NYC-based singer-songwriter Steve Conte released a new official music video for his latest single, “Girl With No Name.” The video was filmed on the streets of New York, and shows iconic locations such as Times Square and the famous Flatiron Building.
Conte wrote “Girl With No Name” based on ideas of missed opportunity and attraction. He began writing it in 1984 and finished the track for his upcoming album. He cited influences such as The Beatles, XTC, and Diana Ross and the Supremes.
This is a song of regret…about missed opportunity and lack of skills in meeting someone you’re attracted to. When putting my new album together, I was looking for songs that would fit nicely alongside the songs that Andy Partridge and I had written for it and I kept thinking of this one. I wrote it back in 1984 and never forgot it – which was a good sign.
Steve Conte
Photo Credit: Anja Van Ast, 2020
Steve Conte is known as a longtime member of the rock group New York Dolls, as well as working alongside Paul Simon, Billy Squier, and Peter Wolf. Conte expanded internationally in recent years, working alongside Japanese composer Yoko Kanno to write soundtracks for anime series’.
Deliriant Modifier, a new collaborative album by Sally Gates (Titan to Tachyons), Trevor Dunn (Mr. Bungle) and Greg Fox releases on October 20. The record is inspired by a neuroscience thesis by Anil Seth, and explores ideas of limitation, perception, and improvisation in the musical realm.
Sally Gates references neuroscientist Anil Seth’s thesis, saying: “Perception = controlled hallucinations. Hallucinations = uncontrolled perception”. The group took this as inspiration, using controlled perception as a grounding idea in the creation of their record. Deliriant Modifier is entirely improvised, with the exception certain parameters, cues, and duration times set in place for each track.
Improvising is the result of a natural outpouring of everything you absorb. Whatever you’ve been listening to, practicing, or even reading, watching.
Sally Gates
The first track, “Macro/Micro,” is an eclectic exploration of percussion, strings, and guitar, forming a captivating opening to the record. The improvisation begins sporadically, and as the track continues, the musicians find clarity and cohesion.
The sixth track on the record, “Limits Of A Circle,” begins with a striking, wavering percussive introduction. A strong, gritty guitar interrupts it with thrilling riffs and solos, but the track truly shows the group’s skill in creative percussion.
“Excise Spurious Time,” the closing song, introduces a clear, nervous piano, responding to itself with higher and lower harmonies. The piano exudes nimbleness, as the musicians form what could be soundtracked against a harrowing film.
Using limitations as a framework for improvisation is one way to set goals, think about form, and harness the freedom. Anarchy is ok some of the time, but it’s also nice, for the listener and the performer as well, to keep things from going off the rails all the time.
Trevor Dunn
The three New York-based musicians began the composition of Deliriant Modifier by asking the question, “Do limitations aid or hinder the functionality in composition?” Answered by the unique composure and creative responses to the improvisational prompts, it aids their originality and bold appeal.
Deliriant Modifier released on October 20 on Riverworm Records. The artists are Sally Gates, Trevor Dunn and Greg Fox.
In April of 1994 Phish appeared at the Alumni Arena on SUNY Buffalo’s campus. Trey fell through a hole in the stage during soundcheck which would hobble him for the remainder of that spring tour. It’s possible the band held that incident against the entire city of Buffalo. They didn’t return until two and half years later, and that show, on October 19, 1996, would be their last ever visit to the Western NY metropolis. That was 27 years ago.
Fall 96 Postcard via PhanArt.net
Fall 96 Postcard via PhanArt.net
It was a show I had the pleasure of attending. A junior at Syracuse, I had netted just one show that summer, and was determined to take advantage of the Mid-Atlantic start to the tour that would wind them down the coast to Atlanta for the famous “Remain in Light” Halloween show. Tucked between Wednesday night shows in Lake Placid and Hartford, CT, which in retrospect I am not sure how I pulled off either, let alone both, was an easy rust-belt Friday-Saturday run from Pittsburgh up to Buffalo. So out we headed.
The band was a bit uneven at this point, early in the tour, and in 1996 in general. Lake Placid was nothing special, Pittsburgh was solid and this Buffalo show, was generally forgettable. And forgettable is a pretty apt word from my personal standpoint, I really don’t have a lot of strong memories from that night, couldn’t even tell you a single song they played offhand. And popping the show in for another listen, I can’t really recommend anyone put this in their queue. The playing is fine, the song selection is fine, but there’s just nothing really notable here to be worth anyone’s time.
I have but one strong memory from this show.
In those days, I was stubbornly determined to be in the front row. I literally had nothing better to do with my time. If it meant sitting out in the baking sun all day and then sprinting like my life depended on it, I did it. If it meant waiting out in the bitter cold singing “Tweezer” with some newfound friends, I did it. If it meant weaseling my way down to the floor and sneaking my way past multiple levels of security, I did it. The latter worked like a charm the previous night in Pittsburgh, a far superior show which I enjoyed front and center.
Fall 96 shirt via PhanArt.net
Fall 96 Phish via PhanArt.net
At Buffalo, I again snuck onto the floor and was biding my time chatting it up with some friends who were right on the wall of the 100 level. We were talking about the Pittsburgh show and I mentioned where I sat. They asked where I was sitting that night, and I coyly mentioned I would be in the front row again. They didn’t think I could do it, so now I definitely had to come through. Shortly before the lights went down I walked down the aisle right to the front row and there was an empty seat just waiting there for me, right in front of Trey. Easy peasy!
Fall 96 shirt via PhanArt.net
Some blurry footage of most of the entire show on YouTube can be found below. I watched it all. Like I said, I can’t recommend it for the music. Even for a nostalgic look back at the band and how the lights were back in “the day” is ruined by excessive zoom and blurrier than blurry footage. As I sat through the whole thing trying to figure out what I could possibly say about this show, it took until the end of the very last song for it to dawn on me. The video finally panned out to show the full stage, lights and crowd during the peak of “Run Like an Antelope.”
There is a blurry visage of a young guy in the front row bouncing up and down and throwing his fists wildly into the air as the band goes into manic climax mode. That would be me. Two plus hours of feeling somewhat down on the memory of a ho-hum concert was erased instantaneously. There’s just something about seeing a 27-year younger version of yourself, no matter how blurry, finding ultimate bliss for a few minutes. Guess the show wasn’t all that bad, that guy seemed to be enjoying it.
Phish – Marine Midland Arena, Buffalo, NY – Saturday, October 19, 1996
Soundcheck: Funky Bitch, Reggae Jam, Life On Mars?, Billy Breathes
Set 1: My Friend, My Friend, Rift, Free, Esther > Llama, Gumbo, Down with Disease > Prince Caspian > Frankenstein
Set 2: AC/DC Bag, Sparkle > Slave to the Traffic Light, Bouncing Around the Room, Split Open and Melt, Fluffhead, Swept Away > Steep > Run Like an Antelope, Hello My Baby
Encore: Fee[1], Rocky Top
[1] Trey sang verses through megaphone. The second set started with a Wish You Were Here tease.
On Saturday night, October 14, the Patchogue Theatre in New York came alive with the spellbinding music and visual artistry of the legendary guitarist, Andy Summers. The crowd gathered in anticipation of a performance that promised to be much more than just a concert. As part of his tour entitled “The Cracked Lens + A Missing String,” Andy Summers combined his exceptional guitar skills with a unique multimedia presentation.
The show kicked off with the hauntingly beautiful “Tru Nature,” setting the tone for what was to come. With his distinctive guitar style and unparalleled skill, Summers effortlessly transported the audience into a world of musical wonder. The setlist was an eclectic mix of his solo works and iconic songs from his time with The Police, making it an experience that catered to fans both old and new.
What truly set this evening apart were the interludes between songs, during which Summers shared captivating anecdotes. These stories offered a glimpse into the inspirations and experiences that shaped his music and life. One unforgettable tale involved an accidental overdose of Ambien, which left him with no memory of how he made it from the plane to his hotel. This candid storytelling offered a humorous yet humanizing perspective on the legendary artist.
The evening continued with songs like “The Last Dance of Mr. X” and “Tea in the Sahara,” which not only showcased Summers’ musical virtuosity but also his storytelling ability. Each song became more than just a composition; it transformed into a vivid narrative that resonated deeply with the audience.
Another remarkable story recounted Summers’ adventures with the late John Belushi, where they embarked on a journey involving magic mushroom omelets. The audience was transported into this wild and unexpected adventure through Summers’ vivid storytelling, making them feel like they were right there with him.
The visual component of the show was equally mesmerizing. Behind Summers, a large screen displayed a collage of photographs he had taken throughout his storied career. These visuals served as a stunning backdrop, creating a visual narrative that harmonized with the music. The result was an immersive experience that combined sound and sight, forging a profound connection between the artist and the audience.
The show culminated with the iconic “Message in a Bottle,” leaving the audience with a lasting memory of an extraordinary evening that transcended the boundaries of a typical concert.
Setlist: True Nature, Metal Dog, The Bones of Twang Zu, The Last Dance of Mr X, Tea in the Sahara, Round Midnight, Spain, Roxanne, Manha de carnaval, A Felicidade, Triboluminescence, Spirits in the Material World, Bring on the Night, Message in a Bottle
Toronto-NYC indie rock power trio ON has unveiled the music video for their latest single release ‘Gator’, an infectious groove and rock waltz, released via Toronto’s Indiestructable Records on October 10.
The band ON is a power trio including lead vocalist Lucy Di Santo, drummer Dan Cornelius and guitarist Steve Fall, they continue to carry out the legacy of previously formed 90’s Sire Records band ACID TEST. The newest single ‘Gator’ encompasses infectious guitar riffs with a dash of groove that honors their post-punk, grunge, old-school funk and 90s college roots. The song is a clever blend of pop melody and raw rock, with a tight weave of classic and alternative coated with grunge. ‘Gator’ follows up the bands latest single ‘Make Me’, a song of frustration and wanted to recapture that euphoria in the new video.
“The song has a strong guitar hook and melody – and the drums are tailored to support and enhance those elements. So I thought the drums should be a drum pattern that anyone could tap along to ON their steering wheel while waiting in traffic. Simple drum groove. Simple drum fills.”
– Drummer Dan Cornelius
Upcoming Tour Dates
Sun 10/15 Toronto – Bovine Sex Club (with Snailmate, Second Wife)
Tues 10 /17 Ithaca, NY – Deep Dive (with Snailmate)
Wed 10/18 Buffalo, NY – The Lounge at Revolution Gallery (with Snailmate & Daisy Chain)
Thurs 10/19 Kingston, ON – The Toucan (with Snailmate)
Sat 10/21 NYC, NY – Bar Frida (with Snailmate)
‘Gator’ is out now and available from fine music platforms, including Spotify, Apple Music and Bandcamp.
Multi-Grammy award winner Thundercat came to Buffalo Riverworks on October 14, showcasing his talent as both a bassist and singer. After immediately selling out tickets to the Town Ballroom, promoters quickly upgraded the venue size. Hundreds of more fans got to pack in for a night of the In Yo Girls’s City Tour.
Photo Credit: Maddie McCafferty
Openers Coco and Breezy started off the night in Buffalo with their upbeat energy. These musical twins have grown up with a deep passion for dance music that stems back to their time as tour dancers for Prince. They’ve taken their many influences to build a sound that fuses house, R&B, and Afro-Latino roots. These skilled producers brought their fun-filled tunes to a crowd ready to groove.
Shortly after, Thundercat – also known as Stephen Bruner – took to the stage with a Mac Miller intro song. He quickly got to shredding on the bass and filling the venue with vibey tunes. His bandmates Dennis Hamm (keys) and Justin Brown (drums) took this collective playing experience to the next level. Awe-inspiring to watch, the three got lost in the music. They play off one another while intrinsically layering one cohesive piece into another.
Photo Credit: Maddie McCafferty
Thundercat performed a wide array from his musical catalog, including songs off of his 2017 album Drunk including “Uh Uh” and “A Fan’s Mail (Iron Song Suite II).” Most of his performance encapsulated his latest album, It Is What It Is.
Closing out the night, Thundercat played his most recent release with Tame Impala, “No More Lies,” finishing off the night with everything harmonically sound and soulfully upbeat. A profound musician that without a doubt is inspiring other young musicians to delve into their passions head first. He even signed a young kids bass at the show.
Photo Credit: Maddie McCafferty
In case you missed a night of sweet tunes, don’t worry there is plenty more coming to Buffalo this fall season. Up next at Riverworks is San Holo coming October 21 and Dropkick Murphys performing October 24. Get your tickets here.
Setlist: Lost in Space / Great Scott / 22-26, Interstellar Love, How Sway, Uh Uh, Overseas, Dragonball Drug, Lava Lamp, A Message for Austin / Praise the Lord / Enter the Void, Oh Sheit It’s X, Black Qualls, A Fan’s Mail (Tron Song Suite II), Jameel’s Space Ride, King of the Hill, Tokyo, Lone Wolf and Cub, Funny Thing, Them Changes
Lord Sko reigns from the section of New York City known as Washington Heights. Many people frequently visit Washington Heights a.k.a. Uptown – today we meet an artist that represents Washington Heights to the fullest. Last name Fursko – Lord Sko took his moniker in the same sense as Scott Mescudi a.k.a Kid Cudi. His beat selection matches between vocals and bars extraordinarily well and of course it sounds like New York.
Lord Sko appears stoic
Lead single “Finder’s Fee” off of Lord Sko’s latest release, United Palace, showcases one of the experimental artists of this era. His incredibly selective beat choices reflect the New York sound in an increasingly refreshing way. Specifically, the progression displayed from last summer’s Museum to the latest Fall release exhibits major strides.
Focus on Self and Follow Path
As a student of his craft – Lord Sko continues to put forth his fair share of hours. Seemingly plucked from the skies to find his purpose at a rare age – this man consistently drops gems. Evidently, this artist sounds like one of the most impressive at this age since Joey Bada$$. The most wondrous thing about him points to the fact that he wishes to steer within his own lane.
The producer formerly known as Unlucky Bastards now goes by Keg and directed the exquisitely vibrant video for Lord Sko’s Finder’s Fee. Peace Lordy!
His bodies of work portray the imagery experienced throughout his rise. With terrific stylistic switchups – Lord Sko belongs within the underground.
Last summer, Lord Sko’s Museum album hit the airwaves to test out the canvas. With inquisitive mystique, this project pushed the genre forward. The imagery for that 2022 mixtape came to fruition via Lordnmf who became recognizable via hyper realistic works of art. Subsequently, it works out considering the album itself embodies street art and graffiti which Lord Sko considers to be the fifth pillar of hip-hop.
Built Different
The concept of a New York minute could never resonate until one fully experiences the pace. Moreover, New York City ages individuals at a fascinating rate. This young man tried psychedelics to find himself rapping for Pete Rosenberg all by the age of eighteen years old. Taking the train in third and fourth grade helped Sko find his way quickly. Lord Sko continues to curate projects that prove to be groundbreaking and ahead of their time.
Lord Sko possesses the talent, versatility, knowledge and demeanor to succeed and experience hip-hop longevity. He made a wise choice for his career trajectory to add Dante Ross as his manager. With the correct circle and continuously refreshing sounds – this man refuses to be stagnant.
Modern Day Historian
When Wiz Khalifa mentioned few artists make “stoner music” anymore – Lord Sko took it personally. Sko’s tunes encompass several life experiences, polished cadences and a distinct sound. Perhaps an ode to Mac Miller’s era – Lord Sko’s, “Kush & OJ” brings home incredible vibes with production from Graymatter.
The most distinguishable trait about this artist deals with self-discovery. He focuses on his path and infuses wizardry to connect the dots along the way. With modern golden era production and a vocal range of crafty lines, Lord Sko is one you ought to know.
Another Strong Track off United Palace – if you liked this make sure you hear “FIRESTARTER”
On October 14, a cool Brooklyn night, Elsewhere played host to an intimate and emotionally charged performance by the sensational Hannah Diamond, as she unveiled her latest album, Perfect Picture. The evening was a celebration of empowerment, self-confidence, and the universal struggles we all face in terms of self-perception, all wrapped in a visually and sonically captivating experience.
The tracklist of Perfect Picture takes us on a touching journey, each song delving into the complex web of emotions that revolve around self-identity and the pursuit of perfection. The album kicks off with the enchanting title track Perfect Picture, which immediately sets the tone for the night. As Hannah’s ethereal vocals blend with mesmerizing visuals, it’s clear that she is on a mission to explore the intricacies of human self-perception.
The theme of empowerment is prevalent throughout the album, and songs like “Affirmations” and “Unbreakable” stand out as anthems of self-confidence and resilience. These tracks evoke feelings of strength, freedom, and the realization that true beauty lies in embracing our flaws and imperfections. Hannah Diamond’s lyrics are a beacon of hope, reminding us that our self-worth should not be contingent on societal standards but on our ability to love ourselves.
The show was an intimate affair, which perfectly suited the album’s personal and vulnerable themes. The crowd’s energy was electric, with fans singing along and dancing in unison to the infectious beats. It was evident that Hannah had a genuine connection with her audience, making the performance feel more like an interactive conversation between friends rather than a traditional concert.
Hannah Diamond’s stage presence was nothing short of mesmerizing. She effortlessly navigated between her hit singles and the deep cuts from “No FX,” and it was clear that she was emotionally invested in every note she sang. Her humility and vulnerability on stage resonated deeply with the audience, as she encouraged everyone to embrace themselves.
Perfect Picture is an album that delves into the essence of human existence, examining the power of self-love and the beauty of imperfection. Hannah Diamond’s performance at Elsewhere Brooklyn was a testament to the depth of her artistry and her ability to connect with her fans on a profound level. In an industry that often perpetuates unrealistic ideals of beauty and perfection, Hannah’s music serves as a beacon of authenticity and self-empowerment, reminding us all that we are, indeed, perfect just the way we are.
Enso Taves, the New York-based Dominican singer-songwriter, has long been recognized for his unique fusion of Bachata with Latin American Bolero, Son, and Jazz. This remarkable combination of styles has earned him a dedicated fan base eager to embrace his upcoming release, “Tengo Sueños.”
Released on October 13, this single is not only a symbol of Enso’s artistry but also a testament to his ability to create contemporary music with the heart of traditional Bachata.
Enso Taves is more than just a singer-songwriter; he is a storyteller who weaves the rich cultural tapestry of his Dominican heritage into every note and lyric. His music can be described as elegant simplicity with a touch of sophisticated romance, a characteristic often associated with Bolero and Bachata. Yet, what sets Enso apart is his ability to infuse these traditional sounds with a modern twist, creating a unique listening experience.
“Tengo Sueños” begins with a warm and inviting melody, an unmistakable hallmark of Bachata. The song carries the heart of traditional Bachata with its gentle yet emotionally charged guitar strums, which form the backbone of the genre. The traditional bongo and maracas add a layer of authenticity to the rhythm, making you feel as though you’re dancing in a Dominican plaza.
But what sets “Tengo Sueños” apart is its fusion of these traditional elements with modernity. Enso Taves’ voice is velvety smooth, guiding you through the song’s narrative with a sense of intimacy and nostalgia. As the song progresses, a contemporary touch emerges with the incorporation of electric guitars and a richer percussive backdrop, hinting at the influence of pop and rock.
The lyrics of “Tengo Sueños” beautifully encapsulate the power of love to conquer adversity. As Enso sings:
“Tengo sueños tienes que dos también un verso que te quite el miedo de dorar fracto preñar tus sueños que esta historia empieza no… vamos a ver para fugar no donde quiera de no puedo corazón…”
Here’s the translation:
“I have dreams, you have two, a verse that takes away your fear, gilds the cracks, nurtures your dreams, this story begins now… let’s see where it goes, I can’t go anywhere, my heart…”
These words balance vulnerability and strength, emphasizing the importance of understanding each other’s dreams and fears in a relationship.
For Enso Taves, “Tengo Sueños” is not just a song; it’s a testament to his artistry and his commitment to preserving the cultural heritage of his Dominican roots while pushing the boundaries of contemporary music. Enso Taves will be taking this enchanting musical journey on the road with his upcoming “Bachata Bohemia 2023” tour, bringing this fusion of tradition and innovation to audiences around the world. The single promises to be a musical experience that transcends the barriers of time and tradition, carrying us into a world of love and dreams where the power of music knows no bounds.
Full of gritty energy, thoughtful storytelling, extremely tight improvisation, a spectacular light show, and a palpable connection to their audience, Kitchen Dwellers brought their unique brand of psychedelic bluegrass to Cohoes, NY on Thursday, October 12th.
No strangers to the Capital Region, Kitchen Dwellers have played the area many times over the years, but the second show of their 2023 fall tour would be their first at the historic Cohoes Music Hall, one of the oldest (and allegedly haunted) venues in the country. Delivering an absolute scorching performance, the level of musicianship on display was scary good.
Kitchen Dwellers made their Cohoes Music Hall debut on 10/12/2023.
Showing up to the corner of Remsen and Cayuga, you were instantly met with heady vibes from the municipal lot as the jokers and tokers greeted one another. There was a laid back feeling of familiarity and optimism as people of all ages lined up to check out the plethora of band merch and the gorgeous limited edition show poster designed by artist Dan Dippel. Fans who got there early enough were treated to a delicious appetizer from the young-and-hungry opening act, Fireside Collective from Asheville, NC.
After a brief set change, Capital Region show promoter Greg Bell of Guthrie Bell Productions took center stage to welcome everyone to the Cohoes Music Hall and wax nostalgic for a moment before introducing Kitchen Dwellers to a massive ovation. Wasting no time serving up the main course, the band set the tone early with a “Sundown” opener, the first of five songs that would be played from their latest album, Wise River. They had the crowd captivated from the very first note.
Kitchen Dwellers (L-R): Max Davies, Torrin Daniels, Joe Funk, and Shawn Swain performing on 10/12/23.
Consisting of Torrin Daniels on banjo, Joe Funk on bass, Max Davies on guitar, and Shawn Swain on mandolin, describing their inspired sound is no easy task. Utilizing traditional string instruments, adding a few effect pedals and foregoing a drummer, their expansive playing is full of character, bombastic banjo riffs, lightning fast licks, virtuosic finger picking and foot-stomping grooves. These guys make the complex look effortless. After squeezing “Their Names Are The Trees” into a “This Time” sandwich, the Kitchen Dwellers were cooking with pure gasoline as they alligatored “Smokestack” through a pair of choice covers – “Salt Creek” and “Alcohol in the Bloodstream.” Coming up for air to greet the audience and exchange some friendly banter about the proper pronunciation of Cohoes, the band would then invite Fireside Collective dobro player, Tommy Maher, to the stage for the remainder of the set.
Chest Fever: Fireside Collective’s Tommy Maher (dobro) joined in on the fun on 10/12/23.
Taking control of the ship and guiding the band through the crowd-pleasing title track of 2019’s Muir Maid, upright bassist Joe Funk’s vocals sounded fantastic here, while the extended interplay and energy of Torrin’s flying dreadlocks and Maher’s youthful exuberance sent the room into a fever pitch. With the venue itself located just on the outskirts of Levon Country, perhaps that was their intention all along, as a well-placed cover of The Band’s classic “Chest Fever” would bring the opening frame to a close.
Kitchen Dwellers’ Joe Funk croons away in Cohoes, NY 10/12/23.
When Kitchen Dwellers hit the stage for round 2, it didn’t take them long to address the elephant in the room, or in this case, the ghost. Nicknamed “The girl who made vaudeville famous,” many believe the spirit of Eva Tanguay has haunted the Cohoes Music Hall since her death in 1947. Often “felt” hanging around just off stage left and sometimes in the center of the balcony’s second row, the band acknowledged this bit of folklore by offering up their song “Ghost in a Bottle” in tribute.
Ghost in a Bottle: Kitchen Dwellers make an offering to the ghost of Eva Tanguay on 10/12/23.
The real meat and potatoes of the set would come next as the Dwellers found their groove on “Stand at Ease” which seamlessly segued into a cover of “White Freightliner Blues.” Showing a deep respect to their roots by weaving together a tapestry of their influences, the dexterity and speed at which these guys play make it almost impossible to stand still. After a stellar version of “Gypsy,” the band gave a special shoutout to a group of friends who traveled there from Vermont, allegedly breaking the record for the most people you can cram into a van, something which Torrin found debatable. Announcing they weren’t going to do the typical encore thing and that they’d just play until the venue kicked them out, the enthusiastic crowd were then treated to a sizzling combination of “Mountain” > “Drowning (… Again)” > “Ebenezer’s Winter” to bring the tasty night of galaxy-grass jams to a close just after midnight.
Putting a fresh spin on an old genre and blending the past with the future, Kitchen Dwellers rose to the occasion in Cohoes and threw down a performance that will be talked about for years to come. Upon leaving the Cohoes Music Hall, perhaps one excited fan summed it up best, saying “That was the best $20 I’ve spent in a very long time.“
With fall tour just getting underway, fans in New York won’t need to wait long to catch them again. Kitchen Dwellers have been tapped by Twiddle to take part in their final shows next month before going on an indefinite hiatus. The sentimental sendoff will take place at the historic Capitol Theatre in Port Chester. For more details on tour dates and tickets head to kitchendwellers.com.
Kitchen Dwellers | October 12, 2023 | Cohoes Music Hall | Cohoes, NY
Set 1: Sundown, This Time > Their Names Are the Trees > This Time, Smokestack>Salt Creek >Alcohol In the Bloodstream, Muir Maid * > Chest Fever *
Set 2: Ghost in the Bottle > Cuckoo’s Nest [Traditional] > Ghost In the Bottle, Stand At Ease > White Freightliner Blues, Gypsy, Mountain > Drowning (… Again) > Ebenezer’s Winter
* Featuring Tommy Maher of Fireside Collective on Dobro
