Back in the day when Drakkar was the go-to scent for young men and the smell of clove cigarettes was the norm, Toad the Wet Sprocket was becoming a household name. On June 22, they brought their sounds to Lincoln Hill Farms, a small rustic backwoods venue just outside of Canandaigua.
Opening up for TTWS was Marcy Playground. Back in 1996, Marcy Playground was riding the merry-go-round waiting for a big break. They were awarded that break when they were invited to tour with Toad. 27 years later, here they are on tour together again.
Marcy Playground is fronted by John Wozniak, Shlomi Lavie on drums, and Dylan Keefe on bass. On this night, Keefe could not make the trip so Scot Alexander of Dishwalla filled in and crushed it as if he were in the band for years. Of course the fans knew every word to every song and came close to overpowering Wozniak’s voice on Sex And Candy.
Setlist for Marcy Playground: Poppies, Pigeon Farm, Rock and Roll Heroes, Special, Saint Joe on the School Bus, Rebel Sodville, A Cloak of Elvenkind, Punk Rock Superstar, Wave Motion Gun, Sherry Fraser, Deadly Handsome Man, Sex and Candy, Star Baby
Formed in the late 80s, Toad the Wet Sprocket is named after a Monty Python skit when the band needed a name so they could enter a talent contest. Although the band called it temporary and a joke, the name has stuck.
Lead singer Glen Phillips smooth voice can transition into any style flawlessly, so it makes sense to see his style described as folky and alt-pop. Songs like “Good Intentions” and “All I Want” are great examples of both pop and alternative sounds, while a song like “I Will Not Take These Things for Granted” yields a more folk sound.
Another folk style song from Phillips was “Transient Whales,” which he performed acoustically using a 50s style microphone to enhance the sound. Trucking along flawlessly, he forgot some lyrics but thanks to fan in the front row, he was able to get back on track and finish it out.
Minus the aforementioned scents and a parking lot of full of Ford Tempos and Chevy Cavaliers, Toad took fans back to the 90s with hits such as “Walk on The Ocean,” “All I Want,” and “Good Intentions.” The respectable crowd of near middle-aged parents danced around like they were still in high school partying at the Saturday night bonfires.
While they have not been producing new music on regular basis, the band released Starting Now in August of 2021 the title track and “Old Habits Die Hard” released in September and October of same year. Keep up to date with Toad the Wet Sprocket here.
Setlist: Windmills, Come Down, California Wasted, Crowning, Hold On, Nanci, Whatever I Fear, All I Want, Transient Whales, Good Intentions, Closer to Fine (Indigo Girls), The Moment, Dam Would Break, Fly From Heavan, Pray Your Gods, Nightingale Song, Crazy Life, Something’s Always Wrong, Walk On The Ocean, Fall Down, I Will Not Take These Things For Granted
A rainy Friday evening on June 23 did not keep fans from dancing the night away to Steve Miller Band at Koussevitzky Music Shed at Tanglewood in Lenox, Ma.
Bruce Hornsby and the Noisemakers opened up the evening with an hour-long set playing a great selection of their hits such as “My Resolve,” “That is the Way it is,” and “Mandolin Rain.” Bruce chatted very little in between songs but did mention that he was happy to return to Tanglewood for the first time in 29 years.
During the brief intermission while the stage was being prepped, people mingled with friends and neighbors as well as walk up to the stage edge to snap photos of the iconic white pegasus design from the album Book of Dreams on the drum kit.
Steve Miller Band took the stage and with a clever introduction they started off their set with “Swing Town” followed by many hits such as “Fly like an Eagle,”” The Stake,” “Jet Airliner,” “Born in the USA,” and “The Joker” during their 90-minute set. Steve also shared a fun personal story about his first Les Paul guitar which he had on stage with him.
Steve Miller Band is currently on their summer tour, below is a list of their planned stops:
June 28 – Boston, Ma June 29 – Selbyville, DE July 1 – Wantagh, NY July 2 – Bethel, NY July 7 – Cincinnati, OH July 8 – Niagara Falls, ON July 27 – Austin, TX July 29 – Houston, TX July 30 – Dallas TX August 3 – Waukegan, IL August 5 – Lincoln, NE August 8 – Shipsewana, IN August 9 – Youngstown, OH August 11 – Jackson, MI August 12 – Clarkstown, MI
Steve Miller Band is also touring in September & December. Be sure to check out their website for all their up-to-date tour information.
On Friday, June 23, Les Claypool performed with his Fearless Flying Frog Brigade, a talented band featuring Sean Lennon on guitar, Harry Waters on keys, Paolo Baldi on drums, Skerik on saxophone, and Mike Dillon on percussion. They are playing a massive tour including the Peach Music Festival this coming weekend.
Neal Francis opened up the show with a funky set full of catchy riffs and exceptional vocal work. This proved to be much lighter to the heavier, bass rich riffs of Les Claypool. It fit well as an opening act but the music was truly different.
Les Claypool’s Fearless Flying Frog Brigade opened up their set with “Thela Hun Ginjeet”, a King Crimson cover, followed by a couple Les Claypool songs including one about mushrooms, a very trippy “Amanitas”.
This led to the band performing Pink Floyd’s iconic album Animals, a psychedelic and heavy album; quintessential of the dark 1977 Pink Floyd sound. This proved to be an incredible performance, close to the studio version with really great solos and vocals by both Sean Lennon & Les Claypool.
Afterwards, the band played “Precipitation” & “Cosmic Highway” to close out their set, quickly returning for a lengthy encore featuring “One Better” & “Whamola”.
Different shenanigans included Les Claypool playing a stand up bass with a bow, wearing a pig mask, and ultimately a disco ball helmet. This along with Claypool’s relaxed stage presence and banter, and of course virtuoso level musicianship resulted in an intensely fun and laid back Fearless Flying Frog Brigadeshow.
Les Claypool’s Fearless Flying Frog Brigade – The Capitol Theatre – June 23, 2023
Setlist: Thela Hun Ginjeet, Rumble of the Diesel, Amanitas, Blood and Rockets: Movement I, Saga of Jack Parsons – Movement II Too the Moon, Pink Floyd’s Animals, Pigs on the Wing, Part 1, Dogs, Pigs (Three Different Ones), Sheep, Pigs on the Wing, Part 2, Precipitation, David Makalaster, David Makalaster II, Cosmic Highway
Texas-style folk music made a stop at Caffe Lena on Thursday, June 22, with the swing revival sounds of The Quebe Sisters. The Dallas group played to a sold out crowd this evening, emanating progressive western swing with jazz and blues influences peppered throughout, as well as a healthy dose of comedy and the history behind the music.
These sisters first appeared on my radar thanks to Col. Bruce Hampton, a legend among jam band fans, who had a keen eye for identifying and fostering talent throughout his career. Only mentioned in passing in a 2016 interview, the sisters shared with NYS Music that their connection to Col. Bruce was thanks to his fellow Aquarium Rescue Unit member (and current Widespread Panic guitarist), Jimmy Herring. It was he who saw them perform at a local fair in Georgia, met them following the show (all parties were humbled), and Herring later put the band on Col. Bruce’s radar. From Hampton’s lips to my ears, Caffe Lena was the perfect venue this evening.
As the performance began promptly at 7pm, standing on stage left to right were sisters Hulda, Grace and Sophia, who have each been playing fiddle for more than two decades. Joining them were Simon Stipp on guitar and Daniel Parr on bass, and at times, Grace would play snare drum ever so lightly, stirring with a brush in one hand, and a light tap of the stick with the other. An evening of old-timey folk music, with some songs more than a century old, began with “Avalon” by Al Jolson. If T. Bone Burnett were tasked to produce a soundtrack in the style of O Brother, Where Are Thou?, the sounds of the Quebe Sisters would be a centerpiece of the album.
With folk songs of trails, cowboys and traveling, tunes of pioneers were played, a history lesson in the form of stories handed down as song. A dive into 19th century poetry yielded “My Love, My Life, My Friend, influenced by the Emily Dickinson poem “That it will never come again.” A duet of “Lullaby of Birdland” was followed by The Mills Brothers’ arrangement of a 1942 song, “Cow Cow Boogie” and the medley “Speed the Plow” which closed a set that had the style of music you’d expect to hear in a Quentin Tarantino film.
The all fiddle family returned for a second set with “Lonesome Road” and the wonderful “Shame on You,” which hit all the right spots, reminiscent of Patsy Montana’s “I Want To Be a Cowboy’s Sweetheart.”
Set to the tune “Home on the Range,” the prescient and eerily humorous “Drone on the Range” sang of the perils of technology and the neighbors who misuse it. The Bob Wales instrumental “Roly Poly” would follow, along with Ray Charles’ “Georgia on my Mind” and the instrumental “Load in at 7 (leave at 8) likewise was a tongue in cheek take on life on the road.
“Lullaby of Leaves” saw the three sisters fiddling together, before diving into the extensive catalog of fellow Texan Willie Nelson on “Summer of Roses, follows by a unique as ever “Merch Jingle” to encourage fans to meet and greet them after the show and pick up merchandise before heading out. “It’s a Sin to Tell a Lie” would close the set, and the original familial song “Texas” served as the lone encore.
The Quebe Sisters have one of the most unique harmonies and a sound that bridges generations of country and western music, influenced by time and the fiddle prowess of a trio of 20 years strong, just getting started.
The Quebe Sisters – Caffe Lena, Saratoga Springs – June 22, 2023
Set 1: Avalon, Please Don’t Talk > Going Away Party, Teardrops, Pierce the Blue > Twin Guitar, Timber Trail > Trouble in Mind, My Love, My Life, My Friend, Lullaby of Birdland, Cow Cow Boogie, Twilight > Speed the Plow
Set 2: Lonesome Road > Shame on You, Distraction, Drone on the Range, Roly Poly, Georgia on my Mind, Load in at 7 (Leave at 8), Day People, Lullaby of the Leaves, Swingin’ the Bow, intros > Summer of Roses, Merch Jingle > It’s a Sin to Tell a Lie
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 FilmsPhoto courtesy of Frank Cavone/Mirth Films
Santana made his eighth visit, and first since 2017, back at CMAC in Canandaigua on Thursday, June 22, part of his 1001 Rainbows tour and to open up the season for the venue. The shed was packed and so was the stage, as Carlos always has a hefty crew along to bring his unique fusion of Latin and rock music to fruition.
This time at CMAC, Santana had Ray Green on vocals and trombone, Andy Vargas on vocals, Benny Rietveld on bass, David Matthews on keys, Tommy Anthony on guitar, Paoli Mejias on congas, the great Karl Perrazo on percussion, and Santana’s wife, Cindy Blackman Santana on one of the biggest drum kits you’ll see.
With puffs of smoke filling the air, and tribal music and videos playing on a huge screen, they all took the stage, picking up the beat and launching into “Soul Sacrifice.” A sizeable rhythm section break, an organ solo, some trombone, and of course Santana’s signature searing guitar all made the rounds from the get-go.
There was no holding back and no wasted time. With no pause they launched into “Jingo” and from there “Evil Ways.” A trio of tunes off Santana’s 1969 debut, songs he must have played as much as anyone has played the same songs ever. Yet they were played with fire and urgency, Santana giving his ensemble direction with glances, nods and motions. The early hit train kept rolling along with “Black Magic Woman/Gypsy Woman” and “Oye Como Va” as classic Santana footage played over the screens. A long line of musical history still delighting and energizing.
“Our goal is to flood you with enthusiasm,” Santana announced at the first of only a few very short breaks. Later he urged the crowd to “Elevate the consciousness of the planet to stop the corruption.”
The band continued to work through Santana’s vast catalog, seemingly chronologically. A big hit of the mid 70’s followed, with “Everybody’s Everything” including a ripping bass solo, “Europa,” “Batuka,” and “No One To Depend On” with a particularly fiery solo from Santana.
The second half of the show belonged almost solely to their late 90’s hit album, Supernatural, with “(Da Le) Yaleo,” “Put Your Lights On,” “Corazon Espinado” and “Maria Maria” all making big splashes with the audience.
With a massive catalog to draw from, they still found plenty of room to pay tribute to other musical heroes. A subtle tease of his friend Mahavishnu John McLaughlin here, and few riffs from The Beatles’ “While My Guitar Gently Weeps” there. A seemingly random mash-up of James Brown’s “Funky Good Time,” The Doors’ “Roadhouse Blues” and The Chambers Brothers’ “Love Peace and Happiness,” may have just been an excuse for Santana to squeeze in some final unadulterated guitar shredding into the encore.
Though the encore showstopper was handed to his wife, as she was granted a massive drum solo that brought the house down. Carlos has been around long enough to know how to put on one a hell of a rock show, and how to go home with happy wife.
Andy Vargas back up singerRock & Roll Hall of famer Carlos SantanaRock & Roll Hall of famer Carlos SantanaPaoli Mejias, drumsRock & Roll Hall of famer Carlos Santana with drummer Karl Perazzo in the backgroundRock & Roll Hall of famer Carlos Santana plays to a excited crowd with drummer Karl PerazzoCindy Blackman Santana drummer Carlos Santana plays along with guitarist Tommy AnthonyCindy Blackman Santana drummerBenny Rietveld, bass
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Merci Van, Caity Gallagher, and Kirsti Blow.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Merci Van – “Oppenheimer”
Merci Van is from Saratoga Springs and makes synth post-folk music. Members are Alicia Macier Van Scoy, Ed Cormac, and Katlyn Celentano. Their new single “Irrational Anthems” is out now.
Caity Gallagher – “Worth Remembering”
Caity Gallagher is a rootsy singer/songwriter based in Albany, who uses lifting vocals and empowering lyrics to tell universally relatable stories. She started playing piano at age seven and guitar at sixteen, and has been compared to the likes of Jackson Browne and Carole King. Her newest EP Something Worth Remembering is out now on streaming platforms, with the song “Worth Remembering” having a spot on Sunday’s EQXposure.
Kirsti Blow – “Last Cigarette”
Kirsti Blow is a singer/songwriter hailing from Upstate New York, recognized for her soft voice and unforgettable instrumentals. Her new album Loose Ends, written over the course of two years, explores the feelings of of elation and fear, love and disillusionment, and the changing seasons while traveling in the US and Spain. “Last Cigarette” will hold a spot on EQXposure this Sunday.
If it’s summertime and your 7 train is unusually filled with riders in tie-dye, you can be sure Dead & Company is playing at Citi Field.
Since forming in 2015, the Grateful Dead spinoff act featuring an assortment of old band members (guitarist Bob Weir, percussionist Mickey Hart, and (until this tour) drummer Bill Kreutzmann) and accompanying musicians (bassist Oteil Burbridge, keyboardist Jeff Chimenti, drummer (and Kreutzmann replacement) Jay Lane, and guitarist John Mayer) has roamed annually—with the exception of 2020’s COVID hiatus—around the U.S., playing stadiums and inspiring fervor in fans both old enough to have seen the Dead in their prime and young enough to have been born after Jerry Garica died.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Every summer tour the group has embarked on has included a marquee stop at the large Queens venue, a homecoming of sorts for New York area Deadheads and the fanatical followers who hop from city to city to catch the band live.
For a band with songs in their repertoire that were written before the moon landing, Dead & Company has been very successful. Their 2021 summer tour sold the third highest number of tickets of any act in America; GQ noted that while there have been “lots of post-Jerry [Grateful Dead] iterations,” Dead & Co. have “created a nationwide flower-child wave so big that the whole traveling Deadhead apparatus sprang back to life in all its ’80s–’90s glory.” But nothing lasts forever, not even Mayer’s silky smooth solos during “Scarlet Begonias.” In September of last year, the guitarist announced on Instagram that the upcoming 2023 Dead & Company upcoming tour would be the group’s last, with stops in New York City on June 21 and 22, and a week prior at SPAC on June 17 and 18.
Given the advanced ages of the original band members, this tour could very well be the last chance to see what remains of the Grateful Dead as a traveling stadium enterprise. And since the 80s, no large-scale Dead event is complete without Shakedown Street, the impromptu vending area outside each show named after the much beloved song of the same name. I attended the June 21 show and saw fans transform Citi Field’s parking lot into an open air psychedelic bazaar. The stands and vendors were straight out of central casting, selling vegetarian food, floral dresses, homemade jewelry, and dancing bear and turtle doormats, though some were original like the person charging $2/min for back massages. My father-in-law, a Deadhead himself, said Shakedown Street is known for its burritos. After eating one prepared by a guy who looked like Post Malone, I see his point.
As I stood enjoying my dinner, I absorbed the lot’s soundscape: speakers playing “Jack Straw” and what I think was “Cold Rain and Snow” were dueling for aural supremacy, the music punctuated by the sucking and popping of nitrous balloons. Compared to concert concession stands where you have to use your elbows to get what you want, Shakedown Street was wide-open and welcoming, like visiting your hippie aunt and uncle except there are 2000 aunts and uncles, and 100s of cousins, all family here.
Getting to my seat after 40 minutes on Shakedown, Dead and Company opened the first night at Citi Field with an appropriate “Shakedown Street.” As the song’s opening guitar chord and drum pattern gave way to its well-known staccato bop, the entire stadium got on its feet and started dancing. I was sitting in the bleachers in Section 524, with “Shakedown” reducing the surrounding audience chairs and stair railings from helpful objects to obstacles impeding movement, as the audience swayed to the tinsel-tinted disco beat. Even from afar, the sound was crystal clear, each instrument discernible—Burbridge’s bass in particular guided the track through its choruses and jams. Next came “Bertha,” another crowd pleaser with an instantly recognizable intro, maintaining “Shakedown’s” danceable pace: for the duration of both songs, the crowd was in motion, flailing like inflatable tube men outside a used car dealership as band sang “I had to mooooove / Really had to move.”
“Ramble on Rose” slowed the set down, letting the crowd relax and sing along to its memorable, playful words. Dead & Co. concerts are social events too, and the slower moments give the audience time to connect with friends and family (or total strangers) at the show. This is, of course, unless you are one of the spinners nestled in left field who, barring terrible weather, just do not stop. They kept twirling during “Ramble’s” undanceable groove and a handful even persisted through to the gig’s end. Salut! Chimenti’s piano chops were on full display in the song’s outro, his fingers crashing on the keyboard with ragtime-like intensity.
Every year, John Mayer seems to get more comfortable playing Garcia’s ghostly role as the band’s lead guitarist. His arpeggiated lead lines are smooth and he’s even nailed down Jerry’s idiosyncrasies, using chromatic notes outside the given chord progression. But on songs like “It Hurts Me Too” and “Althea,” Mayer reminds you that he’s still his own man. During the former, he slaps listeners in the face a little bit with his bluesy note bends, sounding almost as much like Eric Clapton as he does Garcia. On the latter, he leads the band toward a synthesis of the Dead’s straight-ahead 80s rock and his own more in-your-face playing, steering the jam into aggressive directions Jerry’s restrained style was never able to reached “Althea” showed Mayer’s ability to develop his own voice within the confines of a well-established group, taking the song to newfound electric heights. Notably, “Althea” was the first Dead song he got into, he’s made it his own.
Even on the longest day of the year, the sun eventually goes down, and come “Dancing in the Street,” Dead & Co.’s incredible light show began in full swing, reaching a first set climax with “Let It Grow,” a slippery track verging on prog rock with lots of opportunities for jams to go off in different directions. Swirling beams featuring every color of the rainbow radiated behind the band, switching on a dime to visually match the group’s jazzy improvisations. According to Adam Josselson, a fan in attendance from South Jersey, “Let it Grow” was the “jam of the night.” I concur; its force and complexity were unmatched. The stadium, nearly packed to the brim, was most focused during “Let It Grow,” the show’s most technical, least poppy number.
Right before the second set began, Mayer had an announcement to make: he was going to play the rest of the show sitting down because he had hurt his back. After joking that he took a “white pill” and a “blue pill” to ease the pain and asking for sympathy from the middle-aged attendees with back problems of their own, the bouncy opening notes of “China Cat Sunflower” started and the set was off. “It’s nice to see that John Mayer is human and that he suffers from the infirmities that we all do,” said Rich Zweiback, a New York native who saw over 200 Grateful Dead concerts starting in 1979. “The only drugs I took yesterday were Advil and Aleve,” he said. Maybe Mayer should have spent time in Shakedown Street at that makeshift massage parlor?
Naturally, “China Cat Sunflower” flowed directly into “I Know You Rider.” The two songs have been a staple second set pairing since 1969. When “China > Rider” is having a good night, the exact point at which “China” turns into “Rider” is indeterminable. I tested myself, sitting down and listening closely, to see if I could identify the moment when the tunes changed over, and was relieved to have failed. “China > Rider” crams Dead & Co.’s dynamic and emotional range into one song, slowly building toward a loud exclamation.
“St. Stephen” soon followed. After a ferocious jam that rivaled “Let It Grow” in its vigor—one which received loud applause—the song stopped abruptly: some member(s?) missed the re-entry point out of the jam into a verse that caused the band to sound like a skipping CD. Wrapping up early before the famous “William Tell Bridge” could finish, Dead & Co., looking a little frazzled, started strumming “Uncle John’s Band”—it took them time to settle back down. For “Drums,” Mickey Hart played a xylophone-style instrument and was joined by guest percussionist Jeff Russo. Stretching out “Drums” with Russo’s addition led to a shorter “Space,” which soon curled into “The Eleven” jam I was expecting to hear after “St. Stephen.” I love these exploratory parts of the set, but I understand the concertgoers who use them as stretch or bathroom breaks.
Weir’s preeminent moment came in the form of “Stella Blue.” “[He’s] finally old enough that he can lend [the] gravitas that’s needed to that song,” said Zweiback. A tune of solemn wisdom that understands that time vanquishes us all, Weir’s ragged baritone vocals perfectly transmit the song’s pain. Finishing off set two with an upbeat “U.S. Blues” got the crowd hollering and jumping together again, and the encore, “Black Muddy River,” followed right after – performed without a break to accommodate Mayer’s back. Mayer lead the tune, singing in a way that was reminiscent of his soft rock solo albums.
“I was pretty much blown away,” said Greg Schmalbach, a fan who had seen Dead & Co. three times already on this tour. “They’ve been bringing it and they brought it.” Schmalbach caught the Dead in the 90s but was underwhelmed. In 2015, however, he revisited the band around the time of the Fare Thee Well 50th anniversary celebration and has since seen Dead & Co. around 40 times. He claims this recent string of concerts is the best he’s seen the band.
“I can’t argue in good faith that [Dead & Co.] is better than Jerry Garcia, but it’s like a parallel universe where it’s very, very pleasing to my ear,” said Jamie Bliss, a Canadian Dead fan following the band around for five shows with a friend. Dead & Co. gets criticized by some Deadheads who consider them a pale, slow imitation (Dead & Slow is a popular pejorative nickname) of a legendary act, a nostalgia-driven cash-in for corporate rockstars. Bliss isn’t buying it. “When people dismiss older bands as essentially being a nostalgia act, I like to remind them that sometimes nostalgia is all we have left,” he said. To my ears, a jumpy, uptempo song like “Dancing in the Street” was too slow to be effective—it lost its punchy might—but groovy numbers like “Shakedown Street” and “Bertha”—ones with a beat you can settle into—were fine slowed down, as they leave room for the musicians to jive around and explore new sonic territory.
“I didn’t go to a Dead & Co. show until 2020 when I met my wife because I was like, “John Mayer, I just can’t do that, I can’t get on board with this,”” said Josselson. “I basically was dragged there by her and I was pleasantly surprised by his emulation of Jerry. I think the biggest thing about Dead & Co. shows is that the Grateful Dead concert vibe is there, that family culture, you feel that when you’re at that show.”
As I re-boarded the 7 train home after the show, I was surrounded by a true cross-section of Deadheads: old hippie true believers; corporate 50-somethings; bros looking to dip their toes in the counterculture; Gen-Zers sporting Steal Your Face-branded streetwear. All of them had gathered together, differences aside, for roughly four hours to see the remnants of an American institution approaching 60 years. I cannot think of anyone or anything else in this country that can do the same.
Dead and Company – Citi Field – Queens, NY – June 21, 2023
Set 1: Shakedown Street > Bertha, Ramble on Rose, It Hurts Me Too, Dancing in the Street, Althea, Let It Grow
Set 2: China Cat Sunflower > I Know You Rider, St. Stephen, Uncle John’s Band > Drums > Space > The Eleven > Stella Blue, U.S. Blues
Encore: Black Muddy River
Dead and Company – Citi Field – Queens, NY – June 22, 2023
Set 1: Feel Like a Stranger > Franklin’s Tower, Mama Tried, Alabama Getaway, Dear Mr. Fantasy > Hey Jude (Reprise) > Truckin’ > Deal
Set 2: Scarlet Begonias > Fire on the Mountain, Estimated Prophet > Drums > Space > All Blues > Cumberland Blues > All Along the Watchtower > Morning Dew
Continuing to tour in support of their fourth consecutive critically acclaimed album Shore (Anti-Records, 2020), Fleet Foxes visited College Street Music Hall (CSMH) in New Haven, Connecticut this past Tuesday night for the fifth show on a 28-date trek of North America that kicked-off in Chesterfield, Missouri a few days prior.
Robin Pecknold
Formed in 2006, the indie folk darlings hailing from Seattle, Washington are the quintet of frontman/guitarist Robin Pecknold, Skyler Skjelset (guitar), Casey Wescott (keyboards, mandolin, backing vocals), Christian Wargo (bass) and Morgan Henderson (multi-instrumentalist, including upright bass and saxophone). Since last year, Fleet Foxes have also been joined by touring drummer Christopher Icasiano.
Despite the distance from their home on the west coast, the Pacific Northwesterners – particularly Pecknold – share a strong connection to New York State. To make a long story short (too late!), the recording of Shore got underway at Aaron Dessner’s (The National) Long Pond Studios in Hudson, New York back in September 2019. Although the majority of Shore was subsequently recorded at Woody Jackson’s Electro-Vox Studio in Los Angeles, California from late-2019 to early-2020, progress was halted in March 2020 – due to what else – COVID-19 of course. With Shore conceptually complete from a music standpoint, Pecknold was not satisfied with his writings and was struggling to find the right words to match the music. However, it would not be for too long, as he eventually found the lyrical inspiration he craved during time spent on long drives from his Greenwich Village apartment, where he had been quarantined, to Lake Minnewaska in Ulster County, and further north into the Catskill Mountains.
College Street Music Hall
A few ticks past 7:00 pm, doors to the historic venue constructed in 1926 and located in the heart of New Haven’s downtown arts district opened to the loyal Fleet Fox fans that had been queued a half block south of Yale University, many since the early afternoon. As throngs of patrons hurriedly began to file into the concert hall’s lobby, many headed straight for the merch table to purchase a t-shirt, hoodie or signed tour poster. Others were seen grabbing a craft beer on tap or a cocktail before securing a spot on the General Admission floor or heading to the upper balcony.
Uwade
Fittingly opening the show at 8:00 pm, as it’s her voice you hear opening “Wading in Waist-High Water” on Fleet Foxes’ Shore, was Uwade Akhere. A Nigerian born singer-songwriter based in New York City, Uwade is an indie-folk artist whose star has been on the rise since the release of her very first single, “Nostalgia,” in 2019. Performing a 30-minute solo set, she favored stage right as she played a six-string Torino Green Gretsch that nearly matched her dress perfectly. With an angelic onstage presence – her songs are fittingly spiritual in nature as well – she relinquished sublime versions of her only other singles released to date, “The Man Who Sees Tomorrow” (2021) and “Do You See the Light Around Me?” (2022). As the venue was nearing its 2,000-capacity, Uwade played “One Way Trigger,” a cover that her fellow New York City natives The Strokes released in 2013. With Uwade’s set nearing its conclusion, and much to the delight of Fleet Foxes fans, she welcomed to the stage Wargo and Icasiano for her two final songs.
Skyler Skjelset
After a brief intermission to address the stage’s final preparations, Fleet Fox took the stage a few ticks past 9:00 pm to raucous applause from the now packed house. With Pecknold snapping a few shots of the adoring fans in front of him with a disposable camera, he announced immediately, “Thank you so much New Haven, thank you. And thank you so much to Uwade, that was an incredible opening set.” The night’s festivities officially got underway with “Sun Giant,” a soft, harmonic piece written in 2008 that began a cappella, before fading into full accompaniment, including a two-man horn section. Reprising her role from Shore, Uwade reappeared onstage to contribute backing vocals to “Wading in Waist-High Water.” It would not be the 22-year old’s last appearance of the evening, as she would later join the band during the encore for exquisite backing deliveries of “For a Week or Two” and “Going-to-the-Sun Road.”
Christian Wargo
For the entirety of the massive, 24-song set that encompassed Fleet Foxes’ rich and diverse catalog over the past 17 years, the Seattle musicians were in top form across the board, in particular, Pecknold’s unique baritenor voice. Hailed for their refined instrumentation and vocal harmonies, their music was meant to be executed in a place such as CSMH – the destination for concertgoers looking for a venue within spitting distance of Boston and Manhattan – renowned for its world-class acoustics and lighting.
Casey WescottMorgan Henderson
Because Fleet Foxes’ two hour plus gig was filled with stand-out moments, picking the top song highlights is not easy. However, if I could choose only three, they would have to be (in order by appearance): Pecknold’s solo acoustic performance of “Silver Dagger” (a traditional American folk ballad popularized by Joan Baez); “Blue Ridge Mountains,” my favorite Fleet Foxes tune taken from their self-titled debut studio album (2008); and the impressive show’s finale, “Helplessness Blues,” the title track from their sophomore studio album (2011).
Christopher Icasiano
In the coming days and weeks, the North American leg of Fleet Foxes’ Shore Tour 2023 will sweep through Pennsylvania, Wisconsin, the Carolinas, Florida, Alabama, Louisiana, Oklahoma, Nebraska, Minnesota, Indiana and Maine. And in case you missed the CSMH show, or you just cannot get enough of Fleet Foxes in a live setting, they will be playing Beak & Skiff Apple Orchards in LaFayette, New York on July 12. The tour finale is slated to occur near Fleet Foxes’ old stomping grounds, at Thing Fest in Port Townsend, Washington, on August 25. To date, the only additional public appearance on the calendar for Fleet Foxes is the Festival Corona Capital in Mexico City on November 17.
Fleet Foxes Setlist: Sun Giant > Wading in Waist‐high Water (with Uwade) > Sunblind > Can I Believe You > Ragged Wood > Your Protector > He Doesn’t Know Why > Featherweight > Third of May/Ōdaigahara > Phoenix (Big Red Machine cover) > Bedouin Dress > White Winter Hymnal > Mearcstapa > Mykonos > Silver Dagger (traditional cover) > Montezuma > Cradling Mother, Cradling Woman > Maestranza > Blue Ridge Mountains > Grown Ocean > Encore: Someone You’d Admire > For a Week or Two (with Uwade) > Going-to-the-Sun Road (with Uwade) > Helplessness Blues
Breakthrough Australian singer and songwriter Peach PRC announced her first U.S. shows in June, following a sold-out Australian tour. The three-date run has her playing on show in Los Angeles at The Roxy and two shows in New York City, the last of which was last night at the Gramercy Theatre.
Peach PRC Live at Gramercy Theater
Peach PRC’s unique blend of dreamy pop and introspective lyrics captivates listeners and transports them to ethereal landscapes. With her mesmerizing voice and poetic songwriting, she creates an intimate connection with her audience. Peach PRC’s music explores themes of love, self-discovery, and the complexities of human emotions. Her artistry transcends boundaries, effortlessly blending genres and pushing creative boundaries. With each release, Peach PRC continues to enchant listeners and establish herself as a rising star in the music world.
Launching her TikTok page in 2019, she organically attracted an audience by posting everything from funny moments to self-care advice and, of course, music. A snippet of her first single “Blondes” played over the background of a video where she discussed the track’s meaning, and it went viral. The full version eventually amassed over 7 million Spotify streams as she maintained this momentum with the follow-up “Colourblind”, racking up another 2.7 million Spotify streams. Along the way, she carefully cultivated an undeniable style with a twist. That twist defines her debut single “Josh,” the ultimate kiss-off to the worst ex ever and has already received over 16 million streams and counting.
“Heavy” is the new single from Peach PRC, turning the tempo way down and instead setting the weight of her brutalizing mental struggles to a delicate, evocative piece of pop balladry.
