Returning to the vibrant heart of New York City, Stephen Sanchez brought his magnetic presence back to the city that never sleeps, echoing his last unforgettable performance at Irving Plaza in February. The anticipation hung in the air as fans, eagerly awaiting this reunion, gathered at Terminal 5.
Sanchez’s return was not just a concert; it was a homecoming, a testament to the enduring connection between the artist and the city that has played witness to his musical evolution. As the first notes reverberated through the venue, it was evident that this wasn’t merely a performance; it was a celebration of the artist’s journey, marked by growth, passion, and a profound connection with the diverse tapestry of New York’s music-loving community.
Stephen Sanchez’s concert at Terminal 5 unfolded as a captivating saga, weaving together the artist’s soulful melodies and a profound connection with his dedicated fanbase. Earlier in the day, Sanchez set the tone with a fan meetup and popup in Brooklyn, creating an intimate space for admirers to engage with the artist whose music had become the soundtrack to their lives.
As the night descended, Terminal 5 pulsed with anticipation. The setlist, featuring gems like “Something About Her” and “I Need You Most of All,” became a tapestry of emotions, each note echoing the artist’s journey. Sanchez’s stage presence was magnetic, drawing the audience into his world, especially the adoring fangirls who swooned with every nuanced movement. The unexpected covers of “Oh, Pretty Woman” and “Unchained Melody” showcased Sanchez’s ability to infuse timeless classics with his unique, soul-stirring style.
The concert reached its zenith during the spirited performance of “Shake,” where the venue echoed with the energy of both the artist and his ardent fans. The soulful ballad “Death of the Troubadour” revealed the depth of Sanchez’s songwriting, creating a poignant contrast in the midst of energetic numbers. The night concluded on an emotional crescendo with “Until I Found You,” leaving an indelible mark on the hearts of those who witnessed Sanchez’s musical brilliance. This wasn’t just a concert; it was an immersive experience, a testament to the profound connection between an artist and the community that cherishes his every note.
Setlist: Something About Her, Evangeline, I Need You Most of All, Only Girl, No One Knows, Doesn’t Do Me Any Good, Be More, [Oh, Pretty Woman (Roy Orbison cover)], High, Shake, Death of the Troubadour, Send My Heart With a Kiss, Howlin’ At Wolves, Unchained Melody (Hy Zaret & Alex North cover), The Pool, Until I Found You
The sounds of Mikaela Davis’ harp once again danced through Armory Square in Syracuse, as Davis and her band, Southern Star returned to Funk ’n Waffles for a performance on Friday, December 8. The band last played Syracuse in May, with a stunning three-show residency. Rochester natives Maybird opened the show.
2023 has been quite kind for Davis, the classically trained harpist from Rochester. Davis and her band released their first full length album as a unit, And Southern Star in June. They have played multiple show residencies in various cities through out New York State, which have often seen the shows sell out well in advance. The band recently wrapped up a west-coast tour which saw them opening for indie favorites, The Mountain Goats. They have come together for one final run through Upstate New York before the year closes.
Friday night opened with a set by Rochester natives Maybird. The psychedelic rockers delighted early arrivers to the club, with a forty minute set filled with spacey guitar riffs. Fans packed their way to the front and were quickly engrossed in the band’s psychedelic sounds.
After a brief stage change over, which saw Davis herself drag and tune her harp at center stage, Southern Star joined and the set was under way. Fans were immediately met with the hypnotic harp intro of “Cinderella”, the opening track on the band’s recent release. Slowly the remainder of the band would add their sounds to the mix. The band would follow with the appropriately named “In My Groove”, which had fans dancing and swaying in front of the stage.
While Mikaela Davis and her harp talents may be the primary draw for listeners, Southern Star proved to be anything but a backing band. Through out the set each band member would lay their musical finger prints on the tracks, transforming them from their studio form to live masterpieces. The band would regularly go on extended musical jam sessions during songs, paying homage to their musical inspirations such as Grateful Dead. Tracks like “Leave It” took on new life when paired with Kurt Johnson’s pedal steel, Cian McCarthy’s saxophone, while Shane McCarthy (bass guitar) and Alex Cote (percussion) kept pace. The song, after an extended jam would then flow seamlessly into the rocking “Promise”. It was just one of many moments during the set that showcased the band’s refreshing musical talents.
After a ninety minute set and a brief encore, the band would return to the stage with opener Maybird for an energetic rendition of “Other Lover”. The song would see band members taking turns on various pieces of percussion, including a colander. It was a fun way to wrap up the evening, but still showcase the many musical talents that graced the stage on this evening.
Gus Dapperton’s performance at Webster Hall on November 30 was a captivating journey through a sonic tapestry, opening with a unique touch of vintage charm.
Gus Dapperton, the moniker of Brendan Rice, emerged as a defining force in indie-pop, forging a musical path that blends nostalgia with contemporary vibes. Hailing from Warwick, NY, Dapperton rose to prominence with his breakout single “Prune, You Talk Funny,” showcasing a distinctive sound marked by dreamy melodies and introspective lyrics. His debut album, Where Polly People Go to Read, exemplifies his genre-defying approach, capturing the essence of his journey as an artist who seamlessly navigates between past influences and modern expression. With each release, Gus Dapperton continues to evolve his musical narrative, creating a unique space in the indie-pop landscape.
As the band entered the stage, the crooning notes of “Fly Me to the Moon” reverberated from an old-timey speaker, setting an enchanting tone. From this moment, the audience was transported into the dreamy world that Dapperton effortlessly creates.
The setlist unfolded like a carefully crafted narrative, seamlessly blending fan favorites and surprises. “Give It To Me Straight” and “Prune, You Talk Funny” showcased Dapperton’s signature blend of indie pop and funk-infused beats, keeping the crowd in a perpetual state of dance. The playful Drake-infused intro to “My Favorite Fish” added an unexpected twist, revealing the artist’s willingness to experiment within his established sound.
Throughout the performance, Dapperton’s stage presence was magnetic, engaging the audience with every beat. The cover of Bruce Springsteen’s “I’m on Fire” demonstrated not only his vocal versatility but also his ability to reinterpret classics. A mysterious interlude came in the form of “Flatline,” injecting an element of suspense that kept the audience hanging onto each note.
The energy reached its zenith during the encore, featuring “Horizons” and a lively rendition of “Twist and Shout.” Dapperton’s ability to connect with the audience and curate a setlist that seamlessly blended genres left concertgoers with a euphoric afterglow. The night stood as a testament to Dapperton’s artistry and showmanship, making it a performance to be remembered.
Setlist: Fly Me to the Moon (In Other Words), Sunset, Palms, Give It To Me Straight, Ditch, [Prune, You Talk Funny], My Favorite Fish (With ‘In My Feelings’ by Drake intro), Medicine, [Gum, Toe and Sole], I’m Just Snacking, I’m on Fire (Bruce Springsteen cover), Flatline (Mystery song), First Aid, Midnight Train, Don’t Trust Me (3OH!3 cover), Fill Me Up Anthem, Wet Cement, Don’t Let Me Down, Post Humorous
Encore: Horizons, Twist and Shout (The Top Notes cover)
Local native Mariel Loveland, better known by her stage moniker Best Ex, performed an intimate show this past Sunday evening (December 10) at Heaven Can Wait in the East Village, a neighborhood with rich musical history. Joined by Matthew Florio, who got his start with Loveland as her touring guitarist in 2017, the duo delivered a ten song, 35-minute set chock-full of indie pop melodies.
Bathed in red strobe lights and accompanied by drum and keyboard backing tracks, Best Ex’s set featured numbers gifted from Loveland’s debut LP (With a Smile, Iodine Recordings) released this past October, to high acclaim. Outliers included the title track from Loveland’s second EP titled Good At Feeling Bad (No Sleep Records, 2020), an anthemic breakup song with a chorus begging to be sung along to, and “Lemons,” a song that finds Loveland drunk in a Penn Station bathroom contemplating life and loneliness at 3:00 am.
Photo Credit: Michael Dinger
Previously fronting Candy Hearts, which she co-founded in 2009 and served as primary songwriter, Loveland shed the pop punk genre and launched Best Ex, an offshoot project influenced by a calling to pop and pulsating club beats. During the last six years of her solo endeavor, Loveland has often taken a sarcastic, introspective look at the world around her, outwardly speaking about the challenges of being a woman in today’s music industry.
Admittedly talking more than she usually does during a live show, it was wonderful to hear what Loveland’s songs mean to her firsthand, and the story behind each one. An already emotional set reached its pinnacle with the evening’s penultimate number “Stay With Me,” which saw Florio exit the stage for a few minutes as Loveland presented an acoustic rendering of said tune about struggling with anxiety and the fear of it being a burden on the one you love.
Photo Credit: Michael Dinger
The next holiday show for Best Ex is a gig at Alchemy in Providence, Rhode Island on December 16. If you are a fan of cynical breakup jams cloaked with fuzzy synths and dreamy guitar riffs – aren’t we all? – be sure to keep Best Ex on your radar for upcoming show announcements in 2024.
Best Ex – Heaven Can Wait, East Village, NYC – December 10, 2023
Setlist: With a Smile > Good At Feeling Bad > Tell Your Friends > Lemons > Give Me a Break > Salt On Skin > Die For You > I Promise to Ruin Your Life > Stay With Me > The End
The Allman Brothers Band has announced the release of Manley Field House, Syracuse University, April 7, 1972, an iconic and widely circulated fan-favorite radio broadcast bootleg, available on CD and digital on January 12, 2024.
Throughout the Allman Brothers Band’s 35-year existence, each live performance holds relevance, lighting up any stage. On April 7, 1972, the band was invited to perform at Manley Field House on the campus of Syracuse University. Coming shortly after the sudden passing of band leader Duane Allman in October 1971, this show captured a rare, brief, and emotionally charged “Five-Man Band” period when the lineup was composed of only five original members—Gregg Allman on vocals and keyboard, Dickey Betts on guitar, Berry Oakley on bass, and drummers Butch Trucks and Jaimoe.
The band’s performance at Manley Field House, the school’s indoor track and field facility, was recorded and simulcast on Syracuse University’s WAER college radio on the night of the show, and rebroadcasted by the station and some of its former staff members. The recording was made with the band’s cooperation and authorization using an auxiliary mixing board on the side of the stage with a feed from the Allman Brothers sound desk.
Jeff Chard, SU concert coordinator in 1971-72, spoke fondly on that night and offered his sentiments in the album package’s liner notes. “This was the Five Man Band, as Brother Duane had passed just over five months prior. The quintet had pushed on, playing some 41 shows in 22 weeks. This night saw Gregg singing and playing his heart out, while Dickey Betts is doing phenomenal double duty on guitar, switching seamlessly between the necessary slide parts and his own soaring leads. But the real revelation of the night is that Berry is the glue, and the second lead player as well. His thunderous bass holds the quintet together – you’ll hear it, and we could see it that night. Then there is the way Butch Trucks and Jaimoe lock in on the drums, the way the whole unit responds, five playing as one.”
The 11-track collection features set staples including show opener “Statesboro Blues,” “In Memory of Elizabeth Reed,” “Midnight Rider,” and “Whipping Post,” as well as “Ain’t Wastin’ Time No More” off their then newly released album Eat a Peach. “Syracuse Jam,” included here for the first time, is an example of the one-time melody jamming the band was famous for and is unique in that it does not appear in any other known recording.
It was a memorable but brief time for the band. Six months later, keyboardist Chuck Leavell was added to the group, making the ABB six players strong again, only to lose Berry in another motorcycle accident on November 11, 1972. Shortly thereafter, Lamar Williams took over bass duties, and the Allman Brothers Band started a new musical chapter. But for that one year, with the five original men still standing – and especially on that magical April night in Syracuse – we surely felt the spirit. Best damn band we’re ever gonna hear indeed! We were all believers, and this CD is a testament to those words.
Jeff Chard
In a live review of the show in the University’s student newspaper the Daily Orange, writer Bruce Apar noted: “The Allman Band itself was thoroughly remarkable, leaving proof in still another city that they have developed into a supreme group, by which lesser talents can be judged.”
Lespecial’s Odd Times Tour stopped in to play Buffalo Iron Works Dec 06, 2023 to an eager and packed house. Opening for Lespecial this night and next on tour is Grub. Grub, a Niagara Falls based band are well known to the Western New York music scene and beyond for their high energy flowing Psych Rock jams.
Grub took to the stage and wasted no time jumping right into their set. The spacy, angelic, bass thumping, drum driving songs filled the room to a very engaged crowd all night from the very first song on. There is no surprise why this band has a continually growing fan base.
The trio is made up of Zack Tilton – Guitar/Vocals/Synth/Samples, Nick Woodcock – Bass/Vocals/Synth, and Ryan Henderson – Drums/Samples.
Lespecial are no strangers bringing the house down with their building shaking, body pounding and air ripping sound. And that’s exactly what they did all night. Right from the start they came out hard and fast. The crowd took notice and kept right up with them dancing and cheering. Some almost seemingly ready to mosh with the energy so high.
This prog-tronic Power Trio is made up of Luke Bemand – Bass/Synth/Percussion/Vocals. Jonathan Grusauskas – Guitar/Synth/Sampler/Percussion/Vocals. Rory Dolan – Drums/Sampler/Percussion/Vocals
Setlist: Lungs of the Planet, Snells Fleet, Jackwise, Fear the Djinn, Repeater, Machine Elf, Homieverse, Whats Crappenin’, DGH II (FT Noah Fense), What’s the Use (FT Noah Fense), Fruit Wolf Dance, I Might Be Wrong, Rays, Onlookers, Chird, Chromakey, The Vessel, They Live Encore: Tonberry
The 65th Street Session project took place at the newly renovated David Geffen Hall at Lincoln Center in New York City (on 65th Street), the home of The New York Philharmonic, on November 28.
Launched back in October, the first four shows are curated by Mandolin virtuoso, composer, singer, and winner of Grammy Awards Chris Thile. The series is a true collaboration with the space that lends itself to epic acoustics, striking new decor, flawless lighting, and a true 360 view for the audience assembled all around the stage.
For the show, Thile assembled a pretty eclectic group of musicians that you might never get to see share the stage. Grammy-nominated guitarist Cory Wong (Vulfpeck, The Fearless Flyers), Louis Cato (bandleader of The Late Show Band), Grammy-winning singer-songwriter and bassist Meshell Ndegeocello.
The show started with Thile, solo with his mandolin, his true comfort zone, as one by one the other artists came out and weaved in and out of each other’s songs. Mid-set allowed for Cory Wong to bring out his full touring band for four songs, and the show ended with a collaboration of all the artists sharing the stage. A truly magical night for any music lover, with something for everyone.
The 65th Street Session – David Geffen Hall at Lincoln Center – November 28, 2023
Setlist: Singularity, Dionysus, Keep On Pushing, Back & Forth, Bubbles, Airplane, Separado, Acceptance, Real Job, Reflections, Pop Life, Modern Time, Bluebird, 1/4 Chicken Dark, Virgo, Against Mastery, Little Lights
Karina Rykman made her debut appearance in Saratoga Springs with a show at Putnam Place on Thursday, November 30. With a strong crowd in attendance – and some fans making the trek up to Burlington on December 1 and 2 – Rykman’s first show in the Spa City will certainly not be her last.
Opening the night was Coyote Island, a reggae/pop group from Maine, on tour with Rykman this fall.
Throughout her single set, Karina would play a variety of songs from her debut album, Joyride, released this past August. Beginning the show with some of the most familiar tracks on the album, from “Beacon” through “Plants,” each was played with slow building energy and focus from the band, loosening up as the set progressed.
“City Kids” would mark a frenzied shift of the set’s vivacity, with Rykman running around in circles, pumping the already engaged crowd up even more. Guitarist Adam November dropped rapid fire guitar, the kind you’d hear in “The Great Curve,” with just the proper amount of distortion incorporated – never too heavy and present in the right spots. Rykman dropped a few bars of “The National Anthem” by Radiohead, per usual turning ears to the stage when this ear worm of a bass line makes its appearance.
“Run of the Mill” brought with it venue-shaking bass bombs, and slowly seeped into Butthole Surfers’ “Pepper,” which had more energy than the 1996 song. Rykman and drummer Chris Corsico put a grungy feel to the debut of “Canary in a Colemine,” a tinge of Mary J. Blige’s “Family Affair” slipping in amid the final songs of the set.
For an encore, Rykman chose to debut “Song 2” from Blur, a great addition to their setlist arsenal, and a performance that assures her return to the Capital Region in the future.
Setlist: Beacon, Skylark/Slowlark, Joyride > All That You Wanted > Plants > Arbitrary > Dirty South, City Kids, Run of the Mill > Pepper, Reboot, No Occasion > Canary in a Colemine > The Hardest Button to Button, Atom Dance, Elevator Encore: Song 2
Up next for Rykman is a performance at Warren Haynes’ XMas Jam in Asheville, NC on Saturday, December 9, then at Mohegan Sun on December 30. Check out her full tour dates here.
On a day where shoppers flocked to stores and malls in search of holiday deals, music fans made their way to the Middle Ages Beer Hall to see Mike Powell and the Echosound. The Echosound, a jam-rock band from Syracuse is the latest musical incarnation of singer-songwriter Mike Powell.
Opener Neil Minet got things rolling on Friday evening, with a blistering sixty minute set. Minet and his band have been turning heads over the last year in Syracuse, has included a notable performance at the 2023 NYS Blues Fest. The Neil Minet Band blends blues, funk and R&B sounds, resulting in a set that had the entire room swaying and dancing.
As Mike Powell and his bandmates took to the stage, Powell stepped towards the mic and offered a smile and the following words; “Let’s have some fun.” With that, the house lights dimmed and the band was underway. Opening with a cryptic musical jam, guitarist John Hanus was given the opportunity to step in to the spotlight early, and he did not disappoint. Hanus would deliver a guitar solo that was both beautiful and powerful, while backed by the strong musicianship of the remaining members of the Echosound. As the solo ended, Mike Powell quickly launched in to the raucous and upbeat “Submarine Gin.” The set was fully underway and the packed beer hall crowd pushed their way closer to the stage.
It was evident early and often that Mike Powell and the Echosound carried with them a loyal and devoted following, as fans danced, swayed, and sang back Powell’s catchy choruses, with the concert hall filled elbow to elbow with fans. While the band performed many of the dynamic tracks off their recent release Plastic Spoon Honeymoon, they dipped their toes into Mike Powell’s diverse solo catalog as well.
Songs like “Josephine” took on dramatic new life when paired with the talents of the Echosound. The song, which would stretch over nine minutes long, would build to yet another epic solo by Hanus, while bandmates Zak Masoud (bass guitar), Adam Manion (percussion) and Jeff Alderman (keyboards) kept pace, each taking their turn to shine. The song would eventually break down into a brief cover of “Come Together”, fusing both songs into one seamless piece. It was perhaps the standout moment on an evening filled with highlights, and one that will be sure to keep music fans coming back to see the band.
A music and emotion-filled weekend at The Capitol Theatre wrapped up on Sunday, November 26, as Twiddle, a band whose near two-decade tenure as a dominant Northeast jam band, came to a close. Using the annual ‘Frendsgiving‘ celebration to begin their indefinite hiatus, the group’s dedicated final performances (for now) matched the love and affection Twiddle fans poured out over three days and nights in Port Chester.
Frendsgiving has been a Twiddle tradition since at least 2017, a celebration around Thanksgiving that brings the Twiddle faithful together for a two or three night run at The Capitol Theatre. The fans who have made Twiddle a brand that goes well beyond the band are the core of this community, taking the music and lyrics, embracing them and incorporating them into their lives, as well as their artwork and inspired creations.
Celebrated Frend Art events have brought fans together in great numbers, showing the inspiration the band imparts on their fans. On Saturday, November 25 and Sunday, November 26, Coda Davidson once again brought Frend Art together for two shows, full of live music, workshops, live painting, and a chance to meet the artists and creators of these galvanized creators, for the first, or potentially, last time. Events like these are the reason Twiddle was head and shoulders above many of their brethren in the jam scene, creating a scene that was truly organic, mirroring the jams the band bring to the stage each night.
That was something that always stuck out about Twiddle – the band offered a fresh perspective of an organic fanbase and movement, one that was seen over the decades, bringing along comparisons to Phish, given their Vermont roots and tendency to jam off of oddly named songs. But Twiddle was not Phish, nor the ‘next Phish’; if anything, Twiddle was indicative of a generational swing for (primarily) millennials who sought to carve their own niche in the jam scene, being far more than a photostat of the ‘other’ four guys from Vermont. The comparisons between the two bands began and ended with ‘’well, they’re from Vermont and there are four guys in the band” simply because there was no reason for a ‘next Phish,’ which holds true even today with other bands from the Northeast.
One aspect of Twiddle’s legacy that may be overlooked is how effectively the band made sure to uplift bands in the jam scene that were just starting out, giving these artists with small followings a big stage by opening up for Twiddle at various points in the first half of the 2010s. Former Twiddle manager Kevin Rondeau was instrumental in this, seeing the promise of bands like Mister F, Wild Adriatic, and Strange Machines, offering them opening slots or late night at festivals across the Northeast. There were countless bands you could see at Frendly Gathering or Tumbledown who you might be able to see at some point at a club, but this elevation to festival billing or direct support at a show was a game changer for those bands lucky enough to have the opportunity, particularly for those who knew how to use this boost to their long term advantage.
So as Twiddle entered this final stretch of shows, I found myself nostalgic, wondering how many Twiddle shows I had seen since The Big Up 2010 – I ballparked the number to be around 30 but it could be higher still – and what the legacy of the band will be following this final run at The Cap. I recalled attending the band’s first Capitol Theatre show, seeing the joy from Rondeau and keyboardist Ryan Dempsey when they learned the show was officially sold out, a mere three hours before doors. The fans were alive with energy the entire night, knowing they were witness to the start of the band’s next step.
That energy was still seen outside the Capitol Theatre for Frendsgiving, with Twiddle fans lined up for early entry, aiming to ride the rail one final time, or displaying pin boards and their wares for advance arrivals who sought out the abundance of Hispanic food found throughout Port Chester (don’t sleep on El Rinconcito Salvadoreno, right behind the Capitol Theatre). Fans likewise lined up all through the venue to pick up the final run of merchandise, including three incredible prints from Vinny Naro, and even had a wide selection of prints and merch from the Twiddle archives for sale in Garcia’s.
And then there was the music.
The Kitchen Dwellers provided a great opening set, and sit-ins, on Friday, November 24 and Saturday, November 25, a connection going back over a decade that has seen Kitchen Dwellers making it to the east coast usually twice a year and finding a healthy audience wherever they play.
Friday night of Twiddle began with instrumental “Stroganoff” and “Syncopated Healing,” the latter echoing the phrase/advice “Heal your life,” something not lost on the faithful in attendance and streaming at home on Fans.Live, following with a big jam out of “Daydream Farmer” and inviting up Torrin from Kitchen Dwellers for “Cabbage Face.”
Set two’s “Brick of Barley” welcomed a familiar face in Scott Hannay, AKA ‘stage daddy’. Hannay’s musical journey has included stints with Capital Zen and later with Mister F, as well as his own 8-bit musical creations, and currently serves as keyboardist for Mihali’s band, which has a rosy future paved out for it. “Brick of Barley” also gave drummer Adrian Tramontano a worthy drums segment that made this one of the jams of the weekend. “River Drift” had Mihali coming out to the front of the stage, pouring emotion out of his DGN guitar as he fell to his knees during the peak, fans raising their hands up with requited love. A tease of “Hedwig’s Theme” from Harry Potter was found in “Amydst the Myst,” and sunflowers found space on the walls of The Cap during “Hattis Jam” > “When it Rains it Poors,” the latter an anthem for Twiddle if there ever was one.
The encore on Friday would have Twiddle bring up Kitchen Dwellers quickly, none leaving the stage, as they tuned up all nine musicians for “Glycerine Medley,” which had bits of “No Woman No Cry,” “Wagon Wheel” and “Farmhouse,” framing the first night perfectly with post-show music “You’ve Got a Friend in Me.”
Saturday night’s sets would feature songs that encapsulated Twiddle’s storytelling chops, including fan favorites in the first set, “Nicodemus Portulay,” “Fantastic Tale of Ricky Snickle,” “Mamunes the Faun,” “Beethoven & Greene.” Set two saw a cover of ALO’s “BBQ” inside of “White Light” (which gave its name to the band’s official charity) and the Beatles “Rocky Raccoon” with Torrin and Swain from Kitchen Dwellers joining in. Torrin would stick around for “Subconscious Prelude” and the entire band joining Twiddle for a raucous cover of “Burning Down the House” in the encore slot. Ryan Dempsey took the opportunity to crowd surf, with success, during the encore as Hannay took over on key, the stage lit up with smiles and excitement from the bands in this, their final live collaboration.
photo by Phil Hernandez
Sunday night featured three sets, each one piling on the classic Twiddle songs fans clamored to hear, as well as some rarities in the mix. The first set featured two of those bust-outs, “Bronze Fingers” and “Five,” with a set ending “Earth Mama.” Over the next two sets, the biggest jam vehicles took the crowd for a spin one last time – “Latin Tang” had a jam on Vulfpeck’s “Dean Town,” with Mihali ascending to the Stage Left box seats for an incredible solo; “Apples” made way for “Doinkenbonk,” one of the silliest song titles in the Twiddle catalog, but with a groove and jam that make up for it, and Primus’ “Too Many Puppies” sung perfectly by Zdenek Gubb, slapping the bass with precision to close the middle set.
Set 3 began with “Orlando’s,” a song that has given birth to a music venue of the same name in Burlington. “Jamflowman,” a song that became one of the most identifiable Twiddle songs, thanks to the line “Jamflowman don’t give a damn” found “Frankenfoote” to follow, Frankies projected all across the walls of the Capitol Theatre. “Gatsby the Great” was yet another song that lent itself to becoming Twiddle parlance and art (“Luva Duck“) and closed with an always mesmerizing “The Box.”
Before returning for an encore, Capitol Theatre owner and promoter Peter Shapiro came out to thank the fans, give Twiddle due credit for their longevity, and surprised the band with medals for each of them. After hugs and smiles, the band returned to a song played on Friday night, “When It Rains It Poors,” Mihali calling an audible and returning to their most streamed song, and with appropriate lyrics as they hit pause after 20 years:
Now listen to the words I’m Saying in this line that your life will be just fine and Troubles do not stay they Get replaced with good times Now you got a great life Smile as you walk by Thinking about the Day
Fare thee well Twiddle, we’ll meet again someday.
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Friday, November 24, 2023
Set 1: Stroganoff, Syncopated Healing, Daydream Farmer, Cabbage Face (1), The Mission, Brown Chicken Brown Cow# Set 2: Collective Pulse, Brick of Barley (2), The Devil, River Drift, Amydst The Myst$, Mushrooms of the Sea> Dr Remidis Melodium, Hattis Jam > When It Rains It Poors Encore: Glycerine Medley (3) (1) – w/ Torrin Daniels (Kitchen Dwellers) (2) – w/ Scott Hannay (3) – w/ Kitchen Dwellers (no stage break before encore) $ – contained Hedwigs Theme
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Saturday, November 25, 2023
Set 1: Nicodemus Portulay> Indigo Trigger, Fantastic Tale of Ricky Snickle, Every Soul> Mamunes the Faun> Every Soul, Beethoven & Greene Set 2: White Light> BBQ [1] > White Light, Rocky Raccoon [2], Subconscious Prelude [3], Polluted Beauty [4], Lost in the Cold [4], Slippin in the Kitchen Encore: Burning Down The House [5] [1] – ALO [2] – The Beatles w/Torrin & Swain [3] – w/Torrin Daniels [4] – Mike on Saxophone [5] – Talking Heads superjam w/Torrin, Swain, Joe Funk, Scott Hannay & Mike on Sax
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Sunday, November 26, 2023
Set 1: Be There, Moments, Bronze Fingers, Fighting For, Hattibagen McRat, Five, Earth Mama Set 2: Frends Theme, Latin Tang#, Apples > Doinkenbonk > Too Many Puppies* Set 3: Orlando’s, Jamflowman> Frankenfoote > Gatsby the Great, The Box Encore: When It Rains It Pours > Over the Rainbow > When It Rains It Pours > Every Last Leaf II
# with Scott Hannay * “I Will Always Love You” tease
