NYC-based dance-funk quintet Stolen Gin have released their newest single “Drunk Ambition” paired alongside a lyric video. The single gives the feeling of an intense love for a person, never wanting them to leave your side.
Stolen Gin, a dance-funk quintet formed in 2019 from New York City, is known for their high-energy live act and avid improvisation–they never play songs the same way twice. The band first came together playing college parties on NYC rooftops, and their goal then was the same as it is now: to make every gig feel like a party, and to keep people dancing.
The band writes, “This song was written a couple months after meeting someone really special. I’m looking back at how it started and counting my blessings that it happened the way it did. The first verse is a flashback to that original moment where a relationship was the last thing on my mind- or so I thought. The chorus then brings us back to the present, where ‘Drunk Ambition’ is my own little way describing the untamable love I feel for this person, never wanting to leave their side.”
https://www.youtube.com/watch?v=F3Y3XhGifto
“As a band, we’ve recorded some projects in the past at full service studios but realized that we’re most comfortable locked in a room together with no outside influences. For ‘Drunk Ambition,’ we decided to book a session at a DIY studio in Brooklyn. We produced the verses of the song to be tight and funky, while playing with longer, distorted chords and pumping drums in the chorus to create tension and release. Our guitarist, Will Adler, engineered the session and mixed the track, and the song was mastered by Will Quinnell at Sterling Sound.”
Having gotten their start playing college rooftop shows around the city, the band is continuing to utilize all New York has to offer, with this latest track being recorded at a DIY studio in Brooklyn. But Stolen Gin’s sound can be heard all over the world, given their immense TikTok following after songs like “Tension Release” and “Take Your Problems to the Disco” went viral across the platform.
https://www.youtube.com/watch?v=8Ajj4D7YCdw
Stolen Gin goes on tour consistently, selling out their last eight consecutive NYC headliners in the span of the last 18 months at venues such as Baby’s All Right, Mercury Lounge, and more. The band recently played in both D.C. and Boston for the first time, with sellouts in both of those cities. They’ve also just finished a tour with the legendary jam band TAUK, and now Stolen Gin is heading back into the studio to make more new music.
To listen/watch “Drunk Ambition,” click the link here.
For more music by Stolen Gin, click the link here.
At Cohoes Music Hall this past weekend, the sound of Jerry Garcia and the Grateful Dead was alive and well, as Zach Nugentâs Dead Set performed two strong sets of classic Dead tunes on Saturday, April 29, to an audience hooked from the first to the last note.
The two sets were not your standard Grateful Dead cover band sets, with some choice selections that made it clear this set was written by a disciple from the school of Garcia. Working in lesser played songs like “Dupree’s Diamond Blues,” the crowd at Cohoes Music Hall had a fair lot scene in the lobby, a show perk that you love to see.
On this night, Nugent was joined by Joe Agnello (rhythm guitar, vocals – Swimmer), Josh Weinstein (bass – Kat Wright), Cotter Ellis (drums – Swimmer), Matt Dolliver (keys – Swimmer), and Corey Wilhelm (percussion – Bombino/Kat Wright).
Opening up with “Bertha” and “Good Lovin’,” Nugent’s Dead Set had the crowd moving, the floor full with eager Deadheads looking to dance. A cover of Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again” was an early highlight, with Nugent’s guitar pouring fuel onto the driving chorus alongside keyboardist Matt Dolliver. The set closing “St. Stephen” had a velvety smooth transition into “Cassidy.”
Second set began with a “Dark Star” jam that stretched out with great patience into space for exploration, finding itself at “Terrapin Station” – the full suite and then some. Towards the ending, the group found itself dabbling in a reprise of “Playin’ in the Band” but instead opted for “Uncle John’s Band,” and back into the final section of “Terrapin.” An encore of “Deal” made this one more Saturday night to remember.
Zach Nugent’s Dead Set – Cohoes Music Hall – April 29, 2023
Set 1: Bertha > Good Lovin’, Candyman, Stuck Inside of Mobile with the Memphis Blues Again, Dupree’s Diamond Blues, El Paso, St. Stephen > Cassidy Set 2: Dark Star > Terrapin Suite (full)* > Uncle John’s Band > Terrapin (ending), One More Saturday Night Encore: Deal * Playin’ in the Band (reprise) tease
On Friday, April 28th, the line of eager Valley fans spilled from the doors of Irving Plaza to wrap around the block. Despite the misting rain, the energy pulsing in the camped-out line was warm.
Photograph by Emma Dowd
On their “Lost In Translation Tour,” Valley sold out their New York City show. As the venue filled, it became increasingly undeniable that Valley deserved to be at a larger venue. They had performed at the lovely Irving Plaza a year prior, and since then it was clear they’ve collected a larger fanbase.
Photograph by Emma Dowd
The opener for Valley , Aidan Bisset, kicked off the night with his pop-grunge music. The crowd immediately received Bisset’s stage presence and relatable lyrics. He sang of toxic romances, new love, and break-ups. With two electric guitars and a drum set, he commanded a fast rhythm and infectious persona of youthful fun and passionate intensity. Bisset performed some of his hits, three unreleased songs, and even took on the vocally renowned cover, Kings of Leon’s, “Sex On Fire.” Bisset engaged with the crowd, taking their BeReals, getting level to level with them to chat, and wooing over new fans. Before leaving the stage, he graciously thanked Valley for having him on their tour.
Photograph by Emma Dowd
The set change was fascinating. Usually, microphones are changed and some of the instruments are shifted around. Valley’s upcoming set brought on multiple box-screen televisions to be stacked on top of each other, an ambiguous rectangular frame of notable size with drapes hanging over it, and countless additional lights. Valley’s pre-show setlist had the crowd belting familiar songs in each other’s embrace. Fog began to roll down from the balcony level and off the stage. This grabbed hold of the crowd’s attention. When the lights suddenly shut off and Irving was pitch black, the curious murmur rolled into an uproar of excitement.
Photograph by Emma Dowd
The TVs stacked on top of each other switched on. Their screens matched the static sound emanating overhead. Flashes of the band members’ faces and old television clips emerged sporadically through the static. The lights slowly faded from a hint of color to a bright broadcast of a Valley inspired color palette. Bass vibrated the floor, and the crowd stood in awe.
Eventually the band ran onto the stage. Drummer, Karah James, took her throne behind the drums. Guitarist, Michael Brandolino, and bassist, Alex Dimauro ran to their instruments. They played an adrenaline inducing intro for their lead singer, Rob Laska. Laska ran onto the stage, with an electric guitar slung around his shoulders. The crowd’s response was deafening.
Photograph by Emma DowdPhotograph by Emma Dowd
Valley opened with one of their most popular songs, “There’s Still A Light In The House.” The song is a tribute to love and the endless possibilities of finding one’s self in New York City. The lyric on the bridge that goes Is it New York? Or Heaven? I can’t think twice now, was sung proudly by the New York City crowd. Laska, infatuated with the crowd’s energy, encouraged their singing. The audience sang back to the band with one collective voice that shared an affinity for their conversational lyrics.
As the show went on, the performance became more personal. Laska jumped into the pit that separated him from the crowd to sing with some fans. In between songs, he conversed and told stories about band memories in New York City. Laska reminisced, “New York City is special to us, we wrote our first record in this damn city! We’ll be coming back forever.” This led to Valley announcement of their new record Lost In Translation, set to release on June 23rd.
Photograph by Emma Dowd
The draped frame that was brought onto the stage during set transitions became a crucial filament of the show. Over half way through the concert, the TVs turned back on and the lights dimmed. Laska approached the frame and tore the drape off to reveal a reflective mirror surface with strobe lights hanging from it. A phone began to ring, and Laska tugged a landline phone from the structure. He sang one of their hits, “A Phone Call In Amsterdam,” into the phone. The entire show was an artistic performance, rather than a band just performing on stage. The appreciation for the theatrics and the attention to detail resembled The 1975’s “At Their Very Best Tour.”
As Valley trailed towards the end of their setlist, Laska emphasized his gratitude for everyone choosing to be at their show. “There’s a lot of cool shit going on in New York City on a Friday night, so I’m happy we all found each other in this vortex.” Underneath the twirling Irving disco ball, the fans really unified in their fandom. He invited everyone to join them in a state of appreciative awareness for the last couple of songs. Without a clear goodbye, Valley left the stage. The crowd was not going to leave without an encore.
Photograph by Emma Dowd
Heads turned in a whiplash from the front of the stage to the back of the venue. A murmur of eager confusion echoed throughout the venue. Suddenly, a spotlight shone on the back of the crowd. Laska began to make his way through the crowd towards the stage, singing “Paper Cup (sorry for myself).” The audience parted like the red sea for him to make his way towards the front of the crowd, where he sang for the remainder of the song. The rest of the band took to the stage, and Laska joined them to finish out their set with their popular song, “hiccup.”
Photograph by Emma Dowd
The encore applause was impressive. The sounds of cheers and screams took over Laska’s volume as he thanked the crowd. All the band members joined him at center stage to take their hard-earned bow. Karah James tossed her drumsticks, kisses were blown, and hands clasped in praise for New York City. Laska closed out the night with a sweet send off, “Take care of each other, love one another, and we’ll see you very soon!”
1988 was a groundbreaking year for Steven Page. 1988 was the year Steven Page was introduced to the locals in Toronto, Ontario, as he was taking the stage with Ed Robertson for the first time as Barenaked Ladies. Witty lyrics and quirky stage presence quickly become the norm for this duo who routinely missed or skipped show rehearsals and relied more on improv as they took to the stage.
After a successful run with the band including Juno awards, Grammy nods, and huge pop songs, Page left in 2009 and pursued a solo career. A solo career which still includes the witty lyrics and quirky antics, both of which helped make him a household name in Toronto, and across SUNY school campuses in New York. Having seen Barenaked Ladies 10 times, all with Page as the front man, I was hoping for some of that charisma at the Riviera Theatre in North Tonawanda.
With nearly 1000 fans filling the seats at this 97-year-old theatre, Steven Page opened up the show with ‘It’s All Been Done,” from the album Stunt. Fans of all ages were immediately into it. Hands waving in the air, random lyrics being belted, and a couple 20-somethings dancing in the aisles. We all knew then how this show was going to go. While he is no longer with the band, Page routinely plays favorites like this as diehard fans still enjoy them.
Coming up next was one of my favorites, from 1994’s Maybe You Should Drive, Page belted out lyrics to “Jane.” More of the sellout crowd began singing along and dancing in the aisles. Sadly, the security wasn’t having it, as they were quick to make these young ladies take their seat. It wouldn’t last though.
When Page was done talking about Jane, he began to reminisce of yesteryear, touring with Barenaked Ladies across campuses of SUNY schools. Recalling shows at Fredonia, which some fans cheered at, as well as driving around saying “we played there, we played that college…” I recall seeing Barenaked Ladies at SUNY Brockport in 1993, or maybe 1994. Either way, it was few years ago and the year doesn’t matter. What matters is watching Steven and the band have a blast on stage and fans throwing boxes of Kraft Macaroni and Cheese during one of their songs. These are the memories that Page was getting at, along with meeting new people and seeing how they perform. Bands such as The Odds, featuring Craig Northey, who now tours with Page as one third of Steven Page Trio.
Done recalling the past, page continues his set with an extended version of “Alternative Girlfriend,” “Golden Age,” and “What a Good Boy.”
In the midst of all this, of course he has to plug his newest album, Excelsior – Steven Page, to which he references New York’s state motto, and continues on about the new NY rest stops. Being a newer NY resident, Page seems to not agree with the size of some of the newer rest stops as well as the choice of an un-named chicken place that isn’t open on Sundays. All of which got some loud applause and cheers from the crowd.
During the height of the pandemic, Page began doing home show, as many artists to keep in contact with their fanbase. Although the worst is behind us as far as the pandemic goes, Page continues his live from home shows and recently aired his 100th episode Steven Page Announces 100th Live From Home Show ::antiMusic.com. With this he recorded the song “Zoom,” which is an ode to a way of life for everyone for a great while. The song talks about seeing your family and your living room, making new friends, and of course hoping the internet holds up.
As Page finishes his set with Northey and Kevin Fox on cello, he is still amazed that he sold out the theatre and thanks everyone for their continued support. Very grateful for 30+ years in the business, both with Barenaked Ladies and on his own. The support he has received over the years is clear as the packed house is on their feet for the entire 4 song encore.
Follow and support Steven as he continues touring and pushing his albums. Steven Page | Musician
Setlist: It’s All Been Done, New Shore, Jane, Alternative Girlfriend/SW Cool, Golden Age, What a Good Boy, Gravity, Linda Ronstadt in The 70’s, Something About Me, No Song Left to Save Me, Looking For The Light, Zoom, Bull in a China Shop, Old Apartment, Brian Wilson Encore: Asleep at the Wheel, Enid, Call And Answer, Shoe Box
On April 22 at the Westcott Theater, reggae jam band Giant Panda Guerilla Dub Squad performed the last show of their 2023 Tour. The band was originally founded in 2001 in Rochester, best known for their authentic reggae and dub live performances.
The energy of the night started strong at the Westcott, with two opening performances Flying Object and Dirty Blanket. Flying Object, is a smaller group who feature an upright bass, keys and drums into their music. The band kicked off with an upbeat spunky groove engaging the audience awaiting Giant Panda.
Dirty Blanket incorporates guitars, upright bass, mandolin and banjo. For the past six years the band has remained local to the Finger Lakes Region. Their song “Better Days” led the crowd roaring and dancing as they closed their act and gave a warm welcome to Giant Panda Guerilla Dub Squad.
Giant Panda consists of James Searl, Chris O’Brian, Dylan Savage, Tony Gallicchio and Eli Flynn. Some of their top hits include “Time and Reflection,” “Love You More”, “Steady,” “Trouble Deep” and “Good Love.” This tour honored their latest album Love In Time released on April 7th. The diversity of the songs and various production styles truly compliment the album as a whole. This was one of their first times working on music with outside collaborators.
Although it was announced to be the last show of their 2023 tour, Giant Panda did a fantastic job and put on quite the show for their fans at the Westcott Theater. As fans danced to their mix of reggae, electric beats and rhythm, the band members yelled out to the crowd while engaging with one another on stage. The band is notable for connecting people to the sound of their music and authentic roots. We look forward to what the band has to come as fans anticipate future performances.
The aftermath of the quarantine has left many of us longing for experiences and community. The ability of an artist to constitute community is what I love about music, especially local original music. Nancy Atlas is a well-known entity on the East End of Long Island, especially in her hometown of Montauk, famously called “The drinking village with a fishing problem”. Nancy knows how to inspire a community and connects with her audience though passion and performance.
I had the double blessing of interviewing Nancy on The Long Island Sound podcast and seeing her live recently at Stephen Talkhouse, a venue which I call the CBGB’s of Amagansett. Nancy became my antidote for the longing that can never be quenched, as I continue to explore the wellspring of talent on Long Island.
If you can find something that you’re passionate about and you can make a living at it, then you’re a lucky person
Nancy Atlas
A Force of Nature
Before we dive into the rollercoaster ride of a show, it’s important to get an understanding how this female force of nature embraces her craft like the ocean envelops us as we venture into the deep.
Prior to her moniker as The Nancy Atlas project, this Commack, NY native went to college in London to study marketing. Upon graduation, she was hard-pressed to find a job in her chosen field. With the creative juices flowing, original songs in hand, Nancy went to an open mic hosted by Johnny Leitch aka Johnny Blood, a fantastic guitarist in his own right. The rest is history.
The most important thing is to surround yourself with people that are better than you
Nancy Atlas
There are a wide range of artist influences who shaped her sound, from Johnny Cash and Emmylou Harris to Lucinda Williams. Atlas also recounted how her experiences growing up on Long Island have influenced her music, particularly the ocean and the beach, which she described as her “sanctuary.”
Throughout the interview, Atlas discussed her creative process and how she approaches songwriting. She explained that she likes to write about real-life experiences and emotions, drawing inspiration from her own life and the world around her.
Atlas emphasized the importance of collaboration, both with her band members and other musicians in the industry. She described how working with others can bring new ideas and perspectives to the table, and ultimately lead to better music.
The more honest you are with your songwriting; the more people connect with it.
Nancy Atlas
We discussed the challenges of being a musician, particularly in today’s music industry.
Atlas acknowledged that the rise of streaming services has changed the landscape for musicians, making it more difficult to earn a living solely from music sales. However, she also noted that the internet has made it easier for independent artists to connect with their fans and reach new audiences. Atlas emphasized the importance of adapting to change and finding new ways to make a living as a musician.
I think the hardest thing about being an artist in this day and age is finding the balance between the art and the commerce.
Nancy Atlas
Performing at Stephen Talkhouse
During the interview, I told Nancy how I hoped to go to Stephen Talkhouse someday, and she quickly goateed me in to attending her April 22nd show. I was not disappointed. With the intent to open opportunities to others, Nancy had the PasserBy Band opened up for her, and the band was electric with youthful energy and talent. Nancy’s son Cash, a member of the band was joined by a cast of East Hampton Highschoolers who rounded out the group.
PasserBy covered Santana’s Oye Como Va, and Dexys Midnight Runners, Come on Eileen to the delight of a welcoming audience, as a proud mother stood in the wings with admiration and pride
The Nancy Atlas Project took the stage promptly at 8:15 pm, as a lighting bolt of energy pulsed with Nancy as she began to strum the intro, soon to be joined by her longtime guitarist, Johnny Blood. Her set was filled with original songs, that were familiar to adoring fans, as I watched and listened to a community of Eastender’s revel with enjoyment and celebration.
A key moment, came when Nancy recalled a famous ocean rescue in Montauk, as detailed in the New York Times best selling novel, A Speck in the Sea. Nancy’s song “The Tale of Johnny Load” recounts the key events in the “Montauk Miracle” and has become somewhat of an anthem to how the Montauk community came together to beging the search for Johnny. The song is about a voyage of the fishing boat , Anna Mary with only Johnny “Load” Aldridge and Anthony Sosinski aboard. Anthony Sosinski, one of the crewmembers was on hand, and took the stage to lead the crowd in a Happy Birthday song to both Nancy and her sidekick Johnny Blood.
You can see Nancy Atlas performing at Stephen Talkhouse on May 20th, it’s certianly a bucketlist item for any music lover.
Music and the Power to Heal
She talked about how music has the power to heal and bring people together, and how she hopes her music can have a positive impact on her listeners.
My interview with Nancy Atlas on the Long Island Sound podcast provided a fascinating look into the life and career of one of Long Island’s most talented musicians. From her early influences to her creative process and the challenges of the music industry, Atlas shared insights and stories that are sure to inspire aspiring musicians and fans alike. Her performance at Stephen Talkhouse was a powerful reminder of the healing power of music and the importance of spreading positivity in today’s world. If you’re a fan of Nancy Atlas or just love great music, be sure to check out her interview on The Long Island Sound podcast.
It was a night that deserves more words and praise than I can possibly articulate, but for people like John Darnielle, the mastermind behind The Mountain Goats, finding words has never been a problem. Making a career out of shouting whatever comes to mind and never sitting on an idea long enough to question it, the acclaimed novelist and songwriter has toured all over the world and released a staggering 21 studio albums since adopting The Mountain Goats moniker in the early 90’s.
More than 600 songs and countless miles later, it’s almost hard to believe the band has never played a gig in Albany before. On Tuesday, April 18th at Empire Live, that surprising fact was finally laid to rest. The night would have extra special meaning for one member of band, as the cathartic show would also serve as a birthday celebration for keyboard player/multi-instrumentalist Matt Douglas.
The Mountain Goats, making their Albany debut, have plenty to celebrate this year
Opening the evening was Knoxville, TN singer-songwriter Adeem the Artist. Dawning a Canadian tuxedo and resembling a look somewhere between Jeff Tweedy and Ryan Adams, you could already tell he wasn’t like the other boys. One fan immediately yelled out “What’s your name?” “My name? I don’t have one. I’m Adeem the Artist. It turns out there was already a rapper.” Demonstrating spectacular stage presence and finding a balance between serious and sarcastic, the lyrics to his songs were nothing to joke about. Beginning with the opening song “I Never Came Out,” the audience listened intently as the soul-searching lyrics poured out of the man originally born Kyle Bingham. “Fervent For the Hunger” came next before we would learn a little bit more about Bingham’s roots and his Aunt Peggie on “Painkillers & Magic” from his most recent, fan-funded 2022 album White Trash Revelry.
Adeem the Artist performing in Albany, NY on 4/18/23
While the structure of the songs came off as rather traditional, by this point in the set, it was clear Adeem the Artist was doing something very special and very brave. A queer, southern Christian, blue-collar country songwriter. As unpopular as that may be in some areas, the Albany crowd here was totally down with it and fully invested in every word he had to say. Things would pick up for the foot-stomping “Run This Town,” before an eager fan requested a rare song that stopped Bingham in his tacks. “Tiger Prince of Knoxville”? How do you know that one? I wrote that a long time ago when everyone was trying to cash in on the Tiger King phenomena, so I figured I would too. I can’t believe someone here has actually heard it! Let’s see if I remember how it goes.” He did and the crowd loved it. They got even more into it on the next song, “Going to Hell,” which featured a fun, full room ‘call and response’ and made you think “it won’t be long before this guy is a very big star.” Filled with strong social commentary and hilarious banter, Adeem the Artist played the title track from his 2021 album Cast Iron Pansexual to round out his fantastic opening set. After a brief intermission, it was finally time for the main event.
The Mountain Goats made their long awaited Albany debut on 4/18/23
Walking out to Foghat’s “Fool For the City,” The Mountain Goats would methodically craft the story they wanted to tell. Consisting of front man and vocalist John Darnielle, this incarnation of the band also includes longtime collaborators Peter Hughs on bass, multi-instrumentalist Matt Douglas and Superchunk/Bob Mould drummer Jon Wurster. Beginning with the brooding buildup of 2008’s “In the Craters of the Moon,” the tempo picked up during the dreamy, reverb drenched “Hostages” from the bands most recent album, Bleed Out. Darnielle would introduce the next song by saying “this is about the incipient android takeover” before launching into “Incandescent Ruins.” Slowing things down a bit with “one of them bible songs” in “Hebrews 11:40.” “We’re still working out how this one goes and we’ve been doing that for at least 10 years,” he chuckled. The energy continued to build straight into the song “Younger,” which on this night, meant a little more to birthday boy Matt Douglas. Uncorking one of his most expressive saxophone solos of the night on the song, the entire crowd would sing “happy birthday” to him prior to his beautiful piano duet with Darnielle on the song “Wear Black.”
Mountain Goats multi-instrumentalist Matt Douglas celebrated his birthday on 4/18/23
Darnielle would then play a series of solo songs, beginning with “Jenny,” which the crowd knew every word too. He would remark that he doesn’t plan this section of the set, he just waits for the spirit to move him. “That’s why I envy the Quakers. They’ll sit there for 20-30 minutes waiting for the spirit. I don’t have that kind of confidence. And the other thing is I’ve never been to Albany before, right, so there’s a conflict. I tend to prefer the newer songs with my band, but some people have been waiting a long ass time to see me play some old songs.” Darnielle continues, “So then I feel obligated to play the super old songs, but then the people mainly into the newer ones are like, “I don’t know what that one in the middle was about. Some guy who wanted to kill somebody?” he joked. “This is one of those,” before playing “Black Molly” from 2002’s Bitter Melon Farm.
The crowd became noticeably more exited at the opening cords of another 2002 song, “Color in Your Cheeks,” to the point Darnielle had to stop them from clapping along. “Not to be ungracious, but I don’t recommend the clapping because it loses it’s place and my timing is inconsistent.” “When people start yelling the words along with me, I’m like ‘no, to get into the zone of this song I need people not to be yelling it back at me. It’s just a personal song about somebody I know.” After it’s conclusion, he would remark “I changed the chorus because somebody thought it was too mean. It was my wife.”
The Mountain Goats performing at Empire Live on 4/18/23
A laidback lounge version of “Abandoned Flesh” came next before Darnielle would profess his love for The Grateful Dead and say he “just noticed the next three songs on the setlist are alligatored together, so can the tapers in the crowd please refer to this section as “The Goths Suite,” ala The Dead’s Terrapin Station Suite. The trifecta would include the songs “Abandoned Flesh,“ flowing directly into “Andrew Eldricth is Moving Back to Leeds,” and finally into “Rain in Soho” to complete the so-called Goths Suite segment. Bouncing back “Lizard Suit” and “Palmcorder Yajna,” Darnielle would remark that he was in awe of the Albany audience. “When your back in the dressing room and hear that there’s 800 people in a town you’ve never played before, it could go a couple of ways. You know, like there’s people waiting to hear one or two songs, and you know, you’re not going to play those at the top of the set because you’re not stupid. You’re so amazing, I thank you so much.”
John Darnielle of The Mountain Goats performing in Albany on 4/18/23
An intimate and powerful rendition of “Tallahassee” would follow, prompting Darnielle to call an audible and add a song on the fly. Turning to his bandmates and saying, “Guys, we gotta add another one. That was second to last, but this has been a pretty special show for me. And if they are being amazing, you need to play something from The Sunset Tree.” With that, the well-behaved crowd was rewarded with “Song for Dennis Brown” from the bands iconic 2005 album. Playing off each other and jumping from side to side with huge smiles, a hard rocking “Training Montage” would bring the main portion of the set to a close and leave the Albany audience begging for more.
Make a Wish: The Mountain Goats had their cake and ate it too during their Albany debut on 4/18/23
After walking off stage, the band would return with a birthday cake to present to multi-instrumentalist Matt Douglas. Easing into the encore portion of the show with “You and Your Memory,” one of the bands trademark songs came next with the anthemic “Heretic Pride.” With anticipation reaching a fever pitch for the bands two most popular songs still on the table, Darnielle would have some more fun with the audience. “You may not know this, but there’s like a shadow version of “No Children” forming, waiting for its chance. It’s called “Jazz No Children.” It’s the way mellower version. “Jazz No Children” is the one you sing ten years after you needed no children. “Jazz No Children” is the one that comes when some of the details are funny to you instead of sad.
On the preview side of “No Children,” there’s the people who ask me to play it at their wedding, because they think it would be funny. I say to them, ‘friend, I’ll tell you what. I’ll play it at your ten-year anniversary.” I am safe under these circumstances because anybody who would ask me to play “No Children” at their wedding won’t be having a ten-year anniversary. They’re not taking the whole matter seriously. As my drummer would say, “It’s all a big joke to them.” And yet, I hope when those people sit in a lawyer’s office, they have a little song in their head that helps. This is that song and this, such as it is, is the nature of that help.” Seamlessly shifting from a jazz monologue to an all out punk assault, The Mountain Goats would finally deliver the goods and unleash a cathartic version of “No Children” followed up by their biggest hit to date, “This Year,” which took on a life of its own during the Covid-19 pandemic and has become the calling card of the band.
Giving everyone a chance to shout out the lyrics that meant so much to them during lockdown, it was the kind of reaction that made the hair-on-your-neck stand up. Basking in the sustained adulation, Darnielle said “he kinda feels like playing two more.” Opting to go with “Broom People,” the show would finally come to a close with a rambunctious version of “Spent gladiator 2,” which gave Douglas one final sax solo in the birthday spotlight. “Stay alive. Stay alive. Stay forever alive. Thank you, goodnight.”
Watch fan shot footage of The Mountain Goats performing “No Children” on 4/18/23
Just an incredible performance that reinvigorated your spirit and made you feel alive. Part poetry, part social commentary, part punk rock fury – all delivered with a sense of urgency and passion that simply could not be faked. There are no posers in this band and that sentiment deeply connected with the blue-collar Albany audience. Fortunately fans in New York won’t have to wait nearly as long to see The Mountain Goats perform again. Kicking off their lengthy summer tour in early June, the band will play The Rooftop at Pier 17 in NYC on August 4th.
The Mountain Goats | April 18 | Empire Live | Albany
Setlist: In The Craters on the Moon, Hostages, Incandescent Ruins, Hebrews 11:40, Dance Music, Younger, Wear Black, Jenny, Black Molly, Color in Your Cheeks, You Were Cool, Abandoned Flesh, Andrew Eldritch is Moving Back to Leeds > Rain in Soho > Lizard Suit, Palmcorder Yajna, Tallahassee, Song For Dennis Brown, Training Montage, You or Your Memory, Heretic Pride, Jazz No Children > No Children, This Year
Encore: Broom People, Spent Gladiator 2
Watch fan shot footage of The Mountain Goats performing “This Year” on 4/18/23
Adeem the Artist | April 18 | Empire Live | Albany
Setlist: I Never Came Out, Fervent for the Hunger, Painkillers & Magic, Run This Town, Tiger Prince of Knoxville, Going to Hell, Cast-Iron Pansexual
Brooklyn based rock band Dive Brake have just released their debut EP full of unapologetic progressive rock songs. Along with this, the band has a gig lined up for May 6th at Rockwood Music Hall Stage 2 in Manhattan. Joining them will be Nick Balzano’s band Whaley (fka Logan Whaley Band), and Dysfunktone.
Dive Brake is a progressive grunge jamband trio from Brooklyn. They recorded 9 tracks with Pinch Records, a very small startup label out of Long Island City, and just got their first 3 songs released as an EP titled The Approach.
The tracks are supposed to play well in order. “Static” being the leadoff, coming across funky and heavy. Next, “4 Banger” is an alt-prog banger with 2 different refrains and a jammed out multi part bridge section. Lastly, “Stay on Target” is an 11:34 long epic. The Approach EP is available everywhere.
There will be a follow up LP that contains the rest of the tracks from those sessions where The Approach was recorded. Keep your eyes peeled for more info on that in the coming months.
From casual jams between Nick Pascarella and Steve Remp, following the breakup of Gone Quite Mad, thus, Dive Brake was born. But after grabbing the attention of a longtime friend and collaborator, Dexter Larsen, a once innocuous trio launched into full blown ascent.
With using their distortion laden verses and enveloping choruses, the occasional Latin groove driven bridge, never ending tumults of guitar led melody. Their sound isn’t music you listen to casually, it’s for when you want to be assaulted by sound.
Rising Boston, MA artist, OneShotAce, continues to strike while the iron is hot releasing his 2nd project of 2023. His latest effort, Big Threat, is a quick follow-up to 2022’s Big Pressure, which saw the Boston native collaborate with the likes of Benny the Butcher, Harry Fraud, Rowdy Rebel and Sheff G. The East-coast friendly project was received positively, with the records “Mr. Fire” and “Resonate” serving as standout tracks. After releasing the deluxe edition to Big Pressure at the tail-end of January, he returns with another 10-track LP, keeping his foot on the gas.
Moreover, OneShotAce has recruited platinum selling rapper MoneyBagg Yo, for the project’s single “Blocks,” while once again reuniting with Benny The Butcher on “Mixed Fumes.” Fittingly, OneShotAce’s featured artists mesh well with his own raw, money-driven street tales. With OneShotAce finding a nice middle-ground between aggressive drill-like approach to street music and the emotional, harrowing street tales.
“Working with Moneybagg Yo was major; that’s one of the biggest artists In the industry I’ve worked with to date” OneShotAce exclaimed. “We pulled up to his studio in the A, vibed out, and he jumped on the record and went crazy. I’m really excited for the world to hear it.”
Olivia Barton and Lizzy McAlpine delivered an unforgettable performance at Brooklyn Steel on April 25th. With Olivia’s whimsical and dreamy indie-folk sound, followed by Lizzy’s soulful and emotionally charged ballads, the night was filled with an electric energy that left the audience mesmerized. The two talented musicians complemented each other perfectly, creating a show that will be remembered for a long time to come.
Olivia Barton – Photograph by Chinaza Ajuonuma
Olivia Barton is a Boston-based singer-songwriter originally from Orlando, Florida. Growing up as the youngest of four children to an English teacher and a literary writer, Barton was a sensitive child who quickly took to songwriting. Her musical influences range from The Eagles, James Taylor, and Indigo Girls, which have all shaped her writing style. Her writing can now be compared to contemporary indie folk rock artists such as Margaret Glaspy, Pinegrove, The Staves, and Phoebe Bridgers.
Olivia Barton Setlist: Good Day, I Don’t Sing My Songs, Control Freak, Sonic [Unreleased], I Don’t Do Anything, if i were a fish [corook cover, with corook], I Love You Just For Trying
Lizzy McAlpine – Photograph by Caroline Reynolds
Lizzy McAlpine is an indie folk singer-songwriter from the suburbs of Philadelphia, Pennsylvania, who has been writing music since the 6th grade. She studied songwriting at Berklee College of Music in Boston before leaving in her junior year to pursue music full-time. McAlpine’s debut studio album, Give Me a Minute, released in August 2020, received critical acclaim and has been streamed millions of times on Spotify. She has since released an 8-song EP “When the World Stopped Moving: The Live EP”, made her late-night debut on Jimmy Kimmel, and released her second studio album, Five Seconds Flat. She has a growing global fanbase, as shown by her entirely sold out Spring tour, including 2 shows in NY. With a unique voice and heartfelt lyrics, she has solidified her place in the indie-folk scene.
Lizzy McAlpine Setlist: an ego thing, Over-the-Ocean Call (Andrew), all my ghosts, firearm, doomsday, Give Me A Minute, Nothing / Sad N Stuff, called you again, ceilings, Broken Glass [Unreleased], I Guess [Unreleased], In What World, erase me, come down soon [Unreleased], Pancakes for Dinner, orange show speedway
Olivia Barton – Photograph by Chinaza Ajuonuma
Olivia Barton’s set was an intimate and engaging affair, with the crowd hanging onto every word and chord. From the very beginning, the audience was in sync with the performer – with one fan even shouting out that they were fellow acapella academy alumni like Barton. She kicked things off with “Good Day”, a buoyant and soulful tune that set the tone for the rest of the evening.
Barton’s banter between songs was just as charming and captivating as her music, with the singer reminiscing about her time living in Brooklyn and working at three restaurants simultaneously. She congratulated the crowd on their strength and resilience, telling them that they must be “strong as hell” to make it in the city. The standout song of the night was undoubtedly “Sonic”, a brand new, unreleased track that Barton explained was actually about the restaurant chain “Steak and Shake” and also about the love of her life. The singer stumbled adorably during her performance, accidentally blending the chords of “I Don’t Do Anything” with “Sonic” – a moment that only added to the overall charm of the night. She closed out her set with “If I Were a Fish”, bringing up her partner and fellow musician Corook to sing the song together – a fitting end to an unforgettable set.
Photograph by Chinaza Ajuonuma
The US leg of The End of the Movie Tour is going on all the way until May 13 in Oakland, CA before Lizzy jets off to Dublin for the European leg of the sold out tour.
