger and better. I couldn’t be more excited to partner with the Capital One City Parks Foundation SummerStage team to bring Queen’s own Action Bronson to his home borough in what should be a fantastic free afternoon of music.”
Action Bronson at Flushing Meadows Park
Ralph McDaniels is the founder and curator of Video Music Box, the first tv show to feature hip-hop videos primarily. McDaniels has also produced over 400 videos for some of the biggest names in hip-hop including Wu-Tang Clan, Nas and Roxanne Shante. He has also produced several documentaries.
Ralph McDaniels at Flushing Meadows Park
Karen Y Los Remedios is a group from Mexico and features singer Ana Karen Barajas, producer jiony and guitarist Z.am.pa. Their latest EP, Recuerdos de Expiacion was released last year and features the songs “Resistencia” and “Permanencia.” In an interview with katacult.com, Ana and jiony said “We have been working through a lot of years together making collaborations. However, when we started the project of “Karen y Los Remedios”, the idea of making music with Latin roots, especially cumbia was the main goal.”
Karen Y Los Remedios at Flushing Meadows Park
Chef, actor, tv host, artist and rapper Action Bronson headlined the concert and performed with pure energy. His setlist was mostly songs from his latest album Cocodrillo Turbo. Griselda producer Daringer was Action’s DJ. The two have also collaborated many times in the past as well. Special guests included Alchemist, Hologram and Yung Mehico on sax. Action’s 2 year old son even made an appearance during the last song “Actin Crazy.”
The Green-Wood Cemetery series of concerts in Brooklyn will feature boundary-breaking performers in its historic catacombs from July through September. This season features performances with violinist/violist and interdisciplinary performing artist eddy kwon, multi-instrumentalist and composer Zeena Parkins, and free jazz legend William Parker.
The Green Wood Cemetery
Established in 1838, The Green-Wood Cemetery is recognized as one of the world’s most beautiful cemeteries. As an affordable alternative to traditional burial spaces, the Catacombs are rarely open to the public. At the same time, Green-Wood is also an outdoor museum, an arboretum, and a repository of history. Throughout the year, it offers innovative programs in arts and culture, nature and the environment, education, workforce development, restoration, and research.
eddy kwon – July 6th and July 7th
eddy kwon will display their unique brand of interdisciplinary performance art, which explores transformation and transgression, ritual practices and mythology. Their art is inspired by American experimentalism, as shaped by the Associate for the Advancement of Creative Musicians as well as Korean folk timbres and inflections, textures, and movements from natural environments.
eddy kwon
Zeena Parkins – August 10th and August 11th
Zeena Parkins will bring their pioneering electro-acoustic style to the Catacombs. Parkins has designed a series of one-of-a-kind electric instruments and is also a master of modern harp practice.
Zeena Parkins
William Parker – September 21st and September 22nd
The New York City native William Parker will perform with his blistering improvisational bass. He has had a prolific career, released over 150 albums, published six books, and influenced countless students, musicians and artists over his decades long career.
William Parker by Peter Gannushkin
Because the Catacombs are deep in the Cemetery, attendees will be transported to and from the Catacombs from Green-Wood’s Main Entrance (25th street and Fifth Avenue) via trolley. There will be two performances each night, at 6:30 and 8pm.
Tickets start at $40, and are $35 for Green-Wood members. Attendees must wear a face covering at all times on the trolley and in the Catacombs. Doors close 30-minutes after the time on their ticket.
Seekers and travelers, both aquatic and avian, endured a nauseating sense of moral conflict while making their way to see Goose on June 24th and 25th for the sold out Radio City Music Hall shows. News of the Dobbs Supreme Court ruling was fresh; strong introspective notes of guilt and grieving rang in battle with the plans for a most jovial gathering. Hurdles of planning jumped for months to make those nights happen. Travel high jumps cleared in the last hour. All of this legwork to prepare for two nights when we thought we could finally be animals and move our abdominals for a night, instead receiving news that life for women just got a whole lot scarier.
Good news brought to you by Goose and Trey by Em Walis
Goose’s cover of “Mad World” from the South Farms Halloween show played on repeat the whole drive down. A song which leaned into the darkness in the throws of pod-era guilt stricken live music attendance. It also was a song Doom Flamingo played later that night with powerhouse feminist badass Kanika Moore appropriately addressing this particular moment of darkness.
During moments of self-preservation and protection, the mind for some went to a strange place where the value of innocuous thoughts skyrocketed. Distraction in the form of social anxiety, primal desire to hunt for big game in the form of a limited release poster, and theories of potential setlists and sit-ins began to swarm the mind, blocking out any space for all-out panic about women living in those states.
Empresses by Em Walis
SOS
Shock-driven imagination created a surreal mental image worthy of the “Weird Goose Dreams” facebook group. The line outside of Radio City before Connecticut Indie Groove band Goose played back to back sold out shows at Radio City Music Hall painted the sidewalks like the signs that once were held up only a few blocks away outside of MTVs TRL. Memories of pop-punk fandom long ago trailed while approaching. Opening conversations were mentally rehearsed. Would Dripfield have been hitting #1 on the hit music video countdown show if it were still airing today?
So ready by Em Walis
Why the rehearsals? The typical over-thinker would estimate that of the 6,000 guests, a core group of, say, 10% would be in attendance for every show. Another 20% will go to every run within a day’s driving distance. 30% will see every show where they can return home the same night. 20% could be first-timers and the remainder… It was complicated.
100% Sold by Em Walis
In a landscape of ever-changing risk, evolving life circumstance and financial whirlwinds, that percentage unaccounted for above could be dedicated fans, unable to attend for a solid chunk of time. Thankfully, they were able to continue to follow the band, only from the VIP view of the livestream and rode the rails of the coffee table with company of an active group chat. The poster line was more like reflexes with a Nintendo game, instead of the running of the bulls (or in this case, geese). The importance of a historic night for band and community might have inspired months of preparation in order to attend. The emotions of the prodigal children ran high.
The time they left Scarf the Redeemer in charge of the pit at RCMH – Georgiana Platt
Before crossing the street over to the line, all thoughts were immediately interrupted when a man standing with arms outstretched and body language that shouted, “Welcome!” and “I’m so glad you made it to the show!” Golden light poured over the massive Radio City Music Hall and line as far as the eye could see weaving behind. Scarf draped over the outstretched arms, the bit of fabric which has become a rock relic illuminated with vibrancy from the sun as it set behind.
The scarf danced and waved tirelessly during those early streams where the pods were spaced such that only two people from the crowd could be seen when Marta Goedde switched the cameras to the front of house viewpoint. A symbol of giving it all you’ve got to both thank the band for taking a risk during a dark time and to honor those that were not in a position to safely attend. A symbol of hope when we needed it most. A man whose outstretched arms and scarf draped, larger than life in front of the epic Radio City Music hall could only be described as “Scarf the Redeemer” washed away all doubts with a single hug. Radio City. Goose. Good News. Mood Boosted. Game on.
Start and end with glizzy sacrament by Em Walis
Seekers
Familiar faces full from streams and memes were assembled at the front of the line, taking part in the sacrament known as the eucharist of glizzies. Why show up so early when there are assigned seats? The group up front at Radio City absolutely wanted a poster, but more importantly, value the time waiting on line for doors as part of the community experience. Hours of sharing and connecting before as well as mutual experience up front for every show has created an unbreakable bond and ritual that could not be forgotten, even if their ticket put them somewhere up in the three Mezzanines.
Shine on by Em Walis
Stickers, baklava and pogs were passed around from arms draped in glistening sequin capes to ones with vibrant colors of one specific tie dye maker. Typically a sign on regional representation, these dyes transcend the regions and have been worn by community members hailing from an area much larger than their origins of Western New York.
The patterns on the dyes both thoughtful and ornate, evoked an unconscious mood boost because the coloring seemed to look exactly like the big looks from some most cherished moments from Goose shows past. The Blue Sky Dyes have been worn by members of Goose over the years which have been featured on streams played at home time and time again. Another mood boost.
Travel MVPs by Em Walis
Travelers
Seven missed flights, one broken truck and a marriage proposal later, one couple finally made it to Radio City for the show. Another seated monk figure had converted his van to follow Goose. Coast to coast, Midwest to Southeast. Representations from across the country were assembled together. The mood was cohesive and upbeat.
The Rockdale by Em Walis
Goin Down To The Rockdale
Arriving inside Radio City Music Hall felt like time travel. Lounges, not bathrooms, all had unique mirrored constructions. Water fountains made with artistry that could not look like anything further than the industrial robot fill stations of today. The merch line spiraled down an oval staircase. The surreal feeling seemed to never end as memories of the Resonance set from a few years ago kept appearing when chatter began to spread about what potential this band had. Familiar faces, big long hugs and selfies galore could be witnessed throughout the halls as thousands of people poured into the venue. This was a powerful feeling at a powerful time.
Peter remembering who is important by Em Walis
Gonna Lay It All Down For You
Before Goose began their first song during the biggest night of their careers, Peter took a moment to address the crowd about the devastating news. He stated the value for women’s rights among the band and tears were falling before the first note commenced.
Arms up, or not. You decide. By Em Walis
Leave Your Coat At The Hotel, We’ll Be Hanging In The Old Barroom
The atmosphere differed tremendously depending on location of seating. Each quadrant held a distinctive personality. Under typical circumstance, a Goose crowd would often resemble that of a high school cafeteria. Same people riding the front rails. Tamara, Crepes and Val on Trevor side, Phil, John and Noah in the middle. Binky between Rick and Peter alongside the Carusos forever dedicated to “Pete side, sweet side.” At Radio City Music Hall, everyone was scattered throughout. Some were able to experience the light show for the first time, despite countless shows attended.
Ryan Stasik believes in shenanigans by Em Walis
Orchestra: Elmegs and Empresses
In the Orchestra seating, there appeared to be a near checkerboard pattern of longtime family and friends mixed with first timers and socializers. Similarly dispersed were those that danced hard with those who would fall under a still, hypnotic trance. In the center of it all, fittingly, was the Goblin King. The “George Washington of hot guys in the jam scene,” according to Andy Frasco. Ryan Stasik was in attendance. “So hot right now,” someone whispered from nearby.
Escaped animal by Em Walis
First Level Mezzanine: Animals
The first mezzanine was a different story. These bunch of animals danced hard and could be called rowdy. The view of the stage from the back rows could have been better, but it didn’t matter. Every person of every age sang each word as if it were a church hymn. It was discovered here that amidst a tumultuous emotional experience, it can be extremely healing to let all of that angst out with dance and shouting the words. Catharsis comes in the form of the silly and leaving egos at the door. Appropriately, this quadrant of the venue went all out bananas when Animals came on. Little did they know the amount of banana jokes that would be made after the following night.
A game the animals played was called “Guess When Goedde is in Charge!” The critters up in mezz 1 would try to spot moments when the lights matched what was happening musically and participants in the game would try to guess what they thought Goedde would say through the monitors to the band like a circus ring leader. “Again!” was the most common guess.
Feed the creatures. They will grow. By Em Walis
Second Level Mezzanine: Creatures
The second level was where true entrancement happened. A sensory experience where holding a prism, balloon while adorning 3D Glasses was common ground. The visceral reactions and empathy held by all. The bigger meaning was felt here. The growth of the band and its fanbase. The creature which grows when nourished and loved. When Trey came on, all bets were off and everyone beamed with excitement in celebration of the good news we all finally needed. Conversations afterword consisted of repeatedly exchanging the question “what the actual f?” back and forth to each other for the remainder of the night.
Mezzanine 3: Red Birds
Perched up above, the full view of the light show was quietly enjoyed by those that dedicated their night to doing everything possible to appreciate the small moments of beauty in life. The colorful moments viewed from a safe distance created a space for the Red Birds to begin to heal. In the most heartfelt performance of the new song “Red Bird,” dedication to all of the women struggling with the supreme court ruling. Caring, judgement free words were sang to the Red Birds up in Mezz 3, reminding the rest of the crowd of Peter’s assertion at the start of the run. Attendee Tony Vasile put it best,
“Red Bird was a necessary anthem for women’s rights tonight.”
Leave your coat at the hotel by Em Walis
Going Down To The Rock Dale
All in all, the two night of Goose at Radio City Music Hall were memorable because of the good news it brought. Everyone seemed to get exactly what they needed out of it and left feeling better than when they arrived. For good reason. Fans both streaming from home and in attendance were able to witness their favorite band live out their childhood fantasy. It does not get more proud mother goose than that. One proud parent in the crowd recalled an early rendition of Goose practicing every Friday night for three hours over the course of seven years before they all left for college. With the occasional Saturday and Sunday jam session peppered in, it is remarkable to see the result of dedication as well as a coming of age tale converging during two beautiful nights.
Media team and long time friends Adam Berta and Bryan Murphy perched by Em Walis
One Life To Live For
The spirit of the night was impactful for more than just bands and fans. The crew behind the scenes have all been friends with Goose for years. The amount of tears shed could fill buckets. It was not only a dream come true for the band to collaborate with Trey, or play this venue. Aspiring audio engineers, lighting designers and photographers dream of working Radio City Music Hall. To ice the cake with both musical and photographic heroes sent it over the edge into something that could once only be joked about as a “Weird Goose Dream” facebook group fantasy.
Not The First Time by Em Walis
And The Sun Will Be Rising Soon
Beneath the brightly illuminated city lights and glowing marquee reading the words “Sold Out” and “Goose” common ground established between birds of a feather and fish in the sea. It turns out, they were all just animals. It was phenomenal. Finding an exit path through the boisterous carnival and second consumption of the eucharist of glizzies outside Radio City Music Hall, chirps of praise volleyed between friends old and new.
Glancing upward, the bright white points of St. Patricks cathedral glowed brightly as they peeked out from behind Rockefeller center. Like a scene from a movie, it all clicked. We have been here before. The face tingling sensation from Arcadia was felt this intensely only one other time during the Goosemas livestream performed atop Rockefeller Center amidst the throes of shutdown.
Its a new light creeping out…
This band seems to have made it a habit of there for us when we need it most.
Goose – Friday, June 24 – Radio City Music Hall, NYC
Set One: California Magic, Elizabeth, Jack-a-Roe (1), Turned Clouds, This Old Sea, All I Need
Set Two: Tumble, Borne, The Whales, A Western Sun, Pancakes
Set Three: Madhuvan, Hot Tea (2), Arrow (2)
Encore: Animal
(1) Grateful Dead cover, Goose debut (2) Studio arrangement with Stuart Bogie on saxophone, D. James Goodwin on guitar, Dave Nelson on Trombone
Goose – Saturday, June 25 – Radio City Music Hall, NYC
Set 1: Atlas Dogs, Moonrise, Wake Up(1), Atlantic City(2), Flowdown, Elmeg the Wise
Set 2: Rockdale, Seekers On the Ridge (Part 1)>Seekers on the Ridge (Part 2), Redbird >I’m Writing a Novel(3), Creatures
Set 3: Silver Rising, Hungersite (4), Arcadia(4), Dripfield(4)>Loose Ends(4), Empress of Organos (4)
Encore: Tomorrow Never Knows(5)
(1) “Wake Up” by Arcade Fire (2) “Atlantic City” by The Boss (3) “I’m Writing a Novel” by Father John Misty WITH FATHER JOHN MISTY!!!!! (4) Trey Anastasio Playing with the boys! (5) Jeff on Guitar w/FJM on Drums, Trey has returned) “Tomorrow Never Knows” by The Beatles
Songs at Mirror Lake Returns to Lake Placid for Summer 2022, with a slate of free shows each Tuesday night from 7-9pm in Mid’s Park, a green open space featuring spectacular views of Mirror Lake from Main Street.
photo by Shaun Ondak
Each of the seven nights of music have a different theme, and all shows are held rain or shine. Attendees are encouraged to bring a blanket and enjoy the music in the park, or paddle over in a boat and catch the show from the water.
Songs at Mirror Lake finds its roots in Mid’s Park, which is named after Mrs. Henry (Mildred) Uihlein who was instrumental in saving this open space on Main Street in Lake Placid. In the early 1940’s this piece of land was to be sold for development, but Mrs. Uihlein (or Mid as her friends called her), who was active in village concerns and the Garden Club, heard of this news and believed that this piece of property should belong to the village of Lake Placid. SAML notes it was her dream and vision that this land remain open, be beautifully landscaped and be a relaxing place for all to enjoy. Mid, together with a group of very enthusiastic people and with financial support from the village of Lake Placid, raised the money required to purchase the property.
On July 4, 2005, the park was dedicated and named Mid’s Park and a brand new bandshell named for Dr. Paul White has been completed.
Songs at Mirror Lake (SAML) is an all-volunteer, nonprofit community organization whose mission is to introduce residents and visitors to a diverse range of musical offerings and to provide regional artists with a platform for exposure and experience. SAML is made possible by a generous grant from the New York State Council on the Arts Decentralization Program, with support of Governor Kathy Hochul and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts.
The Grateful Dead played SPAC only four times in their career and today marks the anniversary of the third show which, for better or worse, may be the most memorable one of them all. Unfortunately, the show is remembered more for being responsible for getting the Dead banned from SPAC for the next three years. Reportedly, more than 40,000 fans attended this show, with Deadheads traveling from all over, creating Woodstock-like traffic conditions in Upstate New York and the Saratoga area.
This crowd size might be suitable for a stadium show, but instead created a venue that was 17,000 people over capacity, producing a chain reaction of safety issues that could have easily endangered the massive crowd. The SPAC balcony for this show was a veritable zoo, packed beyond belief as a result of people rushing in and passes reportedly being dropped down from above. Things are so out of hand a first set PSA urging people to stop hanging from there needs to be done. The band would serve its time and return in grand fashion three years later, but not before one more rowdy show that features a bevy of live Dead standards and traditional blues covers.
The show kicks off in a rather atypical fashion with a cover of the recently revived “In The Midnight Hour.” The Dead had dusted off this Wilson Pickett cover and refashioned it into an opener for a brief span in 1985. After some quick vocal sparring between Bob Weir and Brent Mydland, the band quickly launches into a much more familiar first set sight in “Bertha.” Jerry Garcia rips off the first of many effortless guitar solos and SPAC is officially all systems go.
“Little Red Rooster” follows and produces a sturdy blues jam, this time with Mydland going back and forth with Garcia on organ and guitar, respectively, that does a nice slow build in intensity. Afterwards, both Weir and bassist Phil Lesh essentially stop the show to admonish some fans who are hanging from the balcony railings and urge them to get back into their seats. Fittingly, the Dead then waste no time and jump right into a cover about an outlaw of another kind in “Stagger Lee.”
A pristine “El Paso” with some truly dulcet tones provided from Mydland’s electric piano then follows before Garcia begins to strum the opening chords to “Crazy Fingers.” A spirited Jerry powers through the vocals and delivers a string of delicate runs on the guitar with even more blissful background soundscapes emanating from Mydland’s rig. After a brief, exploratory jam the music then finds itself turning into a full-fledged “Supplication” jam, although no lyrics are ever sung. For some reason, the song was no longer paired with its traditional tag-team partner in “Lazy Lightnin’,” which the band stopped playing in 1984, and would only be a played a handful of times more in their career. The jam eventually loses steam and eventually dissolves seamlessly into “High Time.”
The Dead then wrap up the first set at SPAC with one of their newer live staples in a rousing “Hell In A Bucket” replete with more aggressive guitar play from Garcia and the boisterous vocal stylings of Bob Weir. The set then closes with a cover from way back when in a short and sweet “Don’t Ease Me In.”
The second set starts on a high note right from the gates and literally doesn’t come to a stop with a set full of nothing but segues. It begins with a “Feel Like A Stranger” that produces a riveting jam that seems to be picking up steam before Garcia seems to shift gears a little quicker than the rest of the band and steers it right into the beginning of “Eyes Of The World.” This lays down the foundation for another series of instrumental jams, spearheaded by Garcia’s frenetic runs up and down the fretboard.
The music then somehow finds its way to an early second set “Goin’ Down The Road Feeling Bad” that’s supercharged and seemingly played at a quicker than normal pace. After some brief indecision, and a possible nudge into “Not Fade Away,” the Dead instead veer into the ever prescient “Women Are Smarter.”
The band then yields the floor to the Rhythm Devils, drummers Bill Kreutzmann and Mickey Hart, for some percussive and psychedelic relief with the traditional “Drums” > “Space” sequence. From the depths of “Space,” some familiar chords begin to emerge and the Dead launch into a “Truckin’” with the “New York’s got the ways and means line” getting a serious round of applause from the SPAC faithful. Instead of stretching this out a bit, the night’s ongoing theme of blues covers then carries on with a take of Howlin’ Wolf’s “Spoonful” with Weir ably manning the vocals.
The short, bluesy jam lends itself perfectly to the intro to “Black Peter” as the Grateful Dead keep the second set’s train of songs going without nary a stop. The Dead then unleash the last three covers from their musical holster to wrap up the evening’s festivities, starting with a set closing “Turn On Your Lovelight” that produces one more brief, boisterous jam with Weir singing the vocals that the legendary Pigpen used to make his own in a different time.
The encore selections could very well serve as a subliminal message to the overflowing crowd that helped make this the last Grateful Dead show at SPAC for three years as well as a nod to the upcoming ban. Chuck Berry’s “Johnny B. Goode” was the first choice, perhaps an indirect message for the Dead faithful to respect the rules and capacity figures for venues going forward. A fitting closer in Bob Dylan’s “It’s All Over Now, Baby Blue” then closes out this show and begins the three-year wait for the Dead’s return to Saratoga.
Grateful Dead Saratoga Performing Arts Center – Saratoga, NY 6/27/85
Set 1: In The Midnight Hour, Bertha, Little Red Rooster, Stagger Lee, El Paso, Crazy Fingers > Supplication Jam > High Time, Hell In A Bucket > Don’t Ease Me In
Set 2: Feel Like A Stranger > Eyes Of The World > Goin’ Down The Road Feeling Bad > Man Smart (Woman Smarter) > Drums > Space > Truckin’ > Spoonful > Black Peter > Turn On Your Lovelight
