Jam band supergroup LaMP performed their late night Phish afterparty at The Cutting Room on Wednesday, August 2nd. LaMP consists of Scott Metzger joined by Russ Lawton & Ray Paczkowski of Trey Anastasio Band.
The room was packed and attendees were ready to boogie following Phish. The band played a very tight, rocking, funky set. The whole show was rather funky and Scott’s guitar playing as the only axe man in the band reminded me more of Trey Anastasio’s playing more than Scott’s guitar parts in Joe Russo’s Almost Dead. There were incredible peaks and moments of dissonance, but mostly very tight and danceable funkiness.
Truly a supergroup with three incredible musicians. With these three in the room, you’re bound to dance!
Darien Lake Amphitheater witnessed an electrifying spectacle Friday night as Fall Out Boy took the stage and delivered a concert experience that left the sold-out audience in awe. Joined by the dynamic rockers Bring Me The Horizon, as well as the talented acts Royal & The Serpent and Games We Play, this event was nothing short of an adrenaline-fueled rollercoaster of emotions and musical excellence.
As the sun began setting on the picturesque outdoor venue, Games We Play kicked off the night with an impressive set, warming up the crowd and setting the tone for what was to come. Their energy and catchy tunes got concert-goers moving and set the stage for an evening of non-stop entertainment. While only having a few songs to perform, Games We Play did a crowd-engaging cover of “Mr. Brightside” which got the spark going.
Next up, Royal & The Serpent took the stage and proved why they are a band to watch. With an eclectic mix of indie-pop and alternative sounds, the group the audience with their raw, emotional performance. Lead vocalist Ryan Santiago’s vocals soared through the amphitheater, leaving a lasting impression on the fans.
Bring Me The Horizon, the British rock sensation, took the Darien Lake Amphitheater by storm, cementing its status as one of the most captivating and innovative acts in the contemporary rock scene. From the moment they stepped on stage, it was evident that they were on a mission to leave an indelible mark on their audience. Led by the enigmatic frontman Oliver Sykes, Bring Me The Horizon’s performance was a masterclass in showmanship and musical prowess. Sykes’ raw and emotionally charged vocals pierced through the air, commanding the attention of every person in the amphitheater. His dynamic stage presence drew the audience into an intense and immersive experience, transforming the concert into an intimate connection between the band and their fans.
The band’s ability to seamlessly blend different genres was on full display, as they effortlessly transitioned between heavy metalcore anthems and more melodic, atmospheric moments. Tracks like “Shadow Moses” and “Can You Feel My Heart” showcased their heavier side, igniting mosh pits and fervent headbanging, while songs like “Drown” and “LosT” showcased their ability to craft emotionally resonant and introspective pieces.
Perhaps one of the most remarkable aspects of Bring Me The Horizon’s set was their unwavering authenticity and vulnerability on stage. As they performed intensely, it was clear that the band was baring their souls to their fans. This authenticity fostered a sense of unity between the audience and the musicians, making the concert feel like a cathartic and shared journey.
In addition to their emotive performances, Bring Me The Horizon also used their platform to address important social and environmental issues. Between songs, Sykes took a moment to speak passionately about mental health awareness, urging the audience to support each other and seek help when needed. The band’s commitment to using their music and influence for positive change resonated deeply with the audience, further solidifying their place as more than just a rock band.
As Bring Me The Horizon concluded their set, the anticipation for Fall Out Boy reached a fever pitch. The pop-punk veterans did not disappoint, rotating through a diverse selection of songs with each set. Fans were elated to hear the rarely played “The Takes Over the Breaks Over,” a classic from their 2008 record Infinity On High. But the surprises didn’t end there. During the medley, lead vocalist Patrick Stump treated the audience to an acoustic, shortened version of “Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows)” from their iconic 2006 album From Under The Cork Tree. The crowd went wild, relishing in the nostalgic moment.
Fall Out Boy’s impeccable musicianship and stage presence were on full display, proving why they have remained a staple in the alternative rock scene for years. Patrick Stump’s soulful vocals, Pete Wentz’s electrifying basslines, Joe Trohman’s killer guitar riffs, and Andy Hurley’s powerhouse drumming came together in perfect harmony, elevating the concert to a whole new level.
Fall Out Boy’s signature “Magic 8 Ball” portion of the evening had become a fan-favorite since the tour began, with the band usually performing one obscure song from their repertoire. This night, they went above and beyond, playing two hidden gems. The first was the live debut of “You’re Crashing but You’re No Wave,” a long-awaited treat for die-hard fans. The second was “27,” a beloved fan-favorite from their 2013 post-hiatus record Folie à Deux.
The camaraderie between the band members was palpable, with moments of lighthearted banter and genuine appreciation for their devoted fans. It was evident that Fall Out Boy was not just performing; they were sharing an experience with their audience, creating an emotional connection that extended beyond the music.
This show at Darien Lake Amphitheater was an unforgettable night of musical marvels. With their energetic performances and raw emotion, both Fall Out Boy and Bring Me The Horizon demonstrated why they are two of the most celebrated acts in the rock scene. The show’s sold-out status was a testament to the unwavering passion of their fans, who were treated to a night of timeless classics and unforgettable rarities. This concert will undoubtedly be remembered by all who attended as one epic night.
Fall Out Boy Setlist: Love From the Other Side, The Phoenix, Sugar, We’re Goin Down, Uma Thurman, A Little Less Sixteen Candles, a Little More “Touch Me,” Chicago Is So Two Years Ago, Grand Theft Autumn/Where Is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s an Arms Race, Disloyal Order of Water Buffaloes,Heaven, Iowa, The Take Over, the Breaks Over, Headfirst Slide Into Cooperstown on a Bad Bet, Fake Out, Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows), Golden (Partial; Piano Medley), Don’t Stop Believin'(Journey cover) (Piano Medley), Save Rock and Roll, Baby Annihilation, Enter Sandman(Metallica cover) (Partial), Dance, Dance, Hold Me Like a Grudge, You’re Crashing, but You’re No Wave, 27, My Songs Know What You Did in the Dark (Light Em Up), Thnks fr th Mmrs, Centuries, Saturday
Bring Me The Horizon Setlist: AmEN!, Teardrops, Happy Song, DiE4u, MANTRA, Shadow Moses, sTraNgeRs, Drown, LosT, Can You Feel My Heart, Throne
The first time I saw P!NK in concert was at Madison Square Garden in the mid-2000’s, back then she stunned me with her performance, showmanship, talent, and the overall concert experience was like no other, not to mention the aerial acrobatics I’d never seen anyone do on her level.
When asked at the time what was the best female performer I’d seen or best show I’d seen at the Garden, the answer would always be Pink. Her connection to the audience and everything she puts into her show made her just stand out.
Last night I was lucky enough to see her again at Citi Field in Queens along with 40,000 other fans. She’s currently on her “Summer Carnival” tour, and what a Carnival it was. From the stage design, the outfits, the atmosphere, the crowd of all ages, most dressed in pink, it was a sight to be seen. With support from Grouplove, followed by a full band set by Brandi Carlile who always raises the bar.
From the moment Pink burst onto the stage, she commanded the audience’s attention with her unparalleled stage presence and unwavering energy. Clad in her signature acrobatic attire, she immediately launched into her first hit, “Get the Party Started,” setting the tone for the exhilarating journey that was about to unfold. Proving time and again she is still a powerhouse of a singer and a performer who can take on the best and stands side by side with other giants on tour now like Taylor Swift and Beyonce.
The Summer Carnival Tour was a perfect blend of Pink’s iconic hits and tracks from her latest album, showcasing her musical evolution over the years. From emotional ballads like “What About Us” to powerful anthems like “Try” and “So What,” Pink effortlessly navigated through a spectrum of emotions, proving why she remains one of the most versatile and celebrated artists of her generation.
Setlist: Get the Party Started, Raise Your Glass, Who Knew, Just Like a Pill, Try, What About Us, Heartbeat, Turbulence, Don’t Let Me Get Me, Make You Feel My Love (Bob Dylan cover), Nothing Compares 2 U w/ Brandi Carlile (Prince cover), Just Give Me a Reason, F**kin’ Perfect, Just Like Fire, Please Don’t Leave Me, Kids in Love, When I Get There, I Am Here, Irrelevant, Smoke, No Ordinary Love (Sade cover), Are You Gonna Fall?, TRUSTFALL, Blow Me (One Last Kiss), Never Gonna Not Dance Again, Last Call, So What
This past Tuesday, August 1st, The Backseat Lovers stopped in New Jersey to play at the Stone Pony Summer Stage. The picturesque outdoor venue, located right across the Asbury Park boardwalk, created the perfect setting for the Utah-born band to jam at their second-to-last show. The night was truly memorable, and an experience that everyone should have at least once in their lifetime.
Joshua Harmon from The Backseat Lovers, photographed by Sarah Hyun
Opening the night up was Bendigo Fletcher, an indie-folk band from Kentucky. Headed by lead singer Ryan Anderson, the band did not fail to build up the energy in the crowd of three-thousand. Anderson’s mix of screamy belts, harmonica playing, and guitar strumming set off rounds of applause and approving howls from the audience members. Towards the end of the opening set, Anderson brought out members of The Backseat Lovers to play a cover of “Certainty” by Big Thief.
Bendigo Fletcher, photographed by Sarah Hyun
The Backseat Lovers formed in 2018 in Provo, Utah, first with lead singer Joshua Harmon, guitarist Jonas Swanson, drummer Juice Welch, and later with bassist KJ Ward. The indie-rock / alternative band gained widespread recognition when their songs “Kilby Girl” and “Pool House” from their When We Were Friends album exploded on social media. They are now wrapping up their Waiting to Spill tour, which is celebrating the release of their latest album of the same name.
The buzz of excitement before the main act could be felt as people shifted on their toes in anticipation for “The Backseat Bozos” (as lead singer Joshua Harmon called it) to make their entrance. The pre-show playlist consisted of iconic jazz songs and Queen’s “Bohemian Rhapsody,” which the entire crowd sang along to. Most came dressed in casual beach day clothes—shorts, tank tops, The Backseat Lovers merchandise, Converse.
The crowd at The Stone Pony Summer Stage, photographed by Sarah Hyun
The Backseat Lovers opened the night with a lengthy instrumental accompanied by an intense buildup, and followed with their iconic song “Pool House.” Joshua Harmon scaled the stage with breathtaking agility, nimbly moving his fingers across his telecaster’s neck and shaking his luscious hair to the beat. No one can deny that Harmon can sing. His vocals were identical to the studio recordings, if not better. The true passion he put into every song, inclusive of the growls, screams, extended belts, and even opera-like yodels, only highlighted how truly talented he is. The rest of the band did not fail to deliver—KJ with his impressive basslines, Juice with his body-rumbling drumming, and Jonas with his iconic guitar solos.
During the beginning of the set, Harmon said, “The air is just lovely here. Did any of you guys get to go swimming today? I went swimming today, it was really great actually.” A few screams and howls from the crowd. Towards the end, he stated, “In light of the full moon, my dear friend KJ would like to do a howl.” KJ followed with, “On the count of three, can you guys join me in a big old howl?,” and everyone participated. Every person there was having a great time, jumping and spinning and dancing, all whilst shouting lyrics like, “I miss the days when girls were scary, scarier than spiders.”
At the end of the show, Harmon threw his guitar dangerously high up into the air and caught it, triggering a roar of screams from the crowd. The encore was extremely high-energy, and after the show ended, the goodbyes were bittersweet. The Backseat Lovers previously played two nights at the Hammerstein Ballroom in New York City in June, and are sure to come back when they next tour.
We are now atthe end of Phish’s seven-night run at Madison Square Garden, and the band has continued their hot streak, finding new room for jamming in old standards, and then some.
Opening up the Friday, August 4th show with “Buried Alive,” “The Moma Dance” and “46 Days,” Phish was driving out of the gate, energetic and not missing a beat over this 25-minute opening segment. The only lull of the set came in the form of the debut of “Back in the Bubble” and “Bouncing Around the Room,” both of which were, in hindsight, well placed, as the remainder of the set had little room to breathe. “Birds of a Feather,” welcome as always in the first set, which led to a substantial “Halley’s Comet” that followed, with Trey Anastasio changing the lyrics to “I’m going down to the central part of New York City,” his second nod to the Big Apple in the last two shows. On par with the ever so smooth segue found late in the first set on Wednesday, Phish segued fluidly into an ethereal “Roggae,” before sticking the landing of the set with “Run Like an Antelope.”
If there was a theme of playing better than the previous night, the second set maintains that theory, with an immense “Mike’s Song” with a jam that had people wondering, “Is this still Mike’s?,” all while getting deep into the more than 23 -minute jam, which stands to be the second longest version of the song ever. Shrugging off a potential turn towards “Tweezer,” the band eventually shifted into “Sand,” getting even deeper with Trey finding a familiar riff that segued sveltely into the Talking Heads “Crosseyed and Painless.” The lone breather of the set, “A Life Beyond a Dream” gave way to “The Lizards,” well-placed deep in the second set. “While My Guitar Gently Weeps” closed the set, only the third appearance of the Beatles song in the last 10 years.
During the breather before the encore, the crowd knew what to expect and the band delivered – an encore of “Weekapaug Groove” had the fans as hyped as at any point this run. And when the band could have called it a night, the opening notes to “Fluffhead” kept the crowd cheering on, shouting “Fluff came to New York” along with the perma-grinned Anastasio, an exclamation point on the penultimate show of a legendary run at The Garden for Phish.
Phish – Madison Square Garden, Friday, August 4, 2023
Set 1: Buried Alive, The Moma Dance, 46 Days > Back in the Bubble[1], Bouncing Around the Room, Birds of a Feather, Halley’s Comet[2] -> Roggae, Run Like an Antelope
Set 2: Mike’s Song > Sand -> Crosseyed and Painless > A Life Beyond The Dream, The Lizards, While My Guitar Gently Weeps
Encore: Weekapaug Groove > Fluffhead
[1] Phish debut. [2] Lyrics changed to “central part of New York City.”
With one last night to play with, Phish left very little to chance and delivered a powerhouse Saturday performance featuring a completely unexpected bust out to go out on the highest of notes. After a fan’s wedding proposal and successful engagement on the floor prior to the show, the band seemingly picked up on this and fittingly opened with “Loving Cup.” A shift into “Maze” immediately afterwards produced another spine-tingling crowd roar early on that signaled MSG’s collective readiness. A mid-set “Divided Sky” felt perfectly placed and the “Prince Caspian” that came next followed in the footsteps of other recent ones and went especially deep. “Drift While You’re Sleeping” then wrapped things up in its now familiar set closing spot.
With one last set to go, and still no “Tweezer” in sight, it was almost a matter of when, not if, Phish was going unleash its second set staple. Fans wouldn’t have to wait long once the set opening “Set Your Soul Free” finished with Trey Anastasio quickly jumping into the signature opening licks of the song everyone was expecting. This “Tweezer” was no certainly no slouch and served as the springboard for Phish to usher in the return of “Guy Forget,” the first time played since 2011, over 400 shows ago. It certainly came out of left field, but Phish stuck with it, making it well more than a tease and turning it into a full on jam, with “Tweezer” quotes continuing to weave in and out effortlessly. As the jam wound down into near ambience, “What’s The Use?” followed, showing just how quiet MSG can get as well when needed. A full scale “Scents and Subtle Sounds” brought things back to life and with it, another discernable “Tweezer” jam that paved the way for “Everything’s Right,” an accurate statement about the evening, and the entire run, as a whole. A brief little “Manteca” quote even managed to sneak in here. After a completely raucous “Tweezer Reprise” that closed out the set, Phish delivered one last classic with a mesmerizing and patient take on “Harry Hood,” closing out the run in style and setting the stage for what promises to be two incredible shows at SPAC in a few weeks.
Phish – Madison Square Garden, Saturday, August 5, 2023
Set 1: Loving Cup > Maze, Martian Monster > Divided Sky > Prince Caspian->NICU>Steam, Drift While You’re Sleeping
Set 2: Set Your Soul Free, Tweezer->Guy Forget>What’s The Use?>Scents and Subtle Sounds->Tweezer->Everything’s Right>Backwards Down The Number Line>Tweezer Reprise
On Sunday, July 30 at The Brooklyn Boardwalk, The Day Party and Empire Club NYC presented some of the most iconic names in hip-hop and R&B, with the lineup including Ashanti, Jadakiss and the Lox, and Tina (Hoodcelebrityy). Music was provided by Funk Flex and Nick Scalici, along with special guests. The event featured an afternoon and evening filled with pop-ups, food vendors, and other installations.
All originating from New York, Ashanti originally from Glen Cove and Jadakiss and The Lox representing Yonkers, all played in their home state and city within Coney Island at the Brooklyn Boardwalk.
Concertgoers enjoyed the music from five different DJs, few local artists, Tina (Hoodcelebrityy), Jadakiss and The Lox followed by the grand finale, Ashanti. Tina (Hoodcelebrityy) is a Jamaican born dancehall singer and songwriter, who moved the Bronx at a young age.
The Lox, including Jadakiss, Sheek Louch and Styles P is an hip hop group formed in 1994 in Yonkers, NY. They were under a few labels until finally they launched their own label, D-Block.
Ashanti is an well-known R&B American singer, songwriter and actress who grew up in New York and was signed to a label in 2002
With lots of Empire Club vendors, everyone enjoyed themselves as Funk Flex DJ’d and had everyone dancing. Nems, a New York based rapper, opened the evening with a few of his songs, which was then followed by a long DJ set of dance music and partying. Hookahs and joints filled the air with smoke and laughter, as everyone was grooving and dancing to the beat.
As the sun slowly went down, the the main three acts followed as the crowd continued to keep the energy and applause.
The Day Party and Empire Club NYC hosted some of New York’s biggest artists and performers at The Brooklyn Boardwalk. The stacked lineup brought people from all boroughs filled with pride and joy for some of the biggest names in R&B and Hip Hop.
On July 30, Darien Lake Amphitheater played host to a festival of Americana, when Willie Nelson and Friends rolled into the venue as part of the Outlaw Music Festival. Joining him was his son, a.k.a. The Particle Kid, as well as Kathleen Edwards, Gov’t Mule, and Nathanial Rateliff & The Night Sweats.
A perfect summer afternoon for some rustic Americana music, fans were trickling into the concert venue, situated directly behind a Six Flags amusement park. The open spaces near the entrance were taken up today by various vendors for hemp products, tie dyed shirts, bucket hats, beer cozies shaped like boots, and vodka from Wheatley Vodka, a sponsor of the Music Festival. The smells of carnival type foods were permeating all around. Fried Oreos, fried dough, and hand cut fries were all available as soon as you entered the venue. Pretty smart marketing, if you know what I mean.
Concert goers continue to flow in as The Particle Kid, better known as Micah Nelson, hits the stage around 3:45 p.m. Yes, that is the son of the Nelson you’re thinking of. The younger Nelson played for roughly 30 minutes, comfortably seated in a chair in front of a microphone. With only a guitar to assist him, you couldn’t help but notice some nuances that really made you realize what blood line this kid comes from. The voice, simple and smooth, almost distinguished. The body language and handling the guitar made you think you were watching the elder Nelson, 60 years prior. Later on, playing alongside his father, Micah really belted out the lyrics and put rest any doubt of who his father is.
Following up The Particle Kid was Kathleen Edwards. Coming from Canada, she talks jokingly about how it took a team of lawyers and such to make it possible for her to be there on stage. Regardless of the size of the team or if it really happened that way, Edwards is elated to be on this tour, her second time around, with the everlasting Willie Nelson.
Musically, Edwards played for close to an hour belting out ten songs and telling some stories along the way. Releasing her first EP in 1999, she hit the Billboard top 200 albums with first three albums and her fourth album, Voyager, hit number 40 on the same charts. Although she hit the scene hard and impressed many prominent names in the business who called her a force to be reckoned with, Edwards eventually had to walk away from music for bit. Taking some time for mental health and revitalization, Edwards opened a little café with a former supervisor from a famous Seattle coffee icon. Known for puns and plays on words, the café was named Quitters, reminding her everyday about leaving the music business. Over time, Edwards began writing again, and subsequently got her passion for music back. The café has since been sold and music is now hers to enjoy all over again.
With vocals that carry hints of Suzanne Vega or k.d. Lang, Edwards can put together some pretty solid and thought-provoking lyrics. Who knows where she would be if the passion was never gone or if the café was never opened up. For now, though, let’s be grateful that we can experience this talented Canadian.
I’m a Ford Temple, you’re a Maserati You’re The Great One, I’m Marty McSorley You’re the Concord, I’m economy I make the dough, but you get the glory
I Make the Dough, You Get the Glory
Following Edwards was the classic Americana/folk voices of Gov’t Mule. Mule, as fans call them, was formed in 1994 as side project of Allman Brothers members Warren Haynes and Allen Woody, which lends to the sounds that fans keep coming back for. With inspiration from early bands like Cream and Mountain, it’s obvious why these guys have developed quite the following. Such is the case for the guy I watched play the air drums damn near perfect in a few songs. Hit for hit, this fan was in tune with the band for a good portion of the set. Mule recently announced a visit to a nearby Rochester theatre, not far from Darien Lake, definitely worth a look.
These next musicians know how raise the roof, as they demonstrated for this crowd and many that before them. Nathaniel Rateliff and his R&B influenced back up band The Night Sweats, hit the stage and the fans were almost immediately energized. Playing a 20 set prior to a guy named Willie Nelson can be intimidating, but Rateliff and his Night Sweats were definitely up for the challenge and boy did they deliver. The songs became progressively heavier and louder through the set, and fans responded accordingly.
While the crowd was noticeably into the current music, when Rateliff played “S.O.B.” the fans under the tent went absolutely nuts, singing along (more like screaming) to every word like it was their song. At one point, Rateliff held his mic out for the crowd and they nailed the lyrics in style. One of their more popular tracks, “S.O.B.” was made as sort of a joke or satire. Listening to the song, you realize it is about addiction and the sobering process and temptations that come along with it. A subject that can be quite taboo to talk about, let alone sing about. However, the instant popularity led to a studio recording, and now it is one the biggest songs during their sets.
Next up was the iconic Willie Nelson. Touring for over 60 years, with song after song, album after album, accolades, awards, etc. It is 2023 now, and what can be said about this Outlaw musician that hasn’t been said already? I cannot think of anything. He was in a band called the Highwaymen, he played the Grand Ole Opry, and he organized Farm Aid in 1985.
What I can say is this. I have been going to concerts for about 30 years now. There was something different about this one, though. It had a feel to it that you don’t see at other shows. As Willie Nelson broke into song, the crowd went almost silent. There was no hootin’ and hollerin’, there was no cheering or obnoxious singing. There was silence in the crowd during every song. The fans let Willie Nelson perform as he has since 1960. Much respect is given to this outlaw that is now “On The Road Again” heading to his next stop on this journey.
For over 60 years, Willie Nelson has done his thing, he has done it his way for the most part, and he has lived a seemingly happy life. He moved from record label to record label to keep more control over what he does. He moved from Nashville back home to Texas to get away from the polarizing grip of record companies. Nelson is now 90 and seems to have little to no regret about life choices, including anything marijuana related.
Sitting on stage for a set of 20+ songs, Nelson sat within arm’s reach of his son Micah, aka The Particle Kid, and surrounded by a few bandmates. The two played every song together and told a few stories that acted as segways to next song, or maybe tidbit for the previous song. A story from Micha becomes the segway for a song he wrote, at the urging of dad. He talks about dying while high, and if he does, he is either half way to heaven or looking at a long fall down. Originally just a thought of Micah’s but soon realized it would be an awesome song and needed someone to record it with him. The younger Nelson sings the song through the eyes of his legendary father, and you could almost hear a pin drop.
While PR team did not allow photos of Willie Nelson, I assure you he looks the same as has for the past 30 years. If you have seen any photos of him, that is the same person that was on stage at Darien Lake. I assure you, he sounds the same, he still smokes the good stuff, and he loves to be stage. I was bummed about not getting photos, however, looking back, being able to sit there and listen a living legend is good enough for me. Seeing the respect that fans gave him for nearly 90 minutes of stage time, was unreal and well deserved. If you ever have a chance to see someone like this, even if you aren’t a superfan, I strongly urge you to make it happen. It will take your appreciation of music to new heights.
The Outlaw Music Festival continues through October 15, finishing in Pelham, Alabama.
Setlist: Whiskey River / Stay a Little Longer, Still Is Still Moving to Me, I Never Cared for You, Mammas Don’t Let Your Babies Grow Up to Be Cowboys, Die When I’m High (Halfway to Heaven), Angel Flying Too Close to the Ground, On the Road Again,You Were Always on My Mind, Georgia (On My Mind), I Been to Georgia on a Fast Train, Everything Is Bullshit, Roll Me Up and Smoke Me When I Die, Still Not Dead, Write Your Own Songs, Move it On Over, I Thought About You Lord, I’ll Fly Away, Will The Circle Be Unbroken, It’s Hard to Be Humble
After their first weekend at Madison Square Garden, Phish took a day off and returned with even more energy, making the Tuesday, August 1 show stand head and shoulders above the three previous shows.
Opening up with a monstrous “Ghost” laid the groundwork for deep, exploratory jams, including an ethereal, outstanding version “Reba” that followed. You’d be remiss to find a version of Son Seals’ “Funky Bitch” that did not pair up as well with the energy that flowed from “Reba”‘s finale. “Timber (Jerry the Mule)” had a much longer presence in the first set than typically found, flowing into the debut of “Broken Into Pieces.” A rip-roaring 17-minute “Wolfman’s Brother” was quickly discussed at setbreak as one of the best versions ever seen, and the Beatles’ “I Am the Walrus” closed, easily the best first set of the run.
https://www.youtube.com/watch?v=L_mwN-I-OJU
Throwing it back to the Baker’s Dozen, Set 2 opened with the rarely jam-friendly “Sample in a Jar,” and tonight would end up being the longest version of the Hoist track, at more than 17 minutes in total. The jam would spill over to “Kill Devil Falls” which included quotes from a new song not played this evening “The Well” from Fishman, and made for two sets of the first two songs combining for more than 28 minutes of music to get things started. “Golden Age” was another substantial jam to follow this pairing, with “Shade” giving the crowd a breather before dipping into the warm waters of “Sneakin’ Sally Through the Alley,” funk filling in the round room. A short “Twist” and set closing “You Enjoy Myself” would be the cap to the second set, fully
For an encore, “Wilson” made an appearance where you might find “Cavern” or “Golgi Apparatus” following, but the ever rare “Sanity” making its first appearance in two years, giving fans a chance to cross this tune off their “Most Common Phish Songs Not Heard” list. Just when you thought it was over, the hi-hat intro of “David Bowie” gave way to an unexpected (now) three song encore, with a dialed in jam that seemed to be cut short after Trey and Fishman had a chat, only to close out “Bowie” and bring in “Character Zero” for the grand finale of the evening.
Phish – Madison Square Garden, NYC – Tuesday, August 2
Set 1: Ghost, Reba, Funky Bitch, Timber (Jerry the Mule), Broken Into Pieces[1], Wolfman’s Brother, I Am the Walrus
Set 2: Sample in a Jar > Kill Devil Falls[2] > Golden Age, Shade > Sneakin’ Sally Through the Alley > Twist, You Enjoy Myself
Encore: Wilson > Sanity, David Bowie > Character Zero
[1] Phish debut. [2] Unfinished.
If there is a theme emerging from this run of Phish shows, it would simply be that each show is better than the last. Wednesday, August 3rd put that theory to the test, opening up with a pair of animal tunes, “Possum” and “Guyute,” both of which might be a vanilla way to start the show, but tonight the energy was high. So high that the Apples in Stereo song “Energy” reemerged in the rotation for the first time since last summer, providing a wonderful jam that found its way into the “Meatstick.” The fan interaction tune was met with a jam that followed and one of the smoothest segues you’ll find this summer as it moved into “It’s Ice.”
Set two opened with a slow, funky jam, reminiscent of the Island Tour’s “Cavern” opener, and that was exactly the song that would emerge, a slow and funky version of the normally late-set tune. A fiery “Carini” followed, which brought back a jam on “Angels We Have Heard on High,” riffed by Trey quite a bit and also found in the “Kill Devil Falls” of Syracuse a few weeks prior. Following “Piper” was the new track, “The Well,” which at first sounds like “Wolfman’s Brother Part 2” but that’s just the first half. The second half of the song was one of the deepest jams the band could provide in a new song, one that fans will be clamoring for at SPAC and Dick’s later this summer.
Closing the set were the “2001” jam-adjacent “The Howling”, “Taste” and “About the Run,” with a “Chalkdust Torture” tacked on at the end for good measure. For an encore, keyboardist Page McConnell appeared on stage with his keytar, signaling “Frankenstein,” which hadn’t been heard live since before Covid. But that wasn’t all – Anastasio would end up playing the opening notes to “Slave to the Traffic Light” for the final song of the night, eliciting immense cheers from the audience when Trey sang “Seen the Greatest City.”
Phish – Madison Square Garden, NYC – Wednesday, August 3
Set 1: Possum, Guyute, Axilla (Part II) > Energy -> Meatstick -> It’s Ice > Blaze On
Set 2: Cavern[1] > Carini > Piper > The Well > The Howling > Taste > About to Run, Chalk Dust Torture
Encore: Frankenstein[2], Slave to the Traffic Light[3]
[1] Slow, funky version. [2] Page on keytar. [3] Lyrics changed to “see the best city.”
No Fun, a Capital Region music venue on River Street in Troy, hosted five live electronic acts this past Saturday, July 29. The night included an hour-long set from Albany-native Atlas.B, alongside performances from fellow DJs Spike Right, SM Ink, Dito, and Waybach.
The self-proclaimed “hub for experimental music in the Capital Region” is a smaller-sized bar and music performance space owned by Downtown Albany bar Pint-Sized. No Fun has created a comfortable community vibe using multicolored string lights, wall murals, a low stage, and a spacious dance floor for crowd engagement.
Lighting Designer Riley Irving from Colonie’s Technical Video Inc. programmed a dual-screen stage set-up featuring LED wall tiles that cycled through kaleidoscopic color patterns as a live visual accompaniment to the music. Spike Right accompanied by Sherwood traded on-and-off the DJ setup for an hour of live D.I.Y. beats mixed with samples from popular rappers like Ice Spice.
By 9 p.m., No Fun was packed from stage-front to the side of the bar with concertgoers. The crowd was made up of Capital Region locals out for an evening of casual nightlife, alongside electronic dance music (EDM) fans who brought the party with rave glow wands and brightly colored outfits. Shuffling and freestyle moves took over the dance floor as other crowd members encouraged more people to join in and clap to the beat.
Dito and SM Ink continued the night with similar vibes of fresh beats intertwined with well-known hits. In contrast to the other performances, Waybach and Atlas.B have a deep bass and funk vibe. The pair have previously collaborated with singles “Life is So Hard” and “All Out of Time.” Altas.B not only performed previously released songs but also experimented with new mixes and techniques using Ableton Live.
The variety and creativity of each DJ set refreshed the crowd and kept the good energy flowing throughout the evening, with dancing only increasing with every passing hour. Listen to Altas.B’s newest single, “Don’t Look Back,” released on July 20, 2023, on all major platforms.
For information on future shows at No Fun, visit their website at NoFunTroy.com.
If you are someone who is closer to 50 than you are to 25, chances are really good that you have listened to Foreigner, either on your own accord or thanks to friends or maybe parents. Were you riding around in your friend’s Trans-Am with your Aqua-Net glazed hair standing pat as “Juke Box Hero” filled the summer air? Maybe you were driving your 5.0 Mustang around with the cheerleading captain in the passenger seat, singing along to “I Wanna Know What Love Is.” Regardless, you have the memories, and you need not be embarrassed.
Originally formed in 1977, Foreigner has had their time in the limelight. Now 46 years later, the band had decided to Rev on The Red Line for one more time, as they brought their Farewell Tour to Darien Lake Amphitheater on July 28.
While the band has seen its share of members come and go, including founding members, Mick Jones has stood the test of time as the lone original member. Along with Rochester native Lou Gramm, Jones formed Foreigner with Ian McDonald (of King Crimson), Al Greenwood, Dennis Elliot, and Ed Gagliardi. The band’s name was decided based on citizenship. With three Brits and three Americans, at least half of the band would be foreigners no matter where they were playing.
in 1977, Foreigner’s self-titled album was released and would be the first of 4 consecutive releases to go 5x platinum. “Feels Like First Time” and “Cold as Ice” would help make Mick Jones and crew a household name for years to come. The following year Double Vision peaked at number three on the charts and gave us “Hot Blooded” the title track, which became a number two hit.
Into the 80s, Foreigner continued to have huge success with hits like “Urgent,” “Juke Box Hero,” and the powerful ballads “Waiting For a Girl Like You” and “I Want to Know What Love Is.” Songs that have stood the test of time, just as 78-year-old Mick Jones has.
Opening up for Foreigner are Canadian rockers, Loverboy. With hits like “Turn Me Loose” and “Working For The Weekend,” Loverboy is no slouch in the arena rock business and are members of the Canadian Music Hall of Fame.
With nine studio albums to their credit, Mike Reno and the rest of Loverboy have been on and off for the past 30 years, touring with REO Speedwagon, Styx, Journey, Night Ranger, and Pat Benatar/Neil Giraldo over this time.
Tonight, though, Loverboy and Foreigner blew the tent of Darien Lake Amphitheater like it was 1985 all over again. Starting around 7:30 to an already packed house, Mike Reno and crew played exactly what the crowd came for. Hit after hit resonated with the crowd of fans that most likely owned cassette tapes of both bands and donned denim jackets 24/7.
Starting with 1987’s “Notorious,” Reno hit the ground running hard and continued for nine more songs, finishing up with “Turn Me Loose” and “Everybody’s Working For The Weekend.” While they never had a number-one song or album, Loverboy made their mark on the music world and songs continue to be played and enjoyed by younger generations, as well as original fans.
Loverboy setlist: Notorious, Lucky Ones, Queen of the Broken Hearts, Take Me to the Top, The Kid is Hot Tonight, Heaven in Your Eyes, Lovin’ Every Minute of It, Hot Girls in Love, Turn Me Loose, Working for the Weekend.
Rocking the stage at 9 p.m., Foreigner took the stage without Mick Jones. They were fired up, though, and ready to go as they opened up with “Double Vision,” “Head Games,” and “Cold as Ice.” Sadly, while this is the Farewell Tour, Mick Jones will be a game-time decision for most stops on the tour, as he battles health issues that have limited his stage time since 2012.
Even without the only remaining member, Kelly Hansen and the rest of the band kick some serious ass as it “Feels Like The First Time” with every show. Hard guitar riffs, solid drums, and vocals that bring a smile to Lou Gramm’s face are all part of what makes Foreigner the recognizable band they are.
After the band finishes “Girl on The Moon,” Hansen addresses the modern issue of AI as it pertains to ‘art’ and associated topics. Clearly annoyed by so many who utilize computer-generated pieces of AI, he makes sure the fans know that this show is 100% live, with no use of AI whatsoever. Vocals are actually sung, and all the backing sounds are made right before our eyes. Just like the old days, we all remember.
Going back to the memories mentioned before, this Hansen touches on that as they finish up a three song acoustic set. Mentions that while there are a handful of fans under the age of 40, the fans over 40 have the memories to last a lifetime. Music without AI, enjoying a full show without phones, and the joy of cassette tapes. “How many of those under 40 remember rolling up a cassette tape with a pencil?” Those are memories that the under-40 crowd won’t get or appreciate, and this feels like the first time they are hearing the song, like the song they released 46 years prior, “Feels Like the First Time.”
As the night goes on, the crowd is getting more and more active, with fans dancing through the aisles and spilling their $18 can of beer, singing along with every word. As “Juke Box Hero” begins, the beer spiller is escorted to the exit, and the fans go nuts as they await the “standing in the rain…” opening lyric. On stage, however, there is no Kelly Hansen. Spotlights direct fans to the soundboard area, about halfway to the lawn seats. There stands Hansen strapped to a rising pedestal and about 30 feet above the crowd. Someone put a quarter in the jukebox, and Kelly Hansen is now the hero they wanted.
For 46 years, Foreigner has stood the test of time. They have sold countless albums, download after download, and thousands of cassettes rolled up with number two pencils. They have been a recognizable voice for a generation that drank water from the hose and lived to talk about it. They get played at thousands of weddings and proms every year, and yet they are not in the Rock & Roll Hall of Fame. For 46 years, the band that brought Lou Gramm and Mick Jones together is saying goodbye on this Farewell Tour and blowing the roofs off venues one last time. Do you have your tickets yet? Polish the Trans-Am, put on the leather pants one more time, pop side A of Double Vision in the cassette deck, and cruise on down to your local Ticketmaster outlet to get your tickets. Better yet, here is a shortcut.
Setlist: Double Vision, Head Game, Cold as Ice, Waiting For a Girl Like You, Dirty White Boy, When it Comes to Love (acoustic), Girl on the Moon (acoustic), Say You Will (acoustic), Feels Like the First Time, Urgent, Keyboard solo, Drum Solo, Juke Box Hero, I Want to Know What Love Is, Hot Blooded
