On Saturday, February 19 at 8 PM, Flushing Town Hall is hosting Alicia Olatuja, an amazing singer who came into the national spotlight as the featured soloist of the Brooklyn Tabernacle Choir at President Barack Obama’s Second Inauguration in 2013.
“We are overjoyed to welcome Alicia Olatuja to Flushing Town Hall and excited to hear her lush vocals,” says Executive & Artistic Director Ellen Kodadek. “Audiences are in for a real treat, be they fans of jazz, folk, rock, or pop. Olatuja crosses genres seamlessly and is known for her regal presence and stunning voice.”
Photo By Harrison Weinstein
Olatuja’s show, Intuition: From the Minds of Women, will celebrate esteemed, female composers and draws from her 2019 sophomore album. Along with this, includes her interpretations of the music of Sade, Tracy Chapman, Kate Bush, Linda Creed, Angela Bofill, and Brenda Russell. This event is an in-person event but is also streaming for free on Flushing Town Hall’s YouTube channel.
Along with Olatuja’s performance, Flushing Town Hall hosts a Black History Trilogy for the celebration of Black History month. The trilogy will feature award-winning performers paying tribute to influential African-American artists, entertainers, and musical traditions.
Though she is originally from St. Louis, Missouri, Olatuja grew up immersed in a wide range of musical styles, including gospel, soul, jazz and classical. Shortly after, she assembled her own jazz-based ensemble and recorded her first solo album, Timeless (2014).
Praised by DownBeat for her “full-bodied tone, precise pitch, and personal engagement at the lowest whisper or highest wail,” Olatuja’s first came into the national spotlight in 2013 when performing as the featured soloist with the Brooklyn Tabernacle Choir at President Barack Obama’s Second Inauguration.
This in-person performance will take place on Saturday, February 19 at 8 PM. Tickets can be purchased here ($15/$12 members). Lastly, all visitors, performers and staff are required to show proof of vaccination, masks will be required at all times as well.
This concert will stream live for FREE on Flushing Town Hall’s YouTube Channel
Billy Strings completed a four night run of sold out shows at The Capitol Theatre in Port Chester over February 3rd to 6th. This was the second year celebrating a telepathic experiment conducted by The Grateful Dead 51 years ago.
Billy Strings Capitol Theatre Night 4 by Em Walis
Fans were asked to send images with their minds to selected celebrity participants while they sat at home for the duration of the concert, but without viewing it. After each show, Billy, Royal Masat (bass), Billy Failing (banjo), and Jarrod Walker (mandolin) interviewed participants via video call.
Song selections throughout the weekend ranged from bluegrass standards to hot tracks off the latest album Renewal. Grateful Dead favorites were peppered in for good measure.
Spiritual Dance Party
The Capitol Theatre has been a coveted venue for artists throughout the decades. A sense of importance could be felt. Perhaps a supernatural energy vibrated by those attuned to such mysteries. Security carried themselves with pride, as if they had answered a higher calling to protect the spirits as they arrived to dance.
Attendees young and old accumulated mass as the general admission section filled the room. Stories were passed about the first show, or the most recent. The conclusion was always that the best show was the most recent attended.
Left to Right: Jarrod Walker, Royal Masat, Billy Strings, Billy Failing by Em Walis
Going To Church
A man seeing Billy play for the first time questioned “is this Billy guy really as good as my buddy says he is?” A seasoned fan insisted Billy was about to take the new guy to church.
Not far into “Pyramid Country,” the new guy propped an arm on his buddy’s shoulder and signaled satisfaction towards the seasoned fan. “Ole Slew-Foot” played soon after. A big hug was given to the new guy’s buddy, promptly followed by a Slew-Foot sized hug with the seasoned fan. Comments were made about the playing being unreal as well as the superior mixing by Sound Engineer Andy Lytle. Suddenly, the new guy vanished, and was replaced with a glowing, dancing, euphoric human. This believer was free of ego and self doubt. Replaced in his soul was a cup filled with gratitude and joy.
Transformation
Little did this believer know that the experience was about to enter a next level of intensity: “Wargasm.’ With help from Lighting Designer Roger Gant, the anthemic powerhouse sound converged with light to take form in a way one might only read about in a fantasy novel series.
Shapes and colors woven harmoniously together with perfectly timed layers created a supernatural depth and texture.
Experiencing Billy Strings by Em Walis
Alive
At last, the theater walls which have seen so much, were given a voice to share stories of dancing bears and grinding gears. The visceral journey shattered any preconceived notion about what music should feel like.
As “Wargasm” built up in intensity,once again, the believer evolved. Transformation occurred during Billy’s guitar solo when the believer’s dancing slowed, eyes widened, palms with outstretched fingers rested over his temples and jaw slowly dropped. That is how a new disciple to the church of Billy was born.
Experimental
It was very clear why people traveled from 48 states. Those sequined jacket gals glistened like the snowflakes of Colorado from which they hailed. Tie dye armies converged, their uniforms unique by region like a family’s plaid and crest. All gathered and communicated as one stomping, singing, boisterous ball of life.
The people, all so different, blended together beautifully in a way that mimicked the pairing of projections on the walls and ceilings with the futuristic lights. Like the individuals in attendance, the music and the lights were on a journey all reflecting one another. Supernatural energy was conjured.
Life after experiencing a Billy Strings show by Em Walis
Clairvoyance
Lights paused, showing bright white lights in perfect timing with the return to the hook of the song. Spirits of the past materialized and could be seen all over the theatre.
Through the haze, there was a young woman glowing in white overalls perched in the balcony. She danced with one specific person down on the GA floor who emanated sonic maternal energy. It appeared as if they had known each other for decades.
Teleportation
The great mother appeared on the balcony beside the woman in white. As if to acknowledge all the spiritual boogie happening that weekend, and to continue the dream-like reality of the Deja-Tu Experiment, Billy showed up in the balcony next to the great mother and her friend in white. Billy performed an epic solo duel with mandolinist Jarrod Walker who played from the opposite side.
Each and every attendee experienced at least one form of Deja Vu over the cold February weekend. One attendee recalled feeling like they were back to mom’s couch with the tape player and the big headphones where “China Doll” tapes were listened to over and over. Another noticed the variety of swagger bassist Royal Masat carried with ease. That person was immediately taken back to a fond memory of that Rolling Stones show 30 years ago. As the deep pink lights blanketed the audience during “In the Morning Light,” a young couple were together reminded of when they met and realized life was about to change for the better.
Terrestrial
Waking up on Monday morning, all in attendance faithfully checked instagram for last night’s photos while sipping their morning coffee. Receiving the grounding signal from Photographer Jesse Faatz provided closure and peace for all that had been experienced. Colorful imagery depicted emotions and encapsulated memories. These photos confirmed that the past few days were more than just the feeling of Deja Vu.
Transmutation
Billy Strings and The Capitol Theatre together created a healing fountain for people to connect, dance with spirits and feel alive again.
Setlist February 3: You Don’t Know My Mind (Bluegrass Allstars), Pyramid Country, Ole Slew-Foot (Johnny Horton), Cold on the Shoulder (Gordon Lightfoot), West Dakota Rose (Chris Henry), Love & Regret, Wargasm, Along the Road (Dan Fogelberg), Streamline Cannonball (Roy Acuff), Ground Speed (Earl Scruggs), John Hardy (Traditional), Bronzeback, Secrets, Slipstream (Bela Fleck), Red Rocking Chair (Traditional), Pretty Daughter (Danny Barnes), Love Like Me, Away From the Mire, Long Forgotten Dream, Dire Wolf (Grateful Dead), Come Down the Mountain Katie Daly (traditional)
Encore February 3: If You Hair’s Too Long (There’s Sin in Your Heart)
Setlist February 4: Know It All, How Mountain Girls Can Love (The Stanley Brothers), Tipper (Tony Rice), Run Down (Jeff Austin), There Is A Time (The Dillards), Dust in a Baggie, Dealing Despair, Living Like an Animal, Me and My Uncle (John Phillips), Heartbeat of America, John Deere Tractor (Larry Sparks), On the Line, Freeborn Man (Keith Allison), Thunder (Robert Hunter), My Love Comes Rolling Down (The Doc Watson Family), Ernest T. Grass (The Dillards), Air Mail Special (Jim and Jesse), Show Me the Door, Oh Babe, It Ain’t No Lie (Elizabeth Cotten), Rosa Lee McFall (Charlie Monroe), Turmoil & Tinfoil
Encore February 4: Roll On Buddy Roll On (Bill Monroe and the Bluegrass Boys)
Setlist February 5: Red Daisy, Thirst Mutilator, A Good Woman’s Love (Bill Monroe), A Robin Built A Nest on Daddy’s Grave (The Stanley Brothers), While I’m Waiting Here, Home of the Red Fox (Bill Emerson), Little Maggie (Traditional), China Doll (Grateful Dead), I’m Still Here (John Hartford), Last Train to Clarksville (The Monkees), Everything’s the Same, Doin’ My Time (Lester Flatt & Earl Scruggs), Running, Ice Bridges, In the Morning Light, Meet Me at the Creek, Shady Grove (Traditional), Deal (Jerry Garcia)
Encore February 5: Don’t Let Your Deal Go Down (Lester Flatt & Earl Scruggs)
Setlist February 6: Fire on My Tongue, Must Be Seven, Hellbender, Fire Line, Reuben’s Train (traditional), End of the Rainbow (Frank Wakefield), Running the Route, Home, Highway Hypnosis, Taking Water, The Likes of Me (Jerry Reed), All Fall Down (John Hartford), Tennessee (Jimmy Martin), Nothing’s Working, Doin’ Things Right, Peggy-O (Traditional), Hide & Seek
Long Island singer Carly X has released her new project called A Dark Frequency, featuring two songs “Lowkey” and “Don’t Mind Me.”
Growing up, she was influenced by a variety of artists, from SugarHill to McFadden & Whitehead, and also Marvin Gaye. She started writing music at age six, and once she discovered female rappers like Nicki Minaj and Queen Latifah, she started writing her own rap verses.
Carly X.
After being hand-selected by Doritos and Busta Rhymes to complete a rap competition, she was the youngest and only female to touch the stage, when she was only 19. She opened for Wiz Khalifa and was featured in Billboard Magazine.
Her newest piece of music, A Dark Frequency is about the silent battles she faces alone in the dark.
No matter how bright a light may seem to shine, it’s only a matter of time until darkness arrives. Sometimes we pretend everything is ok, sometimes we let the darkness consume us, and sometimes we fight to see the light again.
Carly X
The two songs featured in the project, “Lowkey” and “Don’t Mind Me” both encompass strong beats and melodic backing tracks as she spits verses down. The songs are reminiscent of older rappers, like Biggie or Tupac, but also give a modern rap feel. These are songs that everyone could add to their playlists and be able to vibe with.
Carly X is taking names and is here to stay and make her mark in the industry. She officially started releasing music in 2020 and has no plans to stop. Her new project A Dark Frequency is available to stream here.
On February 12th, The Delaware Valley Arts Alliance will be presenting a performance of “2x2x4” at Krause Recital Hall. The experimental dance and music collaboration brings together dancer Charles Dennis and musician Sal Cataldi, otherwise known as Spaghetti Eastern Music.
Sal Cataldi
During “2x2x4”, the duo will captivate audiences with their use of wooden 2×4’s, carefully building, destroying and creating landscapes for Dennis to dance through. This year’s performance will coincide with the exhibition “For the Love of Wood”, a group show with Eric Baylin and Bo Stevens.
Dennis, an interdisciplinary artist with many talents, has been an active participant in downtown NY dance and performance for many years. He has also cofounded Performance Space 122, one of the country’s most active presenters of new dance, along with creating and performing in several of its performances.
Charles Dennis
Cataldi, a Saugerties and NYC based multi-instrumentalist, is responsible for the creation of Spaghetti Eastern Music. This solo project takes musical notes from krautrock and jazz, which results in a sound that only Cataldi is capable of making. His live score for “2x2x4” has recently been released on Bad Egg Records.
This event is produced in cooperation with the NY State Council on the Arts and is a centerpiece of the Delaware Valley Arts Alliance’s annual Salon Series. This year’s series focuses on the concept of creative construction and will be presented in person, as well as live streamed on the DVAA Facebook page.
Capacity for this event is limited so advanced registration will be required. Proof of vaccination or a negative COVID test is needed for attendance, as well as masks. Registration and more information can be found here.
NYC-based artist Rachael Sage is coming out with her new single “Revelation Ground” and tour, with nine shows across New York State.
Rachael Sage. photo by Blue Roses.
Sage has been touring for decades among the likes of Judy Collins, Eric Burdon, and Ani DiFranco and a six-time Independent Music Awards winner who founded her record label, MPress Records two decades ago. She has been described as “The Carole King of her generation…” by Blurt Magazine, and by artist Judy Collins herself as “A great gift…of incredible talent and beauty.”
Rachael Sage is going on tour and will have support from Howard Jones at the select show. She will perform songs from her recent Billboard Charting album Character, along with select pieces across her discography of 14 albums and her new collaborative side-project, Poetica. Tickets to the tour can be found here.
Rachel Sage Tour Dates 2/10/22 – Beacon, NY – The Dogwood (Winter Residency) 2/11/22 – Ithaca, NY – Hangar Theatre* 2/12/22 – Saratoga, NY – Universal Preservation Hall* 2/14/22 – Boston, MA – City Winery* 2/15/22 – Norwalk, CT – Wall Street Theater* 2/17/22 – Pawling, NY – Daryl’s House* 2/18/22 – Huntington, NY – The Paramount* 2/19/22 – New York, NY – Sony Hall* 2/20/22 – Sellersville, PA – Sellersville Theater* 2/21/22 – Alexandria, VA – The Birchmere* 2/22/22 – Richmond, VA – The Tin Pan* 3/1/22 – New York, NY – Joe’s Pub (Single Release Show) 3/4/22 – Beacon, NY – The Dogwood (Winter Residency) 4/9/22 – Binghamton, NY – Atomic Tom’s * appearing with Howard Jones
The mercurial Robert Fripp and his ever-changing band of prog-fathers will be the subject of In the Court of the Crimson King, a new documentary by director Toby Amies premiering at the 2022 SXSW film fest.
Named after King Crimson’s earthshaking 1969 debut disc, the 86-minute documentary aims to be the definitive celluloid document on the band’s 50-year history – charting the many ensembles and evolutions in style via interviews with Fripp and collaborators like Adrian Belew, Bill Bruford, Mel Collins, Ian McDonald, Woodstock’s own Tony Levin and many more. Amies produced the documentary by following the band on its recent 50th anniversary tour and securing the rights to some wonderful and rarely-seen archival footage.
photo by Tony Levin
According to notes provided by filmmaker Amies:
“What began as a traditional documentary about the legendary band King Crimson as it turned 50 mutated into an exploration of time, death, family and the transcendent power of music to change lives.
In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. It explores the unique creative environment of King Crimson, one in which freedom and responsibility conspire to place extraordinary demands on the band’s members – only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact.”
photo by Tony Levin
Amies’ documentary comes on the heels of a successful summer 2021 tour by Fripp and his latest (and perhaps last according to the prog grapevine?) iteration of this legendary band. This especially powerful music is featured on the new 2 CD live set, Music Is Our Friend, one capturing the band’s final performances in Washington D.C. and at The Egg in Albany.
The Covid-19 Quarantine gave the ever-intense and oft misunderstood Fripp the chance to reveal his lighter side in a weekly series of “Sunday Lunch” videos made with his singer wife Toya Wilcox. The couple first took to YouTube on Easter Sunday 2020 to share some sonic cheer and comedy. In these vids, they don costumes to perform spirited and sometimes very goofy covers of tunes like “Rudolph the Red Nosed Reindeer,” “Blitzkrieg Bop,” “Goldfinger,” “Sharp-Dressed Man,” “Smells Like Teen Spirit” and the like. More than 60 videos can be found here.
At over 600 pages of very small type, it has everything a fan could ever want – interviews with all the key players, critiques of their many albums and recaps of every gig the band performed, from its 1969 debut through 2003. The book was originally published in 2001 and out of print for many years, until it was updated and republished in 2019. When it comes to all things prog and Crimson, Smith is a true expert. He’s an intimate who has worked directly with the band in recent years, and a freelance writer whose articles are regularly featured in Record Collector, Prog, Uncut, Classic Rock, BBC Music and many others.
In anticipation of the premiere, Amies has released a trailer that can be seen below.
58 years ago, on February 9, 1964, The Beatles played on The Ed Sullivan show in NYC, creating one of the most seminal moments in television history. A record-setting 73 million tuned in to watch the Fab Four perform “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want to Hold Your Hand.”
The Beatles with Ed Sullivan.
Consisting of John, Paul, George, and Ringo, The Beatles are one of the most influential bands to have ever existed. The group was formed in 1960 in Liverpool, England. They spent the first couple years playing small clubs in Europe and perfected their craft after playing eight-hour days in Hamburg, Germany. It wasn’t until their performance on “Val Parnell’s Sunday Night at the London Palladium” and the release of their first LP Please Please Me that Beatlemania truly began.
https://vimeo.com/385906665
Please Please Me by The Beatles full album.
Urban legend says Ed Sullivan first heard about the group when he and his wife were at an airport in London returning to NYC and witnessed 1,500 screaming fans welcoming The Beatles back from a successful tour in Sweden.
Actually, Sullivan found out about The Beatles before that, through his Talent Booker Jack Babb, and London-based agent Peter Prichard. Sullivan was eager to book the group but needed a selling point. Prichard said they had just performed in the Royal Variety Show where they were the first “long-haired boys” to be invited to appear before Queen Elizabeth II.
The Beatles meeting Queen Elizabeth II
On November 11, 1963, Beatles manager Brian Epstein met Sullivan in the Delmonico Hotel in NYC, and the deal was done with a handshake. The Beatles were booked for three performances, two live and one a taped rehearsal.
Before the debut performance on the Sullivan show, the group’s record “I Want To Hold Your Hand” was leaked before its planned US release. The record label was unable to stop the radio from playing it, so they released the LP earlier than expected, and it went to the number one spot on the Billboard charts before the month was over.
The Flight
The Beatles flew to America on February 7, 1964. When they arrived at the airport, they were surprised at the number of people there to see them. Paul McCartney commented on it during the Anthology sessions in the 90s.
There were millions of kids at the airport, which nobody had expected. We heard about it in mid-air. There were journalists on the plane, and the pilot had rang ahead and said, ‘Tell the boys there’s a big crowd waiting for them.’ We thought, ‘Wow! God, we have really made it.’
5,000 fans, mostly young girls, were crowded on the balcony of one of the buildings at JFK, waving banners and screaming at the top of their lungs.
They were able to get so many people there because the group’s American record company promised that every person who showed up at the airport would get a dollar bill and a t-shirt. The receptionists at Capitol Records would answer the phone, “Capitol Records – The Beatles are coming.” Every radio station was talking about it too.
The Beatles arriving at JFK.
The Ed Sullivan Show
Paul McCartney spoke about their appearance on the show also during the Anthology sessions.
It was very important. We came out of nowhere with funny hair, looking like marionettes or something. That was very influential. I think that was really one of the big things that broke us – the hairdo more than the music, originally. A lot of people’s fathers had wanted to turn us off. They told their kids, ‘Don’t be fooled, they’re wearing wigs.’
The band rehearsed the day before, and George Harrison was feeling ill, and their road manager Neil Aspinall stood in for him to mark where everyone would stand.
Neil Aspinall standing in for George Harrison during the rehearsals.
Their live debut broke record for television viewing figures, as a record 73 million people tuned into the show. The group even got a telegram from Elvis Presley and his manager Colonel Tom Parker, wishing the group luck. Harrison made a witty remark about the show, during the Anthology sessions.
We were aware that Ed Sullivan was the big one because we got a telegram from Elvis and the Colonel. And I’ve heard that while the show was on there were no reported crimes, or very few. When The Beatles were on Ed Sullivan, even the criminals had a rest for ten minutes.
The band came on and played “All My Loving” to an audience full of ear-splitting screeching from teenage girls. Then they played “Til There Was You,” and while the song was playing, a camera cut to each member of the band to introduce them, and when the camera cut to John Lennon, the caption said “SORRY GIRLS. HE’S MARRIED.”
The band played three more songs, “She Loves You,” “I Saw Her Standing There,” and their number one hit “I Want To Hold Your Hand.” After the show, The Beatles were whisked away to the Playboy Club with a police escort.
The Beatles’ success on The Ed Sullivan show paved the way for the British Invasion, for groups like The Rolling Stones and The Animals. The group have also inspired the works of many bands, like the Ramones song “You’re Gonna Kill That Girl,” a parody of the tune “You’re Gonna Lose That Girl” by The Beatles.
The South Bronx non profit Women’s Housing and Economic Development Corporation, has recently received a $2.5 million grant to finish construction of the Bronx Music Hall. The grant was awarded by the Andrew W. Mellon Foundation.
The state of the art facility is 14,000 sq. ft. and will be the first music venue built in the borough in more than half a century. It is located on 438 East 163rd Street within WHEDco’s newest affordable housing development, Bronx Commons. The venue is currently capable of 250 occupants, and also contains a green room, studio, classroom and a lobby to host additional events. The Bronx Music Hall is capable of serving 20,000 in person audience members, post pandemic.
Davon Russell, president of WHEDco, cites the new venue as a “community cultural asset” that will respond to historic inequities that the borough has experienced through the decades. It will also help to bring funds to the borough, and greater NYC area to assist in its economic recovery.
Historians documented each wave of immigrants who settled in the Bronx spanning more than a century. The traditions and rhythms they carried have endured and inspired new generations and new forms of music. Inside and out, the Bronx Music Hall was designed to reflect and showcase today’s diverse contemporary culture
Nancy Biberman, WHEDco Founder and President Emerita.
The Mellon Foundation funding will allow for completion of the main elements within the music hall, including back end lighting, rigging and audio control, as well as cosmetic additions and necessary audience seating.
The Bronx Music Hall is scheduled to open later this year. For more information, visit the Bronx Music website. More information about the WHEDco organization can be found here.
Brooklyn punk band SAVAK announce their new album Human Error / Human Delight, and a Spring tour, with multiple dates in the NY Metro area.
SAVAK, photo by Taylor Sesselman.
The band is led by Sohrab Habibion and Michael Jaworski, and Matt Shulz on drums. Jaworski and Habibion have both been doing singing and songwriting together since the band was created in 2015.
All the members played in bands in the 90s, which helps them reform their sound, as touches of the scene are heard in their music.
The album art for SAVAK’s Human Error/Human Delight.
SAVAK have released a number of singles ahead of the album’s release, which is set to come out April 15. The title of the album comes from the fascination of just existing as a human. The newest release, “No Blues No Jazz,” speaks of what life would be if genres didn’t exist. The album was written over Zoom, and grapples with the idea of creating an album during a pandemic, and if it is justified.
The group have also announced a Spring tour, with many NY metro dates, and tickets to that can be found here.
SAVAK LIVE 2022 Fri. Mar. 4 – Providence, RI – TBD
Sat. Mar. 5 – Northampton, MA – Bishop’s Lounge*
Wed. Mar. 16 – Austin, TX – SXSW*
Thu. Mar. 17 – Austin, TX – SXSW*
Fri. Mar. 18 – Austin, TX – SXSW*
Sat. Mar. 19 – Austin, TX – SXSW*
Thu. Apr. 7 – Brooklyn, NY – Littlefield #+
Fri. Apr. 8 – Kingston, NY – Tubby’s #
Sat. Apr. 9 – Lowell, MA – The Town and the City Festival (early show)
Sat. Apr. 9 – Boston, MA – Midway Cafe #
Fri. May 13 – Philadelphia, PA – TBD +
Sat. May 14 – Washington, DC – TBD +
Fri. Oct. 21 – New York, NY – Le Poisson Rouge !
* w/Pays P. # w/Chris Brokaw + w/Upper Wilds ! w/June of 44
On Sunday, February 6, Tom Rush made his way down from Vermont to Saratoga Springs to perform at Caffe Lena with Matt Nakoa. The relatively warm weather brought out a packed crowd for the duo’s first of two shows on Sunday. Tom took the stage by himself to open the show with “Best of a Bad Situation’, and he set the tone for what was to come. The show was filled with masterful finger-picking on guitar, witty lyrics, and personal storytelling. And all of that was seamlessly accompanied by Matt Nakoa on the piano.
Rush and Nakoa were operating at exactly the same wavelength all night long. Intricate finger-picking on guitar was combined with beautifully delicate runs on piano. Neither musician stepped on the other’s toes, instead their parts danced in perfect unison. This chemistry was nothing new though, as was pointed out by Tom when he told a story about one of their first shows together. In the story, Tom and Matt arrived at a venue much later than anticipated, and were left with no time to rehearse. Despite this, Matt took the stage and accompanied Tom as though he had been playing his songs for years.
After a few songs, including covers of songs by Joni Mitchell and Sleepy John Estes, Tom left the stage while Matt took over for a few songs by himself. The lefty picked up a guitar and showcased his ability to play and sing beyond his role on piano. Nakoa, standing somewhere well above 6’3″, was exceptionally dexterous, fretting chords using all five fingers with total ease, a task which would cripple most guitarists.
Shortly after leaving the stage, Tom returned and performed his “big hit on YouTube” as he put it: ‘Remember Song.’ As the set drew to a close, the energy rose while Tom and Matt lost themselves in the music. The duo would end the night with songs including ‘Train Song’ by Murray Mclauchlan and Rush’s ‘River Song.’ ‘River Song’ was played as a part of the show’s encore, an encore which was not preceded by a stage exit. Only when you have been performing over the span of seven decades like Tom Rush has, do you get to decide whether or not an encore break is necessary. As the encore drew to a close, and the musicians’ final notes rang out, the crowd rose to their feet to applaud in a standing ovation.
Both Tom and Matt will be traveling the country and performing live in the coming months. You can find Tom’s upcoming shows, accompanied by Matt, on his website here. For Matt’s solo shows, you can find them listed on his own site. The two will be all over the Northeast mostly, with a two show trip out west to California. Be sure to check out their websites to stay up-to-date on all their happenings. And for future shows at Caffe Lena, check out the their website.
