NYS Music 2023

Author: Zak Radick

  • My Morning Jacket Deliver Powerhouse Performance in New Haven

    Bolstered by charismatic rock-star energy and a one-of-a-kind voice, the legendary live band known as My Morning Jacket lived up to all expectations and then some on Friday night, delivering a max effort, powerhouse performance to the storied city of New Haven, CT on the last day of June 2023.

    An outstanding evening of song and dance, hugs and headbanging, and music with enough substance and depth to make even the most jaded concertgoer feel alive, fans who couldn’t make it to their headlining Peach Festival set the following night were treated to a far more intimate experience at the Westville Music Bowl. Featuring bust-outs, rarities, and songs played for the first time on this tour, the two-and-a-half-hour, career-spanning set felt inspired and special and showed exactly why many consider MMJ to be one of the greatest American bands of this generation.

    My Morning Jacket performing live at Westville Music Bowl on 6/30/23

    A timeless attraction, My Morning Jacket possesses a rare appeal that spans across generations. Consisting of frontman Jim James on vocals and guitar, multi-instrumentalist Carl Broemel, bassist Tom Blankenship, drummer Patrick Hallahan, and keyboardist Bo Koster, after more than two decades on the road the Louisville quintet have remained innovators of their genre and a creative force to be reckoned with. Still one of the “hairiest” bands out there, their look often harkens back to the glory days of 70’s rock n roll, while their sound has continually evolved to include more sonic experimentation and a wider palette of styles ranging from country to soul to psychedelia to even a bit of pop — all of it would be on full display on this hazy, humid Friday in New Haven.  

    With the bowl in Westville slightly more than half-packed, one could only assume the draw was directly impacted by The Peach Festival happening at the same time; the same festival My Morning Jacket would headline the very next night. But make no mistake, this was no “warm-up” gig for the band. In fact, they’d been on tour for several weeks already at this point, doing different setlists in each city, and by all fan accounts, have been having as much fun playing together as we’ve seen in years, acting reinvigorated and ready to rock out.

    My Morning Jacket performing live at Westville Music Bowl on 6/30/23

    After taking the New Haven stage accompanied by some hypnotic orchestral music and, of course, the colorfully dressed bears, Pooch and Denise, fans would see the light early as the show kicked off with the tour debut of “The Dark” from My Morning Jacket’s earliest album, 1999’s The Tennessee Fire, letting everyone know they were in for a treat tonight and to buckle up for the ride. Flowing directly into the thought-provoking crowd-pleaser “Compound Fracture,” vocalist Jim James, wearing heart-shaped sunglasses, would put his guitar down and work his way out to the front of the stage, locking eyes with the audience and drawing them in closer with his every movement and gesture; his presence was simply magnetic.

    There’s no evil, there’s no good
    Only people doing as they should
    There is life in love and sound
    Get as much as you can keep around
    Before they put you into the ground

    For who knows how long? (paradise calling)

    -Lyrics from “Compound Fracture”

    Now strapping back up with an acoustic guitar, James would go back to his childhood way with the title track of 2011’s Circuital before flowing directly into the classic MMJ rock anthem “Anytime.” A reimaged rendition of “I’m Amazed” featuring a Beatles-esq intro brought out goosebumps when the whole crowd shouted “Where is the justice?” in unison. Our next tour debut was the delicate song “Sooner” which saw multi-instrumentalist Carl Broemel move over to the slide guitar for one of the very few times in the evening. The show was already seven songs deep before the band would play anything from their most recent self-titled studio album, uncorking a seven-plus minute version of “Least Expected” that featured a beautiful extended keyboard solo from Bo Koster. Next came the song which perhaps best summed up the overall message of the night with “Love Love Love.”

    Jim James of My Morning Jacket was all about love on 6/30/23

    In another setlist surprise, “One Big Holiday,” a signature song usually reserved for the encore slot, dropped early and would feature James improvising lyrics over its outro, expressing his love for the “beautiful, scenic, historic, and wonderful people of New Haven,” leading us directly into one of My Morning Jacket’s most cherished songs and my personal favorite, “Steam Engine.” Played under hazy skies and a cool jeweled moon, the lyrics felt particularly potent on this number; complete with a beautiful saxophone solo from Broemel and a piano outro that seamlessly segued into a powerful rendition of “Feel You” that would see the members of the band huddle around Patrick Hallahan’s drum riser to headbang in unison, something the band often does when they are locked in and “feeling it.” 

    My Morning Jacket performing live at Westville Music Bowl on 6/30/23

    A well-received “Victory Dance” would then set the tone for the real meat-and-potatoes of the show, putting in motion a series of songs that would alligator together through “Cobra” and see the incredible light show come to life before your eyes. After giving the crowd a chance to show off their best falsetto voices, “Wordless Chorus” took on a particularly funky groove before transitioning back into the hard-rocking second part of “Cobra.” Somewhat reminiscent of Metallica’s “Enter Sandman” here, the chugging low end was easily the heaviest of the night. “Cobra Pt 2” would then morph into the anthemic rocker “Wasted” which would evoke a dynamic, delayed pause that would send the audience into a frenzy, before reaching its high-octane peak.

    Melting back into the conclusion of “Cobra” then slithering into the danceable electro groove of “Touch Me I’m Going to Scream Pt 2” (as popularized by the band’s guest appearance on Fox’s animated series American Dad), the song would see a bit of a different arrangement here, jamming out with more intensity and yielding a rocking, hair swishing, shred fest that would bring the impressive near 40-minute frame of uninterrupted music to a close. Not done pummeling the audience yet, “Holdin’ On to Black Metal” would get the crowd singing along once again before the band would disappear behind the smoke-filled stage to leave fans begging for more.

    Fissure is the thrill of the day
    Forget about feeling, that’s not what pays
    But you know, all of this can change
    Remember the promise as a kid you made

    Ah, ooh, ah, ah, aha
    Aha, ooh, ah, ah

    We are the innovators, they are the imitators
    C’mon, hey, don’t you know how we started
    We forgot about love, but weren’t brokenhearted

    -Lyrics from “Wordless Chorus”
    My Morning Jacket’s Carl Broemel letting it rip at Westville Music Bowl on 6/30/23

    After a brief break in the action, the band would reemerge from the shadows and Jim James would candidly address the audience, letting them know how special this moment together was, saying “Thank you so much, New Haven, wow, what a beautiful bunch. We’re so grateful to be here, so honored that you’re here. Were so glad to all be together, all be alive right now, right here on this beautiful planet. All together just having a beautiful, beautiful night.” The band would then slowly strum the opening chords of another bust outplayed for the first time on this tour in “Old September Blues” which also included a healthy nod to the Santo & Johnny classic “Sleep Walk.” 

    As if the show hadn’t been epic enough already, My Morning Jacket would then uncork a monstrous nine-minute version of “Spring (Among the Living).” A bit of freestyle pandering in the middle of the song would again feature Jim giving the audience some love, singing “Among the living in beautiful New Haven now, among the living in historic New Haven town, wooo” before breaking it down into one of the funkiest grooves heard all night to coincide with perhaps the most impressive light show of the night. With the venue’s early curfew now rapidly approaching, there was time left for just one more song. With fans shouting out dozens of titles still on the table, it would be the time-tested favorite “Magheetah” that was chosen as the final sing-along, sending fans home gleefully into the night with huge smiles on their faces, bringing the powerhouse performance to a close.

    My Morning Jacket performing live at Westville Music Bowl on 6/30/23

    In a city with such storied history, on the way out some fans could be heard drawing comparisons between Jim James and Jim Morrison. While the band never blatantly acknowledged The Doors’ influence, upon reflection, certain moments of the show certainly seemed to conjure up images of the Lizard King. From the opening lyrics of “The Dark,” to the cool jeweled moon above the venue, to the fact that Morrison became the first ever rock star ever arrested on stage in this same city, you couldn’t help but wonder if it was all a happy coincidence.  Either way, both men should be considered icons of their era and two of the greatest frontmen in rock n roll history. 

    Strike a Pose: Jim James of My Morning Jacket performing live in New Haven, CT 6/30/23

    After headlining the Peach Festival the following night, My Morning Jacket will get a few weeks of rest before returning to the road at the Newport Folk Festival at the end of July. Fans in New York will have plenty to look forward to this fall, as the band will return to the beautiful Beacon Theatre for a three-night run celebrating the 20 anniversary of their album It Still Moves. The fall tour will also see My Morning Jacket’s highly anticipated debut at the Place Theatre in Albany.

    Setlist: The Dark *, Compound Fracture, Circuital, Anytime, I’m Amazed, Sooner*, Least Expected, Love Love Love, One Big Holiday, Steam Engine, Feel You, Victory Dance, Cobra (Pt 1) > Wordless Chorus > Cobra (Pt 2) > Wasted > Cobra (Pt 3) > Touch Me I’m Going to Scream Pt. 2, Holdin On To Black Metal

    Encore: Old September Blues* > Sleep Walk **, Spring (Among the Living), Mahgeetah.

    *Tour Debut

    **Santo & Johnny cover

  • Annie in the Water Welcome Members of Twiddle and more at Post-Alive at 5 Show at Parish Public House

    It was a great night to be a fan of live music if you were anywhere near downtown Albany on Thursday, June 15th. With the annual Alive at 5 free concert series now in full swing, fans from across the Capital Region flocked to Jennings Landing for “Jam Night” with Mihali Savoulidis. While it was undeniably a great time and great exposure for the ultra-talented and charismatic Twiddle front man, it was the show-after-the-show that ultimately provided the biggest improvisational peaks of the evening. Playing to a packed Parish Public House directly across the street after Mihali’s set, Annie in the Water kept the party going long and strong well into the next morning.

    Alive at 5: Mihali, featuring Scott Hannay and the West End Blend Horns got the party started

    Going off the cuff without a written setlist, the band unleashed the perfect combination of original songs, unexpected covers, and guest sit-ins galore from some high-profile friends, including members of Twiddle, Scott Hannay, and the West End Blend, all making for a perfect night cap to an already memorable night in Albany.

    Often regarded as one of the leading forces in the Capital Region’s live music resonance, Annie in the Water has been making steady waves across the northeast for years. Comprised of Brad Hester (Lead Vocals/Rhythm), Michael Lashomb (Lead Guitar/Vocals), Joshua West (Drums/Vocals), Chris Meier (Bass/Vocals), Matt Richards (Keys/Vocals) and Brock Kuca (Percussion/Vocals), the band has already played everything ranging from the Adirondack Independence and Memorial Meltdown Festivals, Rock the Dock, the Catskill Mountain Jubilee, and even made their Alive at 5 debut last summer, opening for fellow jammers Spafford. Making plenty of friends along the way and taking pride in making every performance different, you never know who might show up at an Annie in the Water show.

    Brad Hester performs with Annie in the Water at the Parish Public House

    On this Thursday night, things at the Parish got heated up quickly as fans cramped into the dimly lit club early to get a glimpse of the action. Right out of the gates we were treated to a guest sit in from Ryan Dempsey, a classically trained keyboard player and one of Mihali’s bandmates in Twidde. Opening the frame with a jammed-out version of “Pleasure in Sin,” Annie in the Water would then play their latest R&B inspired single “Honeybee” to the adoring crowd who just seemed to love these guys.

    Ryan Dempsey of Twiddle sat in with Annie in the Water for several songs

    Pulling double duty, our next musical collaboration would feature West End Blend saxophone player Mike Oehmen, a cancer survivor who was also was part of Mihali’s Alive at 5 band earlier in the evening. Lending his talents to the relaxing groove of “Out of Phase,” Oehmen’s soaring sax solo would soon lift the energy in the room to the next level. From there Joe Davis made a surprise appearance, jamming out to his former bandmate’s song, the Matt Richards penned, “In The Sand.”

    The dancing would continue with a delightful version of “Bloom,” the infectious lead track from Annie in the Water’s latest studio album, 2022’s Sun At Dawn. One affectionate couple in the front row were particularly grateful to hear it, describing it as “their song.” Indeed, it’s catchiness makes it the type of song that could easily be a massive hit if given proper airplay. With the audience now fully feeling sexy, the next surprise came in a cover of Christina Aguilara’s late 90’s pop TRL hit, “Genie in a Bottle,” which got the entire audience going wild and singing along. Giving this version a bit of the “rock” treatment, by the time “Genie” reached it’s over-the-top guitar solo courtesy of Michael Lashomb, even the hardest fans in the room could be seen letting their guard down and bobbing along. What, you think I didn’t see you? The guilty pleasures would continue for another cover song from the same era, this time with Brad Hester turning his cap around and doing his best Mashall Mathers impression on “The Real Slim Shady,” which would bring the incredibly fun opening set to a close. Showing both their musical diversity and their sense of humor, how the guys planned to top it for the second set was anyone’s guess.

    Annie in the Water guitarist Michael Lashomb was firing on all cylinders

    After a brief break to catch our breath and air out the room, it was time for everybody to get a drink. That’s because not only was Ryan Dempsey of Twiddle making his second appearance of the night, he would also lead the charge through a pair of classic Twiddle songs. First up was “Mamunes the Fawn,” which brought the party vibe to a whole new level and perhaps with it, some optimism that Twiddle front man Mihali would possibly make an appearance too. While ultimately he did not, for the next Twiddle cover, we did get two of Mihali’s Alive at 5 bandmates, West End Blend’s Michael Bafundo pumpin’ on the trumpet and Mike Oehmen on sax once again for a joyous rendition of “Syncopated Healing.” Despite lacking Mihali’s distinct vocals, it was pretty amazing to hear how well Annie in the Water recreated Twiddle’s massive sound, obviously long-time admirers of the band.

    Michael Bafundo and Mike Oehmen pulled double duty playing sets with both Mihali & Annie in the Water

    The horns would stick around for a few more songs, while a third (yes third) keyboard player, Scott Hannay, would join in on the fun for “Feel That Pulse.” The family-style jam would continue for one more song, “Seeds,” which was arguably the high point of the evening. After both pulling double duty performing at Alive at 5 and now sitting in for several songs with Annie in the Water, it’s fair to say the tuckered out West End Blend boys earned their keep on this night and the right to take the rest of it off. Scott Hannay, however, was just getting warmed up and would stick around to crush his part of “Seaside Highway.”

    With a Little Help From Their Friends: It was sit in’s galore at Annie in the Water’s Parish Performance

    Ryan Dempsey would then return for one final dose of triple piano action on the always appreciated Talking Heads cover, “Take Me To The River.” The remainder of the set though, would be vintage Annie in the Water performing some of their best original material. Starting with “Change My Mind,” next on tap was “Balloons,” the song their very own IPA beer is named after.

    Scott Hannay never fails to crush a sit in with his Annie in the Water pals

    Following a quick encore break and a 50/50 drawing for a good cause, Brad Hester would then take the stage by himself for a heartfelt, vocal’s only rendition of “Free (No Need for Forgiveness). About halfway through the number, the remainder of the band would emerge from backstage one at a time and slowly join in on the song as it seamlessly transitioned into “Sativa,” a special song about embracing life’s challenges, growing and learning from the unexpected struggles. Annie in the Water would finally bring things back full circle by closing out with “Free Again (reprise)” to bring the stellar performance to a close. Great music, great people, great collaborations and great times. Just a ‘grade A’ evening all around.

    Up next, the band will release their next single “Sailing” on Friday, June 30th. In celebration, Annie in the Water will then be ON the water, finding their sea legs as part of a sold-out Boatcruise weekend on July 1st, 2023. Later this summer, the group plans to link up with long time friend, Hayley Jane, to recreate the classic Fleetwood Mac album, Rumors. That’s if their tour van can get them there. A blown transmission has recently sent them scrambling for a little help. A Gofundme page is expected to be announced shortly. You know what to do.

    Annie in the Water | June 15, 2023 | Parish Public House | Albany, NY

    Set 1: “Pleasure in Sin” > Jam *Ryan Dempsey Keys, Honeybee, Out of Phase *Mike Oehmen Sax, In the Sand > Jam *Joe Davis Guitar, Bloom, Genie in a Bottle (Christina Aguilera), The Real Slim Shady (Eminem)

    Set 2: Mamunes the Fawn (Twiddle) *Ryan Dempsey keys, Syncopated Healing (Twiddle) *Ryan Dempsey keys, Mike Oehmen Saxophone, Michael Bafundo Trumpet, Feel That Pulse, *Scott Hannay keys, Mike Oehmen Saxophone, Michael Bafundo Trumpet, Seeds *Ryan Dempsey keys, Scott Hannay keys, Mike Oehmen Saxophone, Michael Bafundo Trumpet, Seaside Highway *Scott Hannay keys, Take Me to the River (Talking Heads) *Scott Hannay keys, Ryan Dempsey keys, Change My Mind, Balloons, Free Again > Sativa > Free Again (reprise)

    Photo courtesy of Frank Cavone/Mirth Films
    Photo courtesy of Frank Cavone/Mirth Films

  • Dead & Company Get Sentimental in Saratoga Farewell

    The long strange trip is allegedly coming to an end, but not before one more Saturday night in Saratoga Springs. Kicking off Father’s Day weekend on a high note, the spirit of Jerry Garcia was alive and well as Dead & Company rolled into town for a pair of sold out shows at Saratoga Performing Arts Center (SPAC) on June 17th and 18th.

    dead and company saratoga

    Billed as “The Final Tour,” concert goers from all over turned out in huge numbers, creating both a circus-like atmosphere, a bit of an over-crowded cluster, and oh yeah, one heck of a good time! While the weekend also marked the 40th anniversary of the Grateful Dead’s first-time playing in Saratoga, many fans were also quick to point out the last time Dead & Company were in town, the show never actually happened, as it was abruptly called off due to a family emergency within the band. It was never rescheduled, although this year, a second Dead & Company show was added for the first, and last time ever.

    Discover Grateful Dead shows from over the years across New York State with our interactive map below

    In typical Dead fashion, just getting inside the venue was an adventure in itself. Between massive traffic jams, Shakedown Street shenanigans and huge lines at the turnstiles, before the show even started the lawn overflow had spilled well into the food court area. The place was absolutely packed and the buzz in the air was tangible, friendly, and electric. Strangers were literally stopping strangers just to shake their hand. As Dead & Company took the stage to a rousing ovation, things would kick off with a well-received cover of Sam Cooke’s classic “Let the Good Times Roll,” a sure sign that both the band and the fans were on the same page.

    dead and company saratoga

    Anchored by original Grateful Dead members Bob Weir (guitar/vocals) and Mickey Hart (drums), this incarnation of the group features cross-over pop superstar John Mayer on lead guitar and vocals, Oteil Burbridge (bass/vocals), Jeff Chimenti (keyboards/vocals), and Jay Lane (drums). Noodling their way into the familiar sounds of “Scarlet Begonias,” the 14 minute dance party would pick up even more steam as the band segued into the time tested sing-along of “Deal.” Weir would croon “Black-Throated Wind” for us next, before handing over vocal duties to Mayer for the always appreciated “Dire Wolf.”

    dead and company saratoga

    The centerpiece of the set, and perhaps the whole night, came next in the form of “Bird Song.” As people slowly realized what it was, you could almost feel the collective sense of joy. The delicate and lush harmonies transporting you to a place of peace and tranquility, despite having the controlled chaos of some thirty thousand people all around you, all clamoring for a better view of the stage. John Mayer’s melodic guitar work played particularly well off Chimenti’s tasteful keyboards here, yielding the longest piece of improvisation of the night, clocking in at just under 19 minutes. A silky smooth transition into “Going Down the Road Feeling Bad” had the entire place feeling groovy and singing along once again with huge smiles on their faces as the opening set came to close.

    After a brief break in the action, an up-tempo “70’s era” version of “They Love Each Other” kicked things back into gear to start the second half of the show. The popularity of Mayer was very noticeable here. Anytime he would sing a verse, a wave of female cheers would cascade through the audience, though Mayer, wearing noise canceling headphones, would never hear them. Instead focusing on interplay with Weir and settling into a fiery groove that would eventually lead the train to “Terrapin Station,” the captivated crowed swayed to the music in pure delight as the lengthy, complex composition was executed beautifully. Oteil Burbridge, who will headline the Rye Bread Music Festival not far from Saratoga next month, was particularly charismatic as “Terrapin” reached it’s final peak.

    Like I told you, what I said / Steal your face right off your head

    – “He’s Gone”

    After that, there was nothin’ left to do, but smile, smile, smile as the song that gave birth to one of the most recognizable logos of all time, “He’s Gone,” gave the audience both a chance to sing and to reflect. The slow and bluesy groove would gradually build on itself, adding subtle layers of momentum until coming around again and finally revealing itself as “The Other One.”

    About 13 minutes into it, things would get a little weird as Mickey Hart and Jay Lane would tag team on “Drums/Space,” which took on a decidedly darker, droning-type vibe that had at least one person near me slightly concerned for their apparent heart condition. Eventually the rest of Dead & Company would return to the stage and seamlessly pick up right where they left off, continuing with the second half of “The Other One.”

    Next, Bobby would lead the band though the emotional high point of the evening with a heartfelt rendition of “Days Between,” a tribute to the enduring legacy of Jerry Garcia and a sentiment that resonated deeply with everyone in the audience. Picking up the pace now, the band would get everyone back on their feet and dancing once again for a set closing “Turn On Your Love Light.” With the audience still hollering for more, everyone knew exactly what was coming for the encore. And while fans were treated to a smokin’ yet obligatory “One More Saturday Night,” you couldn’t help but feel skeptical at the shows bittersweet ending.

    With the band currently sounding as tight as ever and clearly still with significant drawing power, are we really to believe this is the end of the road for Dead & Company, or is this perhaps just the start of an exciting new chapter? With scores of imitators and Dead cover bands already ensuing the music never stops, one thing is for certain: whether this band tours again or not, The Grateful Dead will never die. After a few days of rest, “The Final Tour” will resume at Citi Field in Queens, NY before heading to Fenway Park in Boston this weekend.

    Dead & Company | Saratoga Performing Arts Center | Saratoga Springs, NY | 6/17/23
    Set 1: Good Times , Scarlet Begonias > Deal, Black-Throated Wind, Dire Wolf, Bird Song > Going Down the Road Feeling Bad
    Set 2: They Love Each Other > Terrapin Station, He’s Gone > The Other One (verse 1) > Drums > Space > ‘The Other One (verse 2) > Days Between, Turn On Your Love Light
    Encore: One More Saturday Night

    Dead & Company | Saratoga Performing Arts Center | Saratoga Springs, NY | 6/18/23
    Set 1:     Hell in a Bucket, Sugaree, Mississippi Half-Step > Mr. Charlie, Friend of the Devil > Lost Sailor > Saint of Circumstance > Big Railroad Blues
    Set 2: Samson and Delilah, Playing in the Band > Help on the Way > Slipknot! > Franklin’s Tower > Drums > Space > Death Don’t Have No Mercy, Throwing Stones, Sugar Magnolia
    Encore: Werewolves of London > Playing Reprise

  • Spafford Sizzles in Saratoga Springs Debut

    Making their Saratoga Springs debut, the force was strong with Spafford on Thursday, May 4th. Delivering an awe-inspiring, booty shaking performance full of type-II improvisation, buttery smooth segues, spacey textures and more dynamic soloing than even Han could handle, the highly talented quartet proved once again that when it comes to pure jams, Spafford is light years ahead of the pack.

    Putnam Place served as our cantina for the evening, and while you will surely find a more wretched hive elsewhere, on this evening there were no villains here, only friends with plenty of character. You see, despite it being Spafford’s first time in ‘Toga, the electro-funk jam band has been around for more than a decade now. Developing a strong following via old-fashioned word of mouth and fan interaction, frequently sharing high quality live streams and relentless touring, those that already know, know, and these so-called “Spaff-Nerds” will happily travel far and wide to see these jam band Jedis play. For many in attendance, it was a no-brainer making the trip to Putnum Place, a venue with an almost mythical status as being a “rite of passage” for improv acts.

    Originally formed in a place far, far away in Arizona, Spafford is comprised of Brian Moss (Guitar), Jordan Fairless (Bass), Corey Schechtman (Keys), and Nick Tkachyk (Drums), and have actually orbited around the Capital Region numerous times, previously playing venues like the defunct Lucky Strikes in 2017, the Palace Theatre (supporting Umphrey’s McGee) and headlining “Jam Night” at Albany’s Alive at 5 concert series last summer, thus making their long awaited Putnum debut all the more surprising and overdue. Making up for lost time and determined to leave a lasting impression, the evening with Spafford kicked off with a spunky version of “Left on the Runway” from their latest album, 2022’s Simple Mysteries.

    Acknowledging the familial vibe early and flowing straight into “All My Friends,” the collective buzz in the room immediately went up a notch. That’s because longtime Spafford fans know “All My Friends” is almost always paired up with “Bee Jam,” one of their most coveted improv vehicles. Sure enough, the Bee would take flight on this night, soaring through Saratoga with an absolutely stellar, 18 minute rendition that contained everything from head banging grooves, crunchy funk-drenched breakdowns, the first huge guitar solo from Brian Moss and sonic exploration that effortlessly dipped into a murky type-II atmosphere, only to emerge on the other end with “Mind’s Unchained.” Corey’s Schechtman’s tasteful piano textures really came through here, adding a layer of beauty that made you want to close your eyes and live in the moment for as long you could. Slowly building to the song’s blissful crescendo, the song would cap off an impressive 40 minutes of uninterrupted music to start the show. Little did anyone know the biggest jam of the first set was still yet to come.

    As bassist Jordan Fairless slapped away at the intro of “Dog House,” his voice was in top form and so was his playing. Picking up the pace as the song shifted into “Part II,” we’d get another tasty organ solo from Corey, before the song would showcase some of the bands more jamtronic and improg influences with “the human metronome” Nick Tkachyk navigating the ship. Taking you along for a colorful, sonic journey into the musical unknown, the song would ultimately clock in at the 19 minute mark and bring the scorching first set to a close.

    After a smoke-filled intermission, Spafford would stay on target and turn the heat up even higher for set two. Once again choosing a song from their latest studio album to kick things off, the band came out of the gates swinging for the fences with a 21 minute “Diesel Driver” that was, simply put, a home run. Despite being a relatively recent song, Spafford played the ever-loving snot out of it, showing a maturity and patience well beyond their peers. Then working their way through the Braveheart-esq sounding “Pursuit of Madness,” for me, it was all about the “Broken Wing” that would follow. An absolute showcase of what this band is capable of, if you were able to stand still during this song, sorry not sorry, but you might want to check your pulse.

    Going with dank grooves for days and yielding an all-out dance party that reminded you of what the Putnum Place was like before the pandemic, the energy here was through the roof. Yet another 20 plus minute jam, it was around this time I realized, “holy smokes, they haven’t stopped playing this entire set!” Maybe that was their plan all along? Almost on que, as if they could hear my thoughts, “Broken Wing” then melted into “Plans” in the most buttery-smooth way. Giving guitarist Brian Moss and his custom Raven one last chance to shred, every time I get a chance to watch this man play is awe-inspiring. The entire second set alligatored together as one frame of music, I’ve been saying it for years, but if that didn’t make you a believer in this band, then I give up trying to convince you.

    Thanking the audience for packing out the place despite it being their first time there, Moss would speak from the heart and address the crowd by saying, “What a blast we had this evening. What a beautiful town, great food, great people. Should we come back?” After a resounding cheer, minus the one guy who jokingly gave a thumbs down, Spafford would cure us all and send everyone home happy with a 13-minute encore of “The Remedy.” While it may have taken them several years to find their way to Saratoga Springs, east coast jam fans won’t need to wait nearly as long to see the guys again. With the promise of planning something spectacular and unique, up next the band is preparing for an intimate three-night run of shows at NYC’s famous Blue Note Jazz Club beginning May 29th. Later in June, you can catch Spafford performing at the picturesque Lincoln Hill Farms in Canandaigua, NY.

    Spafford | May 4, 2023 | Putnum Place | Saratoga Springs
    Set 1: Left on the Runway, All My Friends > Bee Jam > Mind’s Unchained, Doghouse > Part II
    Set 2: Diesel Driver > Pursuit of Madness > Broken Wing > Plans
    Encore: The Remedy

  • Good Company: Kendall Street Co. Cheeses It Up In Albany

    Making their maiden voyage through Albany, Kendall Street Company had fans jumping for joy on Friday, April 28th when they brought their barefoot brand of high energy, jam-infused beach rock, along with their signature sense of humor, to Lark Hall for the first time.  As enlightening as it was entertaining, it was the kind of show that sent you home thinking you’d just danced with the stars of tomorrow, today. The type of band that makes sure everyone is having fun, and If you didn’t this night, why were you even there in the first place?

    Jumping for Joy: Kendall Street Company brought the fun to Albany for their Lark Hall debut on 4/28/23.

    Based out of Charlottesville, VA, the band originally formed in 2013 and has been riding a steady wave of momentum since the end of the pandemic.  Thanks in large part to constant touring, dedicated songwriting and finding a balance between humor, business and being the best of buds, Kendall Street Company consists of frontman Louis Smith on rhythm guitar and vocals, the dress wearing Brian Roy on Bass, Ryan Wood on drums, Ben Lederberg on electric guitar, and saxophonist/keyboard player Jake Vanaman. Their sound is often hard to categorize, a melting pot of various styles and influences ranging from soul-searching blues, to jazz inspired bluegrass, to psychedelic yacht rock, to straight up feel-good pop rock. Along with an equally diverse and impressive list of covers in their bag, Kendall Street Company showcased it all on this Friday night in Albany.

    Kendall Street Company opened the show on 4/28/23 with their brand new single, “Becca’s Dad.”

    Opening the performance with their latest single “Becca’s Dad,” followed by “Wineglass Television,” we got our first cover song of the night in the form of the Grateful Dead‘s “Bertha,” which the Lark Hall faithful happily ate up.  Having reviewed several Lark Hall shows in the past, it never once occurred to me what the bird actually sounds like. Thanks to one of the most memorable and educational moments of the night, however, it’s now a chirp I don’t think I’ll ever forget. In deadpan poker face, KSC frontman Louis Smith would take us to school by calling up a Lark sound effect and piping it through the PA system long enough to where it was funny, then unfunny, then hypnotic and then funny again. Amusing themselves and the audience alike, make no mistake, these guys are serious musicians.  

    Barefoot Boogie: Kendall Street Company rocked Albany’s socks off on 4/28/23.

    Continuing on with “Porridge,” “Unwind (Boiler Jam),” and a surprise cover of “Ode to Viceroy” by Mac DeMarco, the band would play another unreleased new song called “Trapeze”.  The highlight of the night came next when fans in the crowd approached the stage and gifted the band a few containers of Aged White Cheddar potato chips, clearly a request for the guys to play their song of the same name. After taking a moment for a mid-set snack, as if the knock-off Pringles were communion wafers, not only would the band grant the request, they would jam it out using the chip containers as percussion shakers! While everyone in the audience was legitimately laughing out loud, the guys made note how the chips were a little dry and made them thirsty. Whether it was a planned bit, or spontaneous like I hope it was, it was effective and endeared the guys to the Albany crowd even more.

     Shake It Up: Give an artist a can of chips and they’ll get you something out of it. 4/28/23

    After “Sweet and Clean,” we got our third cover song of the night with “Doctor Worm” by They Might Be Giants. Speaking from the heart and getting a little sentimental, Kendall Street Company would then play the first song they ever wrote together, the irresistible “Cars.” Showing promise from the very beginning, on this night, KSC took a hard left during the song, detouring to the 5 boroughs and mashing it up with the Beastie Boys classic anthem “No Sleep Till Brooklyn.” “Laura, I’m Sorry About the Cobbler” would bring the main portion of the show to a close and leave the audience hungry for more. Happy to entertain the intimate crowd, Kendall Street Company would get a little sexy on the humorous encore of “Stanley Birddogmouth,” resulting in full audience participation similar to what you might see during a “YMCA” sing-along. As ridiculous as it was fun, it was hard not to get caught up in the charming antics Kendall Street Company provided to the unassuming Albany audience. This unteachable charisma and their innate ability to connect will surely help them go as far as they want to.

    Kendall Street Company “cheesed” it up in Albany, Aged White Cheddar style on 4/28/23.

    After taking a little time off to celebrate drummer Ryan Wood’s wedding, the band is set to make several east cost appearances later this summer.  With upcoming stops in Pembroke, MA, Asbury Park, NJ and a late night Phish after party at The Cutting Room in NYC, Kendall Street Company will also take part in some major festivals like Strangecreek Campout and The Peach Music Festival in Scranton, PA.  A band on the rise and one you definitely need to see live, if you’re looking for some good tunes, a good time and good company, Kendall Street has plenty to offer.

    Kendall Street Company | 4/28/2023| Lark Hall | Albany, NY

    Setlist: Becca’s Dad, Wineglass Television, Betha  [1] , Porridge, Unwind (Boiler Jam), Ode To Viceroy  [2] , Trapeze, Aged White Cheddar, Sweet & Clean, Doctor Worm  [3] , Cars > No Sleep Till Brooklyn (Albany),> Cars, Laura, I’m Sorry About the Cobbler

    Encore: Stanley Birddogmouth (Sensual version)

     [1]  The Grateful Dead cover

     [2]  Mac Demarco cover

     [3]  They Might Be Giants cover

     [4]  Beastie Boys cover

  • Perpetual Groove bring ‘Sweet Oblivious Antidote’ to Albany

    It was a heavy night of sonic improv and heavy themes at Lark Hall on April 26th, when enduring jam band veterans Perpetual Groove made their long-awaited return to Albany.  Tackling topics of loss and regret, redemption and hope, the band was at the top of their game and demonstrated a level of musical maturity and precision that can only come from decades of playing together.  Commemorating 20 years since the group’s breakout album, Sweet Oblivious Antidote, the evening also marked the debut of the venue’s brand new disco ball.

    Perpetual Groove made their Lark Hall debut on 4/26/2023

    Kicking things around 8pm, The Social Assassins got things off to a loud and progressive start.  Featuring fusion guitarist virtuoso Gabriel Marin of Consider the Source, the band has only played handful of live shows together since their debuting in October of last year.  Marin, along with his trademark Vigier double neck guitar and a bevy of effects pedals, took us on a sonic journey through instrumentals like “Begrudging Acquiescence” and “The Red Hour,” while his high energy band of Assassins pummeled away on songs like “Hora Attik” and “Blood Boi.” Playing before a moderate crowd of concert goers on this Wednesday night, the band turned in a max effort performance for those who were there to appreciate it. A fusion of eastern influences mixed with everything from metal and disco, The Social Assassins surprised everyone with their unique sound, especially on their set closing version of A-ha’s classic sing along “Take On Me.”

    Watch fan shot footage of Social Assassins performing “Take On Me” at Lark Hall on 4/26/23

    After a brief intermission, it was officially time for Perpetual Groove to launch the Lark Hall crowd into orbit. Originally formed in 1997, the Athens, GA based quartet opened their single set performance with “Save For One” from 2007’s Live Love Die album. Sounding fantastic from the opening note to the last, guitarist/vocalist Brock Butler would lead P-Groove straight into a heady version of “Stealy Man” that saw the crowd let out collective cheers and head bangs when it’s extended jam dipped into the ‘heavy’ section before shifting gears into the first cover of the night with The Cars classic song “Drive,” and then finally returning to “Stealy Man” to complete an impressive 30+ minutes of uninterrupted music to start the show.  After a few welcoming words, the groove would pick up again with another oldie in 2005’s “Andromeda.” 

    Watch fan shot footage of Perpetual Groove “Stealy Man” and “Drive” at Lark Hall on 4/26/23

    Despite it being the 20th anniversary of the bands Sweet Oblivious Antidote album, Perpetual-Groove would only play one song from it, “TSM2.” Laying down the tastiest of bass lines, Adam Perry stole the show next on a well-received version of “Crockett and Tubbs” that got the whole place dancing. A bit of a deep cut in “Cairo” was next, allowing keyboardist Matthew McDonald a chance to stretch out both musically and physically. The burley chairman’s other-worldly synth textures were magnified all evening long thanks in part to the venue’s brand-new disco ball that was also making it’s Lark Hall debut during this performance.    

    It’s been 20 years since Perpetual Groove released their breakout album Sweet Oblivious Antidote

    Perhaps the highlight of the show came next when P-Groove would uncork a monstrous version of the hard rocking “Speed Queen” bolstered by Butler’s trademark precision and the heavy hands of the newest member of the band, drummer Darren Stanley, who joined in 2022 after spending time with Jimmy Hearing and Col. Bruce Hampton. The thunderous and cathartic peak would seamlessly transition into a beautiful and introspective version of “Out Here,” a longtime live favorite that was only recently given the studio treatment. Following that up with one of Butler’s most personal songs was “It Starts Where It Ends.” Wailing away on his signature Stratocaster with eyes closed and his back arched, the song featured some of the most expressive playing of the night. Seamlessly transitioning into the set closing “Space Paranoids,” the band performed like a well-oiled machine and spoke a musical language unto themselves, effortlessly communicating changes just by exchanging glances at each other.  

    Watch fan shot footage of Perpetual Groove performing “It Starts Where It Ends” during their Lark Hall on debut 4/26/23

    Rather than go through the typical rigmarole of exiting the stage prior to the encore, P-Groove would simply tell fans this will be their last song of the night and thanked them for coming out to their Lark Hall debut.  Opting to go with a crowd-pleasing cover of Talking Heads “This Must Be the Place (Naïve Melody),” coincidently the same song had also been covered by Ryan Montbleau at the venue just one week prior. Whether by choice or by happy accident, an agreeable theme appears to be emerging at Albany’s newest concert spot.  After yet another night of stellar musicianship,  improvisation and overall good vibes, if Lark Hall isn’t the place, then I don’t know what is.

    Perpetual Groove | April 26, 2023 | Lark Hall | Albany, NY

    Setlist: Save For One > Stealy Man > Drive* > Stealy Man, Andromeda, TSM2, Crockett & Tubbs, Cairo, Speed Queen > Out Here, It Starts Where It Ends > Space Paranoids

    Encore: This Must Be the Place (Naïve Melody)**

    *The Cars cover

    **Talking Heads cover

    Social Assassins | April 26, 2023 | Lark Hall | Albany, NY

    Setlist: Begrudging Acquiescence, The Red Hour, Hora Attik, Blood Boi, A Well-Placed Pen, Take on Me*

    *A-Ha cover

  • Zach Nugent’s Dead Set Wraps Up NY run at Cohoes Music Hall

    At Cohoes Music Hall this past weekend, the sound of Jerry Garcia and the Grateful Dead was alive and well, as Zach Nugent’s Dead Set performed two strong sets of classic Dead tunes on Saturday, April 29, to an audience hooked from the first to the last note. 

    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall

    The two sets were not your standard Grateful Dead cover band sets, with some choice selections that made it clear this set was written by a disciple from the school of Garcia. Working in lesser played songs like “Dupree’s Diamond Blues,” the crowd at Cohoes Music Hall had a fair lot scene in the lobby, a show perk that you love to see.

    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall

    On this night, Nugent was joined by Joe Agnello (rhythm guitar, vocals – Swimmer), Josh Weinstein (bass – Kat Wright), Cotter Ellis (drums – Swimmer), Matt Dolliver (keys – Swimmer), and Corey Wilhelm (percussion – Bombino/Kat Wright).

    Opening up with “Bertha” and “Good Lovin’,” Nugent’s Dead Set had the crowd moving, the floor full with eager Deadheads looking to dance. A cover of Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again” was an early highlight, with Nugent’s guitar pouring fuel onto the driving chorus alongside keyboardist Matt Dolliver. The set closing “St. Stephen” had a velvety smooth transition into “Cassidy.”

    Second set began with a “Dark Star” jam that stretched out with great patience into space for exploration, finding itself at “Terrapin Station” – the full suite and then some. Towards the ending, the group found itself dabbling in a reprise of “Playin’ in the Band” but instead opted for “Uncle John’s Band,” and back into the final section of “Terrapin.” An encore of “Deal” made this one more Saturday night to remember.

    Zach Nugent’s Dead Set – Cohoes Music Hall – April 29, 2023

    Set 1: Bertha > Good Lovin’, Candyman, Stuck Inside of Mobile with the Memphis Blues Again, Dupree’s Diamond Blues, El Paso, St. Stephen > Cassidy
    Set 2: Dark Star > Terrapin Suite (full)* > Uncle John’s Band > Terrapin (ending), One More Saturday Night
    Encore: Deal
    * Playin’ in the Band (reprise) tease

    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall
    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall
    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall
    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall
    Zach Nugent's Dead Set Wraps Up NY run at Cohoes Music Hall

  • The Mountain Goats Go Goth for Albany Birthday Bash

    It was a night that deserves more words and praise than I can possibly articulate, but for people like John Darnielle, the mastermind behind The Mountain Goats, finding words has never been a problem. Making a career out of shouting whatever comes to mind and never sitting on an idea long enough to question it, the acclaimed novelist and songwriter has toured all over the world and released a staggering 21 studio albums since adopting The Mountain Goats moniker in the early 90’s.

    More than 600 songs and countless miles later, it’s almost hard to believe the band has never played a gig in Albany before. On Tuesday, April 18th  at Empire Live, that surprising fact was finally laid to rest.  The night would have extra special meaning for one member of band, as the cathartic show would also serve as a birthday celebration for keyboard player/multi-instrumentalist Matt Douglas.

    The Mountain Goats, making their Albany debut, have plenty to celebrate this year

    Opening the evening was Knoxville, TN singer-songwriter Adeem the Artist. Dawning a Canadian tuxedo and resembling a look somewhere between Jeff Tweedy and Ryan Adams, you could already tell he wasn’t like the other boys. One fan immediately yelled out “What’s your name?”  “My name? I don’t have one. I’m Adeem the Artist. It turns out there was already a rapper.” Demonstrating spectacular stage presence and finding a balance between serious and sarcastic, the lyrics to his songs were nothing to joke about. Beginning with the opening song “I Never Came Out,” the audience listened intently as the soul-searching lyrics poured out of the man originally born Kyle Bingham.  “Fervent For the Hunger” came next before we would learn a little bit more about Bingham’s roots and his Aunt Peggie on “Painkillers & Magic” from his most recent, fan-funded 2022 album White Trash Revelry.

    Adeem the Artist performing in Albany, NY on 4/18/23

    While the structure of the songs came off as rather traditional, by this point in the set, it was clear Adeem the Artist was doing something very special and very brave. A queer, southern Christian, blue-collar country songwriter. As unpopular as that may be in some areas, the Albany crowd here was totally down with it and fully invested in every word he had to say. Things would pick up for the foot-stomping “Run This Town,” before an eager fan requested a rare song that stopped Bingham in his tacks. “Tiger Prince of Knoxville”? How do you know that one? I wrote that a long time ago when everyone was trying to cash in on the Tiger King phenomena, so I figured I would too. I can’t believe someone here has actually heard it! Let’s see if I remember how it goes.” He did and the crowd loved it. They got even more into it on the next song, “Going to Hell,” which featured a fun, full room ‘call and response’ and made you think “it won’t be long before this guy is a very big star.” Filled with strong social commentary and hilarious banter, Adeem the Artist played the title track from his 2021 album Cast Iron Pansexual to round out his fantastic opening set.  After a brief intermission, it was finally time for the main event.  

    The Mountain Goats made their long awaited Albany debut on 4/18/23

    Walking out to Foghat’s “Fool For the City,” The Mountain Goats would methodically craft the story they wanted to tell. Consisting of front man and vocalist John Darnielle, this incarnation of the band also includes longtime collaborators Peter Hughs on bass, multi-instrumentalist Matt Douglas and Superchunk/Bob Mould drummer Jon Wurster. Beginning with the brooding buildup of 2008’s “In the Craters of the Moon,” the tempo picked up during the dreamy, reverb drenched “Hostages” from the bands most recent album, Bleed Out. Darnielle would introduce the next song by saying “this is about the incipient android takeover” before launching into “Incandescent Ruins.” Slowing things down a bit with “one of them bible songs” in “Hebrews 11:40.”  “We’re still working out how this one goes and we’ve been doing that for at least 10 years,” he chuckled. The energy continued to build straight into the song “Younger,” which on this night, meant a little more to birthday boy Matt Douglas. Uncorking one of his most expressive saxophone solos of the night on the song, the entire crowd would sing “happy birthday” to him prior to his beautiful piano duet with Darnielle on the song “Wear Black.”

    Mountain Goats multi-instrumentalist Matt Douglas celebrated his birthday on 4/18/23

    Darnielle would then play a series of solo songs, beginning with “Jenny,” which the crowd knew every word too. He would remark that he doesn’t plan this section of the set, he just waits for the spirit to move him. “That’s why I envy the Quakers. They’ll sit there for 20-30 minutes waiting for the spirit.  I don’t have that kind of confidence. And the other thing is I’ve never been to Albany before, right, so there’s a conflict.  I tend to prefer the newer songs with my band, but some people have been waiting a long ass time to see me play some old songs.” Darnielle continues, “So then I feel obligated to play the super old songs, but then the people mainly into the newer ones are like, “I don’t know what that one in the middle was about. Some guy who wanted to kill somebody?” he joked. “This is one of those,” before playing “Black Molly” from 2002’s Bitter Melon Farm.

    The crowd became noticeably more exited at the opening cords of another 2002 song, “Color in Your Cheeks,” to the point Darnielle had to stop them from clapping along. “Not to be ungracious, but I don’t recommend the clapping because it loses it’s place and my timing is inconsistent.”  “When people start yelling the words along with me, I’m like ‘no, to get into the zone of this song I need people not to be yelling it back at me. It’s just a personal song about somebody I know.” After it’s conclusion, he would remark “I changed the chorus because somebody thought it was too mean.  It was my wife.”

    The Mountain Goats performing at Empire Live on 4/18/23

    A laidback lounge version of “Abandoned Flesh” came next before Darnielle would profess his love for The Grateful Dead and say he “just noticed the next three songs on the setlist are alligatored together, so can the tapers in the crowd please refer to this section as “The Goths Suite,” ala The Dead’s Terrapin Station Suite.  The trifecta would include the songs “Abandoned Flesh,“ flowing directly into “Andrew Eldricth is Moving Back to Leeds,” and finally into “Rain in Soho” to complete the so-called Goths Suite segment. Bouncing back “Lizard Suit” and “Palmcorder Yajna,” Darnielle would remark that he was in awe of the Albany audience. “When your back in the dressing room and hear that there’s 800 people in a town you’ve never played before, it could go a couple of ways. You know, like there’s people waiting to hear one or two songs, and you know, you’re not going to play those at the top of the set because you’re not stupid. You’re so amazing, I thank you so much.”

    John Darnielle of The Mountain Goats performing in Albany on 4/18/23

    An intimate and powerful rendition of “Tallahassee” would follow, prompting Darnielle to call an audible and add a song on the fly.  Turning to his bandmates and saying, “Guys, we gotta add another one.  That was second to last, but this has been a pretty special show for me. And if they are being amazing, you need to play something from The Sunset Tree.” With that, the well-behaved crowd was rewarded with “Song for Dennis Brown” from the bands iconic 2005 album. Playing off each other and jumping from side to side with huge smiles, a hard rocking “Training Montage” would bring the main portion of the set to a close and leave the Albany audience begging for more.  

    Make a Wish: The Mountain Goats had their cake and ate it too during their Albany debut on 4/18/23

    After walking off stage, the band would return with a birthday cake to present to multi-instrumentalist Matt Douglas.  Easing into the encore portion of the show with “You and Your Memory,” one of the bands trademark songs came next with the anthemic “Heretic Pride.” With anticipation reaching a fever pitch for the bands two most popular songs still on the table, Darnielle would have some more fun with the audience.  “You may not know this, but there’s like a shadow version of “No Children” forming, waiting for its chance. It’s called “Jazz No Children.” It’s the way mellower version. “Jazz No Children” is the one you sing ten years after you needed no children. “Jazz No Children” is the one that comes when some of the details are funny to you instead of sad.

    On the preview side of “No Children,” there’s the people who ask me to play it at their wedding, because they think it would be funny. I say to them, ‘friend, I’ll tell you what. I’ll play it at your ten-year anniversary.” I am safe under these circumstances because anybody who would ask me to play “No Children” at their wedding won’t be having a ten-year anniversary. They’re not taking the whole matter seriously. As my drummer would say, “It’s all a big joke to them.” And yet, I hope when those people sit in a lawyer’s office, they have a little song in their head that helps. This is that song and this, such as it is, is the nature of that help.” Seamlessly shifting from a jazz monologue to an all out punk assault, The Mountain Goats would finally deliver the goods and unleash a cathartic version of “No Children” followed up by their biggest hit to date, “This Year,” which took on a life of its own during the Covid-19 pandemic and has become the calling card of the band.

    Giving everyone a chance to shout out the lyrics that meant so much to them during lockdown, it was the kind of reaction that made the hair-on-your-neck stand up. Basking in the sustained adulation, Darnielle said “he kinda feels like playing two more.” Opting to go with “Broom People,” the show would finally come to a close with a rambunctious version of “Spent gladiator 2,” which gave Douglas one final sax solo in the birthday spotlight. “Stay alive. Stay alive. Stay forever alive. Thank you, goodnight.” 

    Watch fan shot footage of The Mountain Goats performing “No Children” on 4/18/23

    Just an incredible performance that reinvigorated your spirit and made you feel alive.  Part poetry, part social commentary, part punk rock fury – all delivered with a sense of urgency and passion that simply could not be faked. There are no posers in this band and that sentiment deeply connected with the blue-collar Albany audience.  Fortunately fans in New York won’t have to wait nearly as long to see The Mountain Goats perform again. Kicking off their lengthy summer tour in early June, the band will play The Rooftop at Pier 17 in NYC on August 4th.  

    The Mountain Goats | April 18 | Empire Live | Albany

    Setlist: In The Craters on the Moon, Hostages, Incandescent Ruins, Hebrews 11:40, Dance Music, Younger, Wear Black, Jenny, Black Molly, Color in Your Cheeks, You Were Cool, Abandoned Flesh, Andrew Eldritch is Moving Back to Leeds > Rain in Soho > Lizard Suit, Palmcorder Yajna, Tallahassee, Song For Dennis Brown, Training Montage, You or Your Memory, Heretic Pride, Jazz No Children > No Children, This Year

    Encore: Broom People, Spent Gladiator 2

    Watch fan shot footage of The Mountain Goats performing “This Year” on 4/18/23

    Adeem the Artist | April 18 | Empire Live | Albany

    Setlist: I Never Came Out, Fervent for the Hunger, Painkillers & Magic, Run This Town, Tiger Prince of Knoxville, Going to Hell, Cast-Iron Pansexual

    Adeem the Artist

  • Ryan Montbleau Lights Up Lark Hall with Smoking 4/20 Performance

    As the legend of Lark Hall continues to grow, the Ryan Montbleau performance from April 20 will be one of the ones they talk about for years to come.  An instant classic that showcased everything from rock and blues to funk and folk, eloquent and meaningful storytelling, full band collaborations, over the top guitar solos and even a bit of Marty McFly-type showmanship. Along with a well-received set by the sultry and dynamic female folk singer Kat Wright that included a cover of Bob Marley’s classic song “Burnin’ and Lootin’, being in the Albany room on this night felt like being home for the holidaze.

    Fans “packed” into Lark Hall to celebrate 4/20 with Ryan Montbleau

    Until recently though, home for Ryan Montbleau has been on the road.  After spending more than two decades on tour living out of a suitcase, the critically acclaimed singer/songwriter has finally settled down and purchased property in Burlington, Vermont.  Only a short drive to the Albany area, Montbleau has become a regular fixture in the Capital Region music scene. Often playing in Saratoga Springs at venues like Caffe Lena and Putnum Place, over the years Montbleau has shared the stage with everyone from the Tedeski Trucks Band and Mavis Staples, to the Wood Brother and Goose. This night, however, would be his Lark Hall debut.

    Here comes the Pain: Ryan Montbleau had the crowd feeling fine while performing “Just Enough Pain”on 4/20

    Montbleau, who was dressed in a Todd Snider T-shirt and would perform the majority of the show with a spliff safely tucked behind his ear, addressed the doobious date by saying, “I feel like 4:20 doesn’t mean as much as it used to.  These days you can just go down the street and get some gummies and a couple pre-rolls. How rebellious is that?”  Opening up with “Just Enough Pain” and passionately singing as if it were the encore, Ryan and the band were dialed in from the start.  Repeating the chorus of “I guess I’m fine” until the whole room was saying it too, it was the kind of cathartic start to a show that rarely comes around. The kind that let you know that no matter what other 4/20 shenanigans were happening simultaneously elsewhere, you were exactly where you needed to be and you had picked wisely.

    When I Misbehave: Ryan Montbleau rolled into Lark Hall for the first time on 4/20/2023

    Playing most of his recently released studio album, 2023’s Wood, Fire, Water, and Air, Ryan Montbleau’s band currently consists of Ex-Turkuaz/current Cool Cool Cool members Craig Brodhead on guitar and Michelangelo Carubba on drums, Paul Philippone from West End Blend on keys, and Michael Friedman from The Slip on bass. Montbleau has gone on record calling them his best band yet, and after working their way through songs like “Ankles,” and fan favorite “75 and Sunny” it’s easy to why. The band would have fans chanting along again on “Yeah Man,” before ripping into the aptly appropriate 4/20 rocker “Sweet, Nice ‘n’ High.” Brodhead’s incredible tone control sounded gorgeous in this room and on this song in particular. You can check out fan shot video it below:

    Sweet: Watch fan shot footage of “Sweet, Nice ‘n’ High” from Lark Hall on 4/20

    Cooling things off a bit, a stripped down and somber rendition of “Never Gonna Be” gave the audience some time to reflect, while “Long for You Again” explored similar sentiments, but with a notably more up-tempo swing.  Ryan would abort the intro of “Til the End of Our Days,” laughing to himself that it sounded too much like the theme song from the 1993 film Free Willy.  Then in a moment of priceless crowd participation, fans of the Michael Jackson song briefly started singing the chorus of “Will You Be There.” Things got more serious when Montbleau dusted off a pair of deep-thinkers from 2017’s I was Just Leaving, “Time and Time Again” and the album’s title track.

    With a little Help From Friends: The Kat Wright Band performing with Ryan Montbleau on 4/20/23

    Then for a special treat, members of the Kat Wright Band would join in on the festivities, lending backing vocals on “When I Misbehave” and on one of the more popular songs of the night, “Bright Side.” Earlier in the evening, Wright had let her feelings about the venue be known, commenting how special this room felt to her. Saying, “Long live Lark Hall. Such a beautiful venue. It feels like slipping into a dream. Back to a time when people cared about storytelling and being together and listening to the music and it’s just so beautiful. I hope it stays open forever.” The heartfelt sentiment was collectively felt by all.  The energy level would raise even higher when the band bounced back with a full-on funk attack during “Dead Set,” where chairmen Paul Philippone shinned particularly bright.  “Songbird” took on strong Rastafarian vibes, only to be outdone by the most bombastic cover choice of the night in Shaggy’s “It Wasn’t Me.”

    This Must Be the Place: The Lark Hall kids loved it when Montbleau channeled his inner Marty McFly on 4/20/23

    Putting down his guitar and working both sides of the stage while rapping the lyrics to the turn-of-the-century mega hit, the charismatic Montbleau drove the ladies in the crowd absolutely wild here.  Well, “Seeing is believing so you better change your specs.” That’s what fans were thinking during the follow-up cover choice of Talking Heads “This Must Be the Place” when both Montbleau and Brodhead were having so much fun together, they briefly ended up playing guitars while laying on their backs ala Marty McFly in Back to the Future. Considering Lark Hall’s storied Chuck Berry history, it somehow seemed to make sense. 

    Floored: Guitarist Craig Brodhead laid down a smoking solo during “Naïve Melody” at Lark Hall on 4/20/23

    After finding their feet again, the band would go into the song “Affected,” which Montbleau helped write with Maddy O’neal and appears on the 2022 album Ricochet.  The boogie down continued with a rippin’ version of “Honeymoon Eyes” and then more full audience participation on “I Can’t Wait,” which brought the main portion of the show to a close and left the packed house hollering for more.

    Watch fan shot footage of Ryan Montbleau’s final song at Lark Hall on 4/20

    After soaking in the cheers for a few moments, the band would emerge from the curtains with one more heartfelt ballad from Wood, Fire, Water, and Air called “Outside Looking In.” Finally, they would send the audience home on a high note with a smoking rendition of “Pacing Like Prince.”

    Just an incredible, fun, and well-rounded performance from start to finish. Complete with a carefully crafted, career spanning setlist, an absolutely badass backing band, guest sit-ins, and his innate ability to develop a wonderfully organic rapport with his audience, it would seem that Ryan Montbleau made the most of his Lark Hall 4:20 debut and may have found a new home away from home in the process. Carving his name into the venue’s growing legend, it genuinely feels like something special happens every time you step foot into Albany’s newest concert spot. If you’re looking for great music, great vibes and a great time, this must be the place indeed-e.

    Fans “packed” into Lark Hall on 4/20

    Ryan Montbleau | 4/20/2023 | Lark Hall | Albany, NY

    Setlist: Just Enough Pain, Ankles, Yeah Man, Sweet, Sweet, Nice ‘n’ High, After Dark, 76 & Sunny, Never Gonna Be, Long For You Again, ‘Til The End of Our Days, Time and Again, I Was Just Leaving, When I Misbehave, Brightside, Dead Set, Songbird, It Wasn’t Me*, This Must Be the Place (Naïve Melody) **, Affected, Honeymoon Eyes, I Can’t Wait

    Encore: Outside Looking In, Pacing Like Prince

    *Shaggy cover

    **Talking Heads cover

    Kat Wright | 4/20/2023 | Lark Hall | Albany, NY

    Setlist: Can’t Explain, Problems, Lovers & Tides/All About You, Try, Take Me With You, Rhonda, Burnin’ and Lootin’, I’ve Been Down

    *Bob Marley and the Wailers cover

  • Dopapod and Baked Shrimp Light Up Saratoga Springs with Help from Members of Moe and Twiddle

    It was a hazy, high-energy night of other worldly soundscapes, prog-inspired improv, funky dance grooves, and surprise sit-ins in Saratoga Springs on April 19th, as revered indie jam rockers Dopapod and charismatic up-and-comers Baked Shrimp joined forces for a wild time at Putnum Place, a show presented by Hartstone Productions.

    Kicking off the festivities was red-hot Long Island crustation sensation Baked Shrimp. The fiery trio wasted no time getting the party going, launching into mythical beast mode early with “Chimera.” “Is this all a dream or am I awake?” crooned guitarist Jared Cowen, as the band magnetically pulled you into an exploratory and surreal type-two realm before the opening 16-minute number would reach its impressive peak.

    Drummer Jager Soss would take over on vocal duties during the up-tempo swing of “Molly Ann” and then trade them off to bassist Scott Reill on the equally energetic “Pig Hearts and Mechanical Parts.” Playing this particular show using Dopapod drummer Neal Evans massive kit, Soss was like a kid in a candy store here, clearly having a blast while utilizing all the bells, blocks and cymbals that were at his disposal.

    The prog-heavy technical chops of the band were on full display once again during “Missing Midnight,” which by now, everyone that had been standing in the back, had collectively moved forward to get a better look at the young sorcery taking shape before their eyes. Celebrating the one-year anniversary of his custom Forshage guitar, Cowen and his trusty new ax known as “The Wrench” sounded particularly potent during the set closing “Wannabe,” which also included an “I Am The Slime” tease by Frank Zappa for good measure. Despite the time constraints, it was another impressive set by this talented young band from New York. As early believers, tracking Baked Shrimp’s continued growth over the last few years has been an absolute joy and it seems like their hard work is beginning to pay off.  With a massive summer ahead that includes making their Peach Festival debut, along with high profile slots at Northlands and The Rye Bread Music Festival, it’s safe to say these talented nice guys are right on the cusp of busting out of their proverbial shells.   

    After a brief intermission followed by several minutes of sci-fi ambiance, it was finally time for our headliners Dopapod to take over.  No stranger to the Putnum Place, the band has played several memorable shows here, including joint gigs with Pigeons Playing Ping Pong, a “Grateful Sabbath” themed Halloween show, and just last year playing a single-song set covering Pink Floyd’s “Echoes.” On the eve of April 20th, it felt like anything was fair game.

    Kicking things into high gear off the rip was “Numbers Need Humans” from the bands 2019 album Emit Time. Consisting of Eli Winderman on keys, Rob Compa on guitar, Chuck Jones on bass and Neal “Fro” Evans on drums, Dopapod had the whole room vibing right from the start. The dank grooves continued as the band seamlessly transitioned into the always coveted “New James,” which took on a far more sentimental feel here as Dopapod worked in a significant “Wax” tease, paying tribute to their peers and friends in Lotus. Still fresh in everyone’s mind, fans of both bands continue to grieve the suddenly loss of Lotus’ percussionist Chuck Morris and his son Charley who tragically lost their lives on a recent kayaking trip.

    “Wheazy” and “Test of Time” would then follow suit before segueing nicely into “Imaginary Friend.” From there, Dopapod would get some help from a real-life friend in moe. drummer Vinny Amico, who would trade seats with Neal Evans to sink his teeth into “Dracula’s Monk” and bring the hour long first set to a pummeling close.

    Following a 25 minute intermission, Putnum Place popped off once again when Dopapod returned with a dynamic “Sonic” > “My Elephant vs. Your Elephant” combo to get the second frame rolling. The band would then invite another longtime friend, Adrian Tramontano of Twiddle/Kung Fu/ The Breakfast fame out to play drums on the popular old-school track “Indian Grits.” The heavy hands of Tramontano both brought the thunder and the house down during his extended solo, wowing the crowd to rowdy new heights.

    Accompanied by a spectacular light show, the energy level would go through the roof on the next song “Vol. 3 #86” which would flow through  “Man or Machine” and finally land on “Black Holes”; the only song from the band’s latest self-titled studio album to be played on this night.  

    With just 5 minutes to go before the stroke of midnight, the band opted to go with the appropriate “Nuggy Jawson” to officially ring in the 4/20 holidaze and put a bow on yet another memorable performance at the Putnum. 

    A jam packed show from start to finish, in a room full of longtime fans and friends, complete with surprise sit-ins from members of moe. and Twiddle, it was everything you could have hoped for on this mid-week throwdown in Saratoga Springs.  Up next for Dopapod, the band will take a few weeks off before returning to the road for a lengthy run of shows that will see them through the end of May.  Their only confirmed summer festival appearance thus far is set for the last weekend in June at the annual High Sierra Music Fest in Quincy, California.

    Dopapod | 04/19/2023 | Putnam Place | Saratoga Springs, NY

    Set I: Numbers Need Humans >New James * ->Wheazy, Test of Time ^ > Imaginary Friend.  Dracula’s Monk +

    Set 2: Sonic ^ -> My Elephant vs. Your Elephant, Indian Grits %, Vol. 3 #86 > Man or Machine ->  Black Holes

    Encore:  Nuggy Jawson

    * Wax (Lotus) tease

    ^ Unfinished

    + with Vinnie Amico of moe. on drums

    % with Adrian Tramontano of Twiddle, The Breakfast, and Kung Fu on drums

    Baked Shrimp | 04/19/2023 | Putnam Place | Saratoga Springs, NY

    Setlist: Chimera, Molly Ann -> Pig Hearts and Mechanical Parts, Missing Midnight, Wannabe*

    *”I am the Slime (Frank Zappa) tease