Another beautiful summer night on the shores of Canandaigua Lake enjoying some live music at CMAC. Such was the fate for the thousands of fans who filled the shell and lawn for the Tedeschi Trucks Band show Tuesday night. What could be better?
The stage would also be filled to the max. Reggae great Ziggy Marley and his ten-piece band would command the stage for an hour-long opening set before the Tedeschi Trucks Band would take over, besting Marley with their unit of twelve. At nights end however a band of eighteen would be serenading the audience. Six from Marley’s band would join the headliners for a raucous encore of a mashup of Sly and the Family Stone’s “Sing a Simple Song” and “I Want to Take You Higher.”
Like a series finale, all the story lines from the evening came to a head at once, resolving in highly entertaining fashion. Mini-jams broke out all over: a keyboard duel, a 2-man bass-off, a drums and percussion battle, a triple guitar threat, horns aplenty, and a handful of vocalists directing it all to a t. The entire audience was on their feet, amazed at how they managed to wrap up the evening so perfectly.
Watching it unravel song by song, it was a lot to binge in just one evening. Marley flexed his heritage in the opening set, getting properly political with the dark dub of “See Dem Fake Leaders” and “Justice,” which effortlessly worked in splashes of his father’s “Get Up Stand Up.” Those contrasted nicely with the sunnier “We Are the People” and “Circle of Peace.” His two female backup singers added some edge with rapping over “The Lucky One” and the soulful closer “Look Who’s Dancin’” while also exhibiting some entrancingly good dance moves.
The intrigue was set, it was time for the main act. The Tedeschi Trucks Band worked a solid groove on Joe Cocker’s “Woman to Woman,” using it as a quasi walk-out tune for Susan Tedeschi. When she finally took the stage, she immediately commanded it, her incredible voice carrying over all else. She would continue to be the person of interest in the following “Anyhow,” ripping a rocking solo reminiscent of Traffic’s “Dear Mr. Fantasy.”
Each ensuing song would bring different members of the endlessly talented ensemble into the spotlight. Piece by piece the story of the band would come together, all working toward that grand finale. The three segments of the band, be it Tedeschi, Truck, or Band, got equal time and each had their highlights. Tedeschi’s voice shined brightest on “Don’t Think Twice It’s Alright,” just crackling and soaring. Trucks’ guitar found no better time to growl, stretch and moan then the set-closing “I Want More / Beck’s Bolero” combo. The drummers took over on Dr. John’s “I Walk On Guilded Splinters,” blasting low rumbles leaving the rest of the band hanging on and hanging in. Keyboardist Gabe Dixon took a turn on the vocals and highlighted his playing on the New Orleans soaked “Gravity.” Saxophonist Kebbi Williams got his turn on the retro soul groover “Part of Me,” and also got to tangle for a spell with Trucks, Dixon, and bassist Brandon Boone on a gorgeous “Midnight in Harlem.”
Whatever they made it out on a Tuesday night for, be it Tedeschi, Trucks, or any and all of the band, there’s not a chance anyone went home unsatisfied. And now the difficult wait for the next season to get released so we can binge on their talents all over again.
The meteoric career of Pink Floyd’s madcap founder Syd Barrett has birthed a legend and influence that seems to grow more with each passing year. Syd was the songwriter/singer/guitarist for little more than the band’s watershed 1967 debut album, Piper At the Gates of Dawn, and two equally influential but barely selling solo discs, The Madcap Laughs and Barrett (both 1970), a lyrical and instrumental savant who was virtually gone upon arrival.
Was he an acid casualty? A victim of early adult-onset mental illness? Or did he just almost immediately tire of the pressures of pop stardom, the endless gigging and demand for the next hit single as soon as he began to achieve fame? And what became of him when he left the music world – retreating back into his family’s home in Cambridge to paint and then destroy his works, a hermit who rarely left his house, a singular musical voice who would never pick up a guitar again?
Barrett has been the subject of several fine books and documentaries but none as thorough and sensitive to his struggles as “HAVE YOU GOT IT YET?” Directed by award-winning filmmaker Roddy Bogawa (Taken By Storm: The Art of Storm Thorgerson and Hipgnosis) and the late, acclaimed album art designer Storm Thorgerson (Pink Floyd, Led Zeppelin, Paul McCartney, Black Sabbath), this long-awaited documentary will have its U.S. debut at NYC’s Quad Cinema, from July 14 – 17. Director Bogawa will be present for Q&As during several of the 14 NYC screenings.
“HAVE YOU GOT IT YET?” is a chronicle of the mosaic of Barrett’s creative and destructive impulses, his captivating presence and absence – a portrait of the complex puzzle that was his life. His story is told by a multitude of family, friends and associates, many who have never shared their experiences. These include childhood schoolmates, his caretaker sister Rosemary, former girlfriends, 60s musical contemporaries like Pete Townsend, the younger musician he influenced like Stone Roses’ John Squire and, of course, his fellow Floyds – David Gilmour, Roger Waters and the late Rick Wright.
Syd’s story begins with what is described as a charmed childhood in bucolic Cambridge, England, the son of a doctor who was strikingly handsome, charismatic and, most of all, talented in the arts. According to his first girlfriend Libby Gauden: “Life was too easy for him, everything worked — his painting, his friendships, everything.” With his entrance into the Cambridge School of Art in 1962, he gets into “the Beats, Beatles and The Stones.” Born Roger, he will borrow the name “Syd” from a local bass player, Syd “The Beat” Barrett, for his professional career. He will eventually move to London to continue his art studies and into a flat with bandmates-to-be Rick Wright and Roger Waters. They will soon begin playing together and, with the arrival of LSD in his diet, morph from a band copying Bo Diddley-styled R&B into something far more unique, improvisational and adventurous.
The documentary contains a remarkable collection of never-before-seen photos and film clips from his childhood and musical career. The latter includes the legendary 8mm reportedly shot during Syd’s first acid trip, along with the legendary Friday nights gigs at London’s UFO club. Of these, Pete Townsend says: “The only time I missed a Who gig was to take acid and see Syd and the Floyd at the UFO.” Townsend goes on to praise Syd’s unique guitar technique, his use of two Binson echo units, generating a syncopated throb which he calls “spectacular psychedelic heavy metal.” There are other great memories of these gig and the Floyd’s impact on Swinging London related by the band’s psychedelic light show creator Pete Wynne Wilson, legendary photographer Mick Rock and their managers Peter Jenner and Andrew King. Another great video find is a color remaster of the early promotional film for “Scarecrow” from their debut disc. The Dream Academy’s Nick Laird-Clowes goes on to compare the Syd of this halcyon era to a switched-on Lewis Carroll or Hilaire Belloc, “an English romantic wearing a psychedelic cloak.”
Shortly after their February 1967 signing to EMI Records, Syd and Pink Floyd would find themselves recording their debut album at the label’s famed studio, now known as Abbey Road, as The Beatles were working on Sgt Pepper in an adjoining studio. Their debut single, “Arnold Layne” would make the Top 20 and the album would reach #6 on the charts. By the time of their second single, the #5 “See Emily Play,” trouble would be brewing as Syd would balk at appearing to mime their hit on the weekly TV countdown show, Top of the Pops. He would say: “John Lennon doesn’t have to do this, so why should I?” He would make the first two episodes and skip out on the third.
According to Floyd drummer Nick Mason, Syd “didn’t want to be a pop star.” His use of LSD, grip on reality and his irresponsibility would escalate with a move to a flat on 101 Cromwell Road, a true “den” of perversion according to those on the scene. Here, he would be regularly dosed by hangers-on according to his girlfriend of the time, Lindsay Korner. By this time, Syd would also stop playing and singing in the middle of gigs. A mini-tour of U.S. designed to pull the band back together would be a disaster. The low lights? They were a horrendous performance at the Fillmore West and bizarre appearance by a virtually catatonic Syd on “Dick Clark’s American Bandstand.”
The turmoil in his brain would manifest itself in singles that were recorded but not released, “Vegetable Man” and “Scream Thy Last Scream.” In the later part of 1967, the band would bring in Syd’s longtime friend David Gilmour as a support guitarist. Syd Barrett would be out and the five-man Floyd is over when they decided not to pick him up to play a gig at Hastings Place in January 1968.
Gilmour and Waters who would come to the rescue and help Syd finish his debut album, The Madcap Laughs. In the documentary, Gilmour states his belief that “the writing was better than Piper,” praising its “truly fascinating lyrics.” Gilmour and Wright would come to his aid to complete his second and final studio album, Barrett.
After a few aborted attempts at more recording and live gigging and an unsettling visit by a vastly overweight and unrecognizable Syd visit as the band was recording their Syd tribute, “Shine On You Crazy Diamond” in 1975, Barrett would finally head back to Cambridge – walking the 50 miles from London. According to his sister Rosemary, who was his caretaker until his death from pancreatic cancer in 2006, “he didn’t want to be reminded of it; he wasn’t Syd anymore.” Indeed, he was Roger again, a man who largely kept to himself and painted, then promptly destroyed, most of his work.
Anyone who has listened to Syd’s music or that of his many musical disciples like Robyn Hitchcock and David Bowie, know that his unique lyrical whimsy and naïve instrumental genius have had a massive impact on the music that came after his brief time in the spotlight. While they do touch base on some of the unseemly episodes in his life, the film is really a tribute to Barrett’s unique and lasting impact on pop’s more creative edge.
At the conclusion of the film, it’s the great playwright Tom Stoppard who sums it up best. “Tragic tales resonate more than tales of triumph.” And while Bogawa and Thorgerson’s film frames the tragedy, it’s their take on his singular talents that will resonate with viewers, like the long tale of his comet-like career and genius.”
New York State is home to a great deal of recording studios, and Central New York certainly has their fair share. These studios are found from Ithaca to Syracuse and Utica, with many of these studios having a long and rich history, while others have only been around for a few years.
Cooperstown, NY
Rep Studio in the heart of downtown Ithaca provides recording artists with a spacious, comfortable environment in which to create and hone a first-rate product, whether it be a music CD, a radio spot, custom music for any application, sound to picture, or anything else audio.
Pyramid Sound Studios in Ithaca is a state-of-the-art recording facility that has worked with both major label and independent artists worldwide for the past 30 years. The studio offers music production services for the entire album-making process including writing, recording, mixing, and mastering. Pyramid Sound is equipped with a live room that features three iso booths built with acoustic production in mind. Both the live room and the control room are built on sand and separated from one another to avoid excessive bleeding and vibrations, and both spaces are patchable to any other room via both instrument and speaker cables.
Subcat Studios was originally founded in 2001 in Skaneateles before moving to Syracuse. The SAG-AFTRA-approved studio offers music recording and production, professional video production, and other educational services for recording artists. Mastering Engineer and Principal Owner Ron Keck had been working with digital recording since 1989. Because of his experience and skillset, SubCat quickly gained a reputation for high-quality audio recording. Today, SubCat prides itself on high-quality studio recording, remote recording, audio mixing and mastering, videography and photography, graphic design, CD and DVD duplication, printing, and much more.
Studio A in Subcat Studios is equipped with a drum set.
Big Blue North Recording Studio in Utica has a rich and extensive history. It was initially a wooden church erected in 1920, and on October 9, 1927, the current brick church building opened to the public with an auditorium filled. Big Blue North was purchased by its current owners, Audio Engineer Jeff Aderman and Studio Manager Pamela Jardieu in 2000 and underwent two and a half years of renovation under the supervision of audio industry icon John Storyk. The facility opened as Castle Recording Studio in 2003, and continued until the owner’s retirement 10 years later, reopening as Big Blue North Recording Studio in 2013.
Big Blue North Recording Studio comes equipped with 5,000 square foot residence, a.k.a The Fort, with a large kitchen and dining room to self-cater your meals, a living room with a big TV to veg out, a practice room to work out your parts, a library to check your email, a private outdoor courtyard to get some fresh air, four bedrooms and an attached garage to securely park the band van and free wireless internet. Weekly cleaning service is included. Available free of charge for out-of-town residents.
There are several recording studios throughout New York State and Central New York where aspiring musicians can produce music in their pursuit of making their musical dreams come true. If you know of another we missed, reach out to editors@nysmusic.com!
Over July 10-21, Proctors Collaborative School of the Arts is hosting Rock Camp, a program designed to provide an environment for aspiring musicians (ages 10-16) to strengthen their skills, develop new techniques and build confidence in performing.
From 9 am to 4 pm, Monday through Friday, Rock Camp deals with several aspects of music, including technical aspects of instruments, the musical history of the genre, song writing, theory, arranging, rehearsal techniques, stage presence, and more.
With practical instruction from professionals, students are exposed to the elements of performing, arranging original music, forming a band, and much more. Additionally, a gig in the Great Hall of Universal Preservation Hall (UPH) to showcase their talents. We spoke with Crispin Catricala, the director of Rock Camp this summer, to learn more about the program, its origins, audition process, and outcomes.
Background
Rock Camp is not the first musical camp to be hosted at Proctors Collaborative School of the Arts. However, the origins of Rock Camp begin with director Crispin Catricala, selected specifically for the program.
Proctors Collaborative School of the Arts has had long success with their other camps like the Broadway Camp, Broadway Camp Junior and Summer Stage Young Acting Company. I was honored when, just after I had retired from teaching public school, they approached me to be the director for a new summer camp for young rock musicians up at UPH in Saratoga. With a bit of a delayed start due to the pandemic, we started our first summer session in 2021 and have been growing ever since.
Crispin Catricala, born into a musical family, has long possessed a passion for music, playing guitar by 13, and playing professionally by 17. Crispin would go on to receive a Bachelor’s Degree in Music Composition and a Master’s Degree in Musical Education, teaching public school music education for more than 28 years. Additionally, Crispin has worked as a private guitar instructor for more than 30 years, and has played in several bands throughout all that time.
Audition Process
An audition based program, Rock Camp requires musicians to record a performance of two songs that they feel comfortable with. However, the recording itself can be quite basic – according to Crispin, an iPhone video would suffice. Musicians can play along with tracks, as long as it is clear that their playing is separate from the original recording.
So, what qualities does Rock Camp look for in potential musicians? While Rock Camp is open to all styles of rock music, Crispin noted that they specifically seek individuals who possess basic, foundational skills, and demonstrate a desire to enhance their knowledge and acquire additional expertise. Critical thinking and active listening skills are important for applicants, but most of all, a love and passion for music and an openness to feedback within the creative process are necessary.
This year, 17 young musicians were selected to join the program.
A Typical Day at Rock Camp
The two week program runs Monday through Friday, from 9 am to 4 pm. Crispin’s detailing of a typical day at Rock Camp reveals the enriching, well-rounded nature of the program.
Morning sessions generally deal with either a guest artist/presenter, a lesson that deals with either your instrument or maybe a lesson that deals with music history or theory. By afternoon we’ve broken down to smaller ensembles working on specific songs and by the end of the day meet upstairs to play for our peers on the main stage and group discussion.
Rather than form one or two bands that rehearse a set of songs together, the program forms numerous combinations of musicians, making up several groups song by song for an evening’s performance. According to Crispin, this allows the musicians to engage with everyone in the camp and not be grouped into one ensemble or style.
Rock Camp is open to young musicians ages 10-16. While the age gap may seem wide to some, Crispin explained that the music itself works as an equalizer.
Once you start making music with people, age is not a huge factor. Plus, we’ve had 11-year-olds that have been playing since the age of five and 14-year-olds that started when they were twelve. So really, everybody has something to bring to the table.
Program Goals and Outcomes
At the end of the two-week camp, the groups will perform an hour-plus concert, open to the public at UPH, complete with incredible lighting and sound in one of the area’s newest and most beautiful premiere performance spaces. While the performance will surely showcase the talent and accomplishments of the program, Crispin hopes that the impacts of Rock Camp on the musicians will run deeper.
Our hope and our expectations are that the experience leaves everyone better at their instrument and overall craft. Also, that new musical connections and friendships have been created that could last long past Rock Camp.
For more information about Rock Camp, the audition process, and ticket reservations for their performance at UPH, visit this website. To learn more about camp director Crispin Catricala, visit his website.
A sold-out crowd eagerly gathered at St. Joseph’s Lakeview Amphitheater in Syracuse for a momentous occasion – the highly anticipated Woman In Me Tour featuring country music icon, Shania Twain. With excitement in the air, cowboy hats, sparkle ensembles, and devoted fans were in for a treat that would be etched in their memories for years to come.
As the lights dimmed and the anticipation reached its peak, the crowd erupted in thunderous applause as Shania Twain surprised everyone by emerging from a box in the middle of the crowd singing “Wake Up Dreaming.” It was a jaw-dropping moment that set the stage for a night filled with surprises, energy, and pure musical magic instantly establishing a connection with her fans.
This concert marked a significant milestone for both Shania Twain and the Central New York region, as it was her first performance in the area in an impressive 25 years. The anticipation and nostalgia were palpable, as fans eagerly awaited the chance to witness the country superstar’s return to the region that holds a special place in their hearts.
Shania Twain’s stage presence was nothing short of captivating. Throughout the night, she effortlessly commanded the stage with her unmistakable charm and undeniable talent. The crowd was treated to a visual feast as she donned multiple dazzling outfits, and glamourous visual backgrounds to her set.
One of the highlights of the evening was Shania Twain’s exceptional crowd interaction. She had a genuine connection with her fans, taking the time to engage with them on a personal level. From sharing heartfelt stories and reading the signs her fans waved high in the air, she made everyone in attendance feel like they were part of an intimate gathering rather than a sold-out arena. It was this genuine connection that further heightened the concert experience, leaving the audience feeling seen and valued.
A true celebration of Shania Twain’s iconic discography, with hit after hit igniting the crowd’s enthusiasm. From timeless classics like “Any Man of Mine” and “That Don’t Impress Me Much” to heartfelt ballads such as “You’re Still the One” and “From This Moment On,” each song was met with resounding cheers and singing from the passionate audience. The energy in the venue was infectious, with everyone on their feet, dancing and singing along to every word. The combination of Shania Twain’s soaring vocals, the vibrant stage lighting, and the backdrop of a breathtaking sunset over the lake created a truly magical atmosphere. It was a moment where music, nature, and community seamlessly intertwined, amplifying the already incredible experience.
As the final notes rang out, the crowd erupted in thunderous applause, showing their gratitude and appreciation for the unforgettable evening they had just experienced. Shania Twain delivered a concert that exceeded all expectations, leaving fans with a renewed sense of joy and a reminder of why her music has stood the test of time. In conclusion, Shania Twain’s Woman In Me Tour at St. Joseph’s Lakeview Amphitheater in Syracuse was a monumental event that showcased the enduring power and talent of a country music icon and her long-awaited return to Central New York was a triumph, and the memories created will undoubtedly be cherished for years to come.
Set List: Wake Up Dreaming, Up!, Don’t Be Stupid, I’m Gonna Getcha Good, You’re Still The One, Giddy Up!, Any Man of Mine, Who’s Bed Have Your Boots Been Under?, Honey, I’m Home, Inhale/Exhale AIR with Breland, From This Moment On, Medley, Forever And Always, My Number One, Rock This Country.
Encore: You Don’t Impress Me Much, Party For Two, Man! I Feel Like A Woman!
Super 400, from Troy, NY, opened rock night with a strong 1 hour set. Playing together for over 20 years, they are no stranger to the Capital Region spot light. The trio were inductees to the Class of 2022 Eddies Hall of Fame. Their psychedelic and class rock sound really drew in the very adult Albany crowd. Towards the end of their set, they brought up singer, writer, and producer Sean Whiteford for a song. They crowd gave them a strong exit as they really played straight through the summer heat.
Sean Whiteford and Kenny Hohman – Photo by Jarron Childs
Lead vocalist, Moriah Formica, got her start in music at a fairly young age. She was previously on The Voice at the age of 16 in 2017. She made it to the last playoff round before getting eliminated; but it was enough to jump start her professional music career. Plush was formed soon after during the COVID-19 pandemic mainly through ads on social media. The young, all female rock band has been capitalizing on the growing female rock scene. From debuting their first song “Hate,” it wasn’t long before they were supporting acts like Kiss.
Lead by Albany native Moriah Formica, they did not not let the heat stop them from playing a full hour and a half set. Plush braved the humidity with a burst of energy the radiated well into the crowd. With lots of bopping around stage, they really brought the excitement of rock to the stage with their classic and hard rock rock style. Bassist and New York native, Ashley Suppa, seemed to be a crowd favorite as she really took up the as much as the stage as she could. Her and guitarist, Bella Perron, kept switching places which helped really stimulate the audience to keep on moving with them. Perron also had some great solos where she really used her guitar to bring the energy from some of Plush’s newest fans.
Even though they may have had a weird start, they had a powerful exit with their latest single, “Left Behind.” They took a photo with the crowd before greeting them by the merch table for fans to greet their new favorite band. Their great sound coupled with young energy make them really hard not to like.
The closest show the band has to New York is in Atlantic City on September 8th. They play at Rock Fest in Cadott, WI on July 15th for anyone that can check them out soon.
Plush Setlist: Athena, Champion, Sober, Better Off Alone, Baracuda, Found A Way, Walk Away, Don’t Say That, Man in the Box, Hate, Will Not Win, I Don’t Care, Bring Me Down, Why Do I Even Try, Sorry, Heaven’s On Fire, Left Behind
NYC-band Baby Got Back Talk released their new single and music video “I’m Sorry I’m a Moron, But Also, Help.” The song precedes the release of their EP Wince, Repeat, due out July 21.
G’Ra, Baby Got Back Talk’s vocalist and bassist, told the story of the single’s title. The phrase resulted from a text G’Ra sent after mistakenly eating marijuana infused cookies.
“As a result I became painfully, unbearably high for the first time in my overwhelmingly straight-edge life,” G’Ra said. When I realized my mistake, I texted the band group chat I’m sorry I’m a moron, but also, help. We thought the immortal phrase was a fitting title for our new single, which is about hoping for compassion even when you know your problems are your fault.”
Additionally, G’Ra explained that they executed the music video for the song in a single shot.”The action takes place in one long, unbroken, choreographed shot that we rehearsed for a couple of hours the day of filming. Because of schedule constraints at the set we rented, we only had time to shoot 4 complete takes. Working with my bandmates and director Ross Louis Klein to nail one of those takes before the clock ran out was like a higher-stakes version of one of those recreational escape rooms: nerve-wracking and intense but also super fun.”
Trey Anastasio’s Band stopped at The Stone Pony Summerstage amidst their tour. The place was packed and there were loads of people listening to the concert outside of the gated-off, outdoor venue. This proved to be an incredible show filled with fan favorites, incredible solos by Trey and the horns section and even Natalie “Chainsaw” Cressman’s masterful vocal work on “1977.”
The band opened up with “Set Your Soul Free” which featured the lovely accompaniment on vocals by Jennifer Hartswick & Natalie Cressman. The first set included “Steam,” “Heavy Things,” a roaring “Night Speaks to a Woman,” and a funky “Moma Dance.”
The second set opened up with a Trey original, “I Never Needed You Like This Before.” The sun was going down and the band was settling into a familiar groove with Trey’s solos getting loner and heavier. If this show is foreshadowing the Phish summer tour ahead, we are in for quite a ride! The second set included a personal favorite “Alaska,” which was jammed out entirely with an extensive solo by Trey, “1977” with Cressman’s mesmerizing rapping, an insanely jammed out “No men in No Man’s Land,” and “Everything’s Right” to close out the set.
That last song really helped this writer get through a rough day. The positivity and healing in Trey Anastasio Band’s music have helped greatly and I am sometimes in awe of its power. The band came back for their encore, an a capella “Over the Rainbow” and a shredding “First Tube.”
Set 1: Set Your Soul Free, Simple Twist Up Dave, Evolve, Rise/Come Together, Steam, Heavy Things, Cayman Review, Night Speaks to a Woman, The Moma Dance, Curlew’s Call.
Set 2: I Never Needed You Like This Before, 1977, Acting the Devil, No Men In No Men’s Land, Oblivion, Love is What We Are, Drifting, Alaska, and Everything’s Right.
This past Friday, July 7, the iconic Big Time Rush band from the early 2010s played an incredible show at Bethel Woods Center for the Arts. Playing almost eleven years earlier at the same venue, many superfans flocked back to see them—this time all grown up. Concertgoers sported sparkly attire, OG Big Time Rush t-shirts, and posters stating their love for their favorite band member as they waited eagerly in anticipation for their Can’t Get Enoughtour.
Big Time Rush, photographed by Sarah Hyun
Big Time Rush, consisting of members Kendall Schmidt, James Maslow, Logan Henderson, and Carlos PenaVega, originally began as a TV show for the Nickelodeon channel. They formed in 2009 and garnered a cult audience of superfans, continuing their show with four seasons until their final episode in 2013. The band took a break afterward to allow each member to work on his solo career but recently regrouped in 2021. Big Time Rush has been touring since, and is now at the beginning of their Can’t Get Enough tour, with twenty-five shows left. They previously played at Saratoga Performing Arts Center and are scheduled to play at Northwell Health at Jones Beach Theater.
Big Time Rush, photographed by Sarah Hyun
With the concert being delayed for almost two hours due to thunder, there was an almost-certain chance that the show was going to be canceled. Although openers MAX and JAX could not take the stage, the boy band made sure that the show went on. Fans were ecstatic. The boys came out on a large platform with bright lights shining behind them to create a silhouette of their bodies. The screams that followed were absolutely deafening and continued that way for the rest of their set. During their song “All Over Again,” the members pointed to different parts of the crowd whilst singing the lyrics “To the left, left, left/On the right, right, right/To the back, back, back/On the side, side, side.” Confetti shot out of cannons during the performance of “Confetti Falling,” and a video montage of the boy band played on the large screen during their intermission song, “I Just Want To (Party All the Time).” At one point in the show, each member chose a female fan from the audience to personally serenade on stage.
During the encore, the band left for a good two to three minutes before re-entering to perform “Windows Down,” their most popular song “Boyfriend,” and “Til I Forget About You.” At the beginning of the encore, the members ran off the stage and into the seated sections to greet some of the fans that were farther away from the stage. Big Time Rush promised that they would definitely be back at Bethel Woods to play more shows in the future.
Setlist: Can’t Get Enough, Elevate, Song for You, Waves, Weekends, All Over Again, Any Kind of Guy, Ask You Tonight, Forget You Now, Love Me Love Me, Paralyzed, Nothing Even Matters, Worldwide, Invisible, I Just Want To (Party All the Time), Famous, City is Ours, 24/Seven, Shot in the Dark, Big Night, Confetti Falling, Big Time Rush
Encore: Windows Down, Boyfriend, Til I Forget About You
It was a career-defining night for Connecticut’s indie-groove sensation Goose on Friday, July 7. Making their debut at the iconic Saratoga Performing Arts Center, it would ultimately prove to be their biggest headlining performance to date, drawing an estimated 11,000 fans from across the Northeast. Rising to the occasion, the high-flying band captivated attendees with their signature sound, all played with purpose, gusto, and pride. A milestone moment in time that was as satisfying for the fans as it was for the members of Team Goose, this show felt special and more like a homecoming celebration for our triumphant underdogs.
Goose made their Saratoga Performing Arts Center debut on 7/7/23
From the dimly lit club scene to lighting up amphitheaters across the country, the meteoric rise of Goose has been a phenomenon rarely seen in today’s music climate. Ever since accepting the proverbial “torch” from a guy named Trey at Radio City Music Hall last summer, the band has been running with it full speed ahead, no brakes and all gas. From making their national television debut to selling out Red Rocks and their residency at the Capitol Theatre, to earning praise from legendary Grateful Dead members Bob Weir and Phil Lesh and even comedians like Jimmy Fallon and Bert Kreischer, the widespread appeal of this band seems to span across generations. Even people who don’t listen to “new” music are talking about Goose.
Goose guitarist/lead vocalist Rick Mitarotonda performing at SPAC on 7/7/23
Consisting of Rick Mitarotonda [vocals, guitar], Peter Anspach [vocals, keys, guitar], Trevor Weekz [bass], Ben Atkind [drums], and Jeff Arevalo [vocals, percussion, drums], the buzz surrounding Goose’s SPAC debut was palpable. Coming off major festivals like Peach and the final Resonance, then a pair of sold-out 4th of July shows at the Stone Pony and Portland, ME, the momentum coming into Saratoga had reached a level not seen since, well, Phish. Afternoon rain would make for a bit of a messy shakedown situation, but right around showtime, as if on cue, the clouds turned as fans started filling up the lawn and pavilion. The highly collectible posters commemorating the evening were long gone well before the first note was played.
Goose made a little Saratoga magic during their SPAC debut on 7/7/23
Walking out to a thunderous and sustained standing ovation, the members of Goose were grinning ear to ear upon taking their positions on the storied SPAC stage. Afterward, on social media, the band would reflect on it saying, “We will never forget the energy we felt right at the start of last night’s show, absolute chills.” Soaking it all in for a moment, the guys would suddenly drop into an inspired “Silver Rising,” with Mitarotonda emphatically singing out the opening lyrics:
Peter Anspach lead Goose through “Red Bird,” a touching tribute to his Mother on 7/7/23
Next came the emotional high point of the first set with a personal song near and dear to multi-instrumentalist Peter “Handini” Anspach. Leading the band through “Red Bird” in a fitting tribute to his mother who has supported his music every step of the way, hearing Peter sing it during the biggest show of his career was very touching. After dipping their toes into some gorgeous improvisational type-II territory, a rollicking rendition of “Same Old Shenanigans” (SOS) would send us to intermission and leave the excited crowd buzzing about what they’d just witnessed and what was still yet to come.
Red bird don’t get tired now
You can almost touch the light
Red bird don’t stop singing your song
Fly for tomorrow tonight
– Lyrics from “Red Bird”
The second set started off with the band paying homage to Goose’s precursor project Vasudo. Playing a heartfelt rendition of “The Empress of Organos,” a song that was also played at the final Vasudo show ten years ago, one couldn’t help but be inspired by just how far this band has come during that time. Now playing with a new custom-made guitar appropriately named “The Empress,” Mitarotonda’s tone sounded glorious all night long and the band looked completely comfortable and at home on the big stage. They are simply born for this. Following the 23-minute “Empress” came a beautiful blues-inspired cover of David Gray’s “Please Forgive Me” that saw some serious peak shredding from Snakes.
The Empress: Rick Mitarotonda’s new custom ax sounded glorious under the SPAC pavilion on 7/7/23
The SPAC show will be remembered for a lot of things, but for me, the real “get down” took place during the SPAC “Thatch.” One of the funkiest and crunchiest grooves this side of Phish’s “Moma Dance,” the band originally debuted the song just up the road in Glens Falls last November while opening for the Trey Anastasio Band. Nearly doubling its length with this version (while also managing to sneak a “Tequila” tease in), the song is destined to become a fan favorite and setlist staple for years to come. Check out pro-shot footage of “Thatch” here:
Easing us into the comedown was another beautifully executed version of “This Old Sea,” one of the most tender ballads in the band’s arsenal, it would also be the shortest song played all night. Seamlessly transitioning into the title track from the band’s latest studio album, 2022âs Dripfield, the mesmerizing climax and stunning light show courtesy of LD Andrew Goedde left Goose fans dripping for more.
On your way to kill the beast
You meet the child, the only one you know
And he sings to you, “Let go,
May the nighttime be your home
-Lyrics from “Factory Fiction”
After hanging backstage for a minute to bask in the ovation and savor the moment, there was only one song that made sense for an encore; a song reserved for only the most special and monumental occasions. As the opening notes of the rare “Factory Fiction” rang out (or ‘Spactory Fiction’ as some fans are already calling it), the excitement and jubilation could be felt by everyone who was there and collectively sent chills down your entire body. Bringing the band full circle on this surreal summer night, from beginning to end, their performance made an emphatic statement. The golden Goose has arrived, and buckle up because their time is now
Goose played their biggest headlining show to date on Friday, 7/7/23 at SPAC
Up next, the band will return to the Newport Folk Festival for their first appearance on the main stage. Later this fall, Goose will return to New York to headline the Borderland Music Festival in Buffalo, before heading across the pond to play their first European tour in November.
For more information, tickets, and tour dates, visit here.
Set 1: Silver Rising, California Magic, Animal, Red Bird, Same Old Shenanigans
Set II: The Empress of Organos, Please Forgive Me (David Gray cover), Thatch, This Old Sea, Dripfield
