This past Monday, March 13, Maya Hawke, well known for her role as Robin on the critically-acclaimed Netflix series Stranger Things, played an incredible show with opener Raffaella at the Music Hall of Williamsburg. The indie-folk singer, with her enchanting vocals and eclectic tone, truly wowed the crowd with various songs from her latest album, Moss. Fans from all over wearing long skirts, patterned tights, and fun jackets eagerly lined up in anticipation of Hawke’s sold-out show, one out of many for her Tactless tour.
Maya Hawke
Maya Hawke, born, raised, and based in New York City to Ethan Hawke and Uma Thurman, grew up surrounded by the music scene from a young age. The 24-year-old began truly taking off with her music career in 2020, with the release of Blush, a twelve-track record evoking somber yet raw lyrics with haunting instrumentals. Hawke, now nearing the end of her tour, is set to play four more shows in the US after playing eight across Europe and the UK. She last played New York in late August at the intimate, 120-capacity Colony venue in Woodstock.
Raffaella took the stage at 8 PM, rocking a pair of star-covered jeans and a gray t-shirt. Her set consisted of multiple songs like “GROWN UP” and “BLONDE” from her recent EP release, LIVE, RAFF, LOVE (Act I). Her clear and energetic tone captivated an engaged audience bobbing their heads along to her indie-rock tunes.
Raffaella
The Music Hall of Williamsburg hosted an engaging and intimate show, with Maya Hawke wowing her crazed and excited fans, many of whom brought signs, gifts, and letters for her to take. Prior to the show, a soundcheck experience and meet and greet were hosted to raise money for reproductive rights nonprofits such as Planned Parenthood and Noise for Now. Hawke improvised a song, “Running Shoes,” per the suggestion of a crowd member, and gave a heartfelt speech about her becoming the “best version of me and not the best thing that exists.” During “Here They Come,” Hawke sang beautifully with Hamilton Leithauser, and she became very emotional during her performance of “Thérèse,” waving her arms around to the beat of the music.
After a quick exit and outfit change, Hawke ended the show with an alluring encore, singing one of her earliest releases, “To Love a Boy.”
Setlist: Backup Plan, Bloomed Into Blue, Hiatus, Crazy Kid, Luna Moth, Into My Arms (Nick Cave & The Bad Seeds cover), Generous Heart, Running Shoes, Mermaid Bar, Missing Out (unreleased), I Wanna Be Sedated (Ramones cover), Here They Come (with Hamilton Leithauser), South Elroy, Thérèse, Sweet Tooth
Since the 1970s, Do-It-Yourself (D.I.Y.) concerts proved to be a vital part of generational music culture, stemming from the thriving underground punk movement in cities like London and New York. The D.I.Y. scene brings local bands, artists, and other like-minded creatives together to build accessible, open environments for the community to enjoy music in safe and inviting spaces.
Our very own Albany has served as an epicenter of the underground music scene for generations, through informal gatherings of college garage bands and local talent. Passing the torch from venue to venue over the years, our generation’s leading venue can be recognized as The Byrdhouse.
Named for a stack of birdhouses in Washington Park and spelled with a “Y” instead of an “I” to make the brand more recognizable, Rachel and Adam founded The Byrdhouse in 2018 while attending undergraduate courses at University at Albany and the College of Saint Rose, respectively.
Rachel recalls attending basement shows at former Saint Rose venues called the Rice House and the Orange Peel as her “rite of passage,” while Adam performed locally in a band called Delphino. Upon the closure of these venues after their founders graduated, the duo partnered with other friends to create their own space to enjoy live music. The Byrdhouse first opened the doors to their basement in October of 2018 for a Halloween show.
A show at the Byrdhouse basement. / Photo Credit: Peter Herrick
“[The Rice House and The Orange Peel] always got really great acts and made a good atmosphere,” Rachel said. “Sort of what I wanted to base Byrdhouse off of.”
The early days of Byrdhouse focused on music and experience, with a tight knit community crew putting on and attending shows. Converting a rental house in downtown Albany into a small concert venue by building a makeshift stage, pitching in to collect speakers and other equipment – all while on a college student budget.
“We were cutting up mattresses, insulating, and making it noise proof,” Rachel said of preparing the rental house basement. “We even deconstructed a bunch of walls in the basement to construct an audience viewing area.”
“We did a lot of work to try to insulate to make sure that things weren’t too loud outside,” Adam said. “We never got a noise complaint, and you know, we were running a pretty tight ship. So that house was never really in disarray, at least not from the shows.”
As the years went on, Byrdhouse began to expand both their reach and notoriety among the Albany music community. Rachel found a passion in formulating setlists of acts of a similar genre for theme night events, and began to popularize amongst music-loving Capital Region college students as a weekend go-to.
Adam and Rachel of Byrdhouse (left-to-right). / Photo Credit: Josh Reedy
“We started off as a venue that was free to everyone…bands that we knew and people that were cool with that and it was fine. But as we started to charge and I started to get bigger acts, I started to formulate shows based on similar genre and theme…if I was doing a theme show…for goth night…I would be looking for all Gothic-esque bands and I would search from different cities” Rachel said.
While Rachel took on promoting and organizing shows, Adam served as what he calls the “technical hand.” What set Byrdhouse apart from other venues was their commitment to sound quality. Eddie, who joined the team later on, took over the sound technology.
“That’s a big deal for me, you have to take care of people’s ear health,” Eddie said. “Some venues now don’t even have a tech person… we were one of the few that had someone, either me or Adam, dedicated to it.”
Byrdhouse kept a consistent lineup of shows up until March 2020, when all events shut down as a result of the COVID-19 pandemic.
“When COVID had hit it had blew out all of my plans. We had thought about doing live streams and stuff, but it just seemed too much at the time for everyone, I think, and after COVID had cooled down a bit…I had talked to some other friends of ours who wanted to keep the Byrdhouse spirit alive,” Rachel said.
The Byrdhouse returned on Aug. 21, 2021 to fans, bands, and artists alike welcoming them back – craving the sense of togetherness underground music once brought. The Byrdhouse returned with the same vibrant energy, and basic health precautions, to ensure locals had fun and bands could get back out into the scene.
“We had a good reputation with people, you know, people would come back and spread the word,” Adam said. “If you see a band that you love play live for you and they tell you that this is our favorite show or one of our favorite places to play, that’s awesome… that’s hard to beat”
Though “covers” were charged at the door, varying from about $5 for entry, the Byrdhouse organizers never took any profit. At the end of the night, the money was counted up and equally distributed to each of the performing acts as payment.
“Basement venues are like nonprofits…you’re working to not make profits…the profit is the community coming together,” Eddie said. “You can tell that bands wanted to play there…it was all focused on the music.”
Guitarist joins the crowd. / Photo Credit: Peter Herrick
After four years, three houses, and one global pandemic, The Byrdhouse held their last two shows at the end of Phoenix Fest, a D.I.Y. festival, in April of 2022.
“Graduating from college I felt like it might be a better time for younger generations to start their own basement venues and pass it along…pass along the torch to the younger generation so they can experience what I did” Rachel said.
Today, Rachel still plays a role in the Albany music scene with the transition of The Byrdhouse to D.I.Y. booking and management group Byrdhouse Records. She says it will “continue with doing shows and booking tours” through above ground venues like No Fun in Troy.
“My heart is in the D.I.Y. scene, but as I’ve gotten older with it, I want to make it into something bigger and more versatile,” Rachel said. “[Opening] an actual established concert venue is something that I dream of.”
*This article originally appeared in a series created by the Albany Student Press, University at Albany’s student-run newspaper.
“It Sounds Better in the Basement” is a developing series playing off of punk band The Devil is Electric’s 2001 release of the same name. The song represents the soul of basement shows and its importance in providing a platform for local bands. As Albany college students, we strongly believe in archiving the student culture of the Capital Region for generations to look back on. As part of UAlbany’s independent student newspaper, it is our mission to tell stories while protecting those who live them – which is why we have chosen to refer to sources on a first-name basis (unless receiving permission otherwise). This series will continue with features of other local venues, bands, and notable figures.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Ampevene, Tops of Trees, and Simplemachine.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Ampevene is a fresh, experimental fusion of original Progressive Rock, Psychedelic, and other genres based out of Albany. The group is currently comprised of Gabe Stallman (guitar and vocals), Mack Hogan (bass), Ava Smith (keys and synth), and Brian McKinney Fahey (drums). They take inspiration for their free-form frenzy, jagged riffs, and hypnotic rhythms from groups like Pink Floyd, Led Zeppelin, TOOL, and more.
Simplemachine – “Ingloria”
Simplemachine just released the anti-suicide anthem “Ingloria,” urging those to get help if they are struggling. The song tugs on your heartstrings as they sing “I never saw it coming/then through the haze/the hum of distant drumming.” The song utilizes powerful vocals and somber violin strings to get the message across that help is available to you, and to please seek it before doing anything drastic.
Tops of Trees – “Frontline”
Tops of Trees are a newly budding original music group based out of Upstate, NY, with a modern interpretation of soulful music steeped in early R&B, funk, and blues.
Sister pop duo Aly & AJ released their fifth studio album, With Love From, on March 15. The album comes after 2021’s A Touch of the Beat Gets You Up on Your Feet Gets You Out and Then Into the Sun, their first studio album in 14 years. Prior to its release, four singles, “With Love From,” “Baby Lay Your Head Down,” “After Hours,” and “Blue Dress” were released in support.
The cover of Aly and AJ’s debut album, Into the Rush. Credit: Amazon
Aly & AJ were born in Torrance, California in 1989 and 1991 respectively, and raised in both Southern California and Seattle. Both of their parents, who are now divorced, work in the music industry, their dad is a producer, and their mother is a musician who performed in the Christian rock band, JC Band. The sisters have a history with Disney, with Aly playing a supporting role in the sitcom Phil of the Future from 2004-06, co-starring in the 2005 Disney Channel Orginal Movie Now You See It, and starring with AJ in the network’s 2006 original movie Cow Belles.
Their debut album, Into the Rush, was released in 2005. The album was heavily supported by Disney, with their cover of “Do You Believe in Magic” appearing in the soundtrack of Now You See It…; the single “No One” appearing in the 2005 Walt Disney Pictures Film Ice Princess; another cover “Walking on Sunshine,” appearing in the soundtrack for the Lindsay Lohan film Herbie: Fully Loaded. The album’s debut track and fifth single overall, “Rush” was featured in Disney’s Twitches, before being released to mainstream radio and becoming their first single to chart the Billboard Hot 100, peaking at 59. Their single, “On the Ride” appeared in the soundtrack for Cow Belles.
Insomniatic, their third studio album, became their most successful release to date in 2007. The album’s debut single, “Potential Breakup Song” similarly became the duo’s most successful single to date. The sisters took an extended break after the album’s release, marking their return in 2017 with the EP Ten Years. In 2021, they released their first studio album in 14 years, A Touch of the Beat Gets You Up on Your Feet Gets You Out and Then Into the Sun. The album didn’t reach the same success as their previous work, but it was supported by a single, “Slow Dancing.”
With Love From marks a minor departure from Aly & AJ’s previous work, something they started doing with their prior album. Highlights from the album include the title track, “With Love From,” and “After Hours.” While their early work encompassed upbeat dance music you were likely to hear at a party in the late 2000s, their newer music is a slower-paced, soft-pop sound. The change feels natural, reflecting the growth they’ve had over the years of their career. Aly & AJ are ready to introduce their new sound to a live audience, headlining a tour this spring that will have a stop at the Hammerstein Ballroom on April 22.
Listent to the With Love From music video by Aly and AJ.
Grateful Dead bassist Phil Lesh performs this week at The Capitol Theatre with a slew of talented musicians for four nights, which started on March 15, Phil’s birthday show. Sunday will see Phil notch his 100th show at The Cap, capping off the celebration.
For Phil’s birthday show, he was joined by Rick Mitarotonda, Grahame Lesh, James Casey, Natalie Cressman, Jennifer Hartswick, John Medeski, & John Molo. The show started off running with “Help On the Way > Slipknot”, with the first set including Deadhead favorites such as “Cumberland Blues” and “Scarlet Begonias”. Later in the set, James Casey’s vocals on “Fire on The Mountain” were masterful.
The second set opened up with “Not Fade Away,” filled with explorative jamming which peaked with a psychedelic “The Wheel” and an energetic “Let it Grow” to close out the set.
Owner of The Capitol Theatre, Peter Shapiro, came on stage to surprise Phil Lesh with a birthday cake. The crowd proceeded to sing “Happy Birthday” to Phil, before the band concluding their encore with a classic “I Know You Rider.”
Phil Lesh – The Capitol Theatre – Wednesday, March 15, 2023
Set 1: Help on the Way > Slipknot! > Cumberland Blues, Dire Wolf, Scarlet Begonias, Fire on the Mountain, Franklin’s Tower Set 2: Not Fade Away, Playing in the Band, St. Stephen > The Other One > Long Time Gone > The Wheel > Let It Grow Encore: Donor Rap, Happy Birthday to You, I Know You Rider
Brooklyn Funk Essentials has debuted their newest single, their feelgood, rollerskating jam ‘Rollin’ (Love Will Be Here)’ out now on Dorado Records.
‘Rollin’ (Love Will Be Here)’ is the 4th single from Intuition, Brooklyn Funk Essentials’ seventh album of stellar, master-crafted R&B, discofunk, poly-riddims and pop-laced hooks, which will drop on May 5th.
Across a career that stretches 30 years and seven albums, BFE have established themselves as an audacious project, fusing soul, hip hop, spoken word, jazz, Latin and of course, funk. The band have built up a loyal international cult following on every continent since inception in 1993 by iconic producer Arthur Baker and bassist Lati Kronlund. BFE was born out of New York’s buzzing hip hop, jazz and slam poetry scenes in the early 90s, rotating some of the finest musicians, DJs, poets, rappers and singers. BFE’s celebrated debut album ‘Cool & Steady & Easy’ (Dorado/RCA 1995) scored an underground hit with the version of Pharoah Sanders and Leon Thomas’ ‘The Creator Has a Master Plan’,while tracks like ‘Take The L Train’ and ‘Big Apple Boogaloo’ became DJ favorites.
This new ’70s soul inspired roller romp and sinewy thump with the luscious vocals of Alison Limerick has its roots in the forever earworms of Ohio Players, Mary Jane Girls and Roy Ayers, complete with Brass Construction-esque horns and a Chuck Brown-inspired go-go break thrown in for good measure. The infectious tune was co-written with original Brooklyn Funk Essentials member and creator Hanifah Walidah (aka Sha-Key), who combined the hooky groove with lyrics capturing the relief when lockdown was finally over and we could party again.
BFE also have made ‘Intuition’ available today for their legions of fans to pre-save. The album is Brooklyn Funk Essentials’ first long player since 6th album Stay Good in 2019. It sees BFE lay out their new ‘all killer no filler’ long player across eight tracks of laid back grooves and arrangements that still remain cool, steady and easy. Alison Limerick (vocals), Desmond Foster (guitar, vocals), Ebba Âsman (trombone, backing vocals), Hux Nettermalm (drums, percussion), Kristoffer Wallman (keys, vibraphone and synths) and bandleader Lati Kronlund (bass, guitars, keys and producer) deliver a confident and vibrant set of originals.
From the roller disco-esque Brass Construction meets S.O.S. Band-like stomp of party selects like ‘AA Side Single’ and ‘How Happy’ to jams like the signature horn-fuelled arrangements, chunky grooves and vox fierceness of ‘Scream!’, ‘Sho’Nuff’ and the hook-laden title track ‘Intuition’. The album also welcomes dub poet Everton Sylvester from the original 1993 BFE band line-up. Sylvester’s honeyed contribution ‘Mama’ celebrates single mothers and was originally written for the band’s 2008 ‘Watcha Playin’long player, but now fused with a sinewy jam lead by Ebba’s dreamy trombone. BFE closes out the 8-track with the quiet storm-ish ‘Unkissed’, a reflective R&B paean about the difficulties of expressing love to those we care about the most when everyday life gets in the way.
For more information, please visit the bands website.
Brooklyn indie-pop artist Oropendola has just released a music video for her newest single “Rorschach Sky.” This is the third and final single off her upcoming album Waiting for the Sky to Speak which has just released today, Friday, March 17th.
Oropendola, who has played with singer/songwriters Half Waif, Barrie, and Samir Langus, stated, “Rorschach Sky” points to the missed opportunity of spending your life waiting for something when life is happening all around you. If you’re waiting for some kind of answer from the sky, you’re not seeing the beauty and the motion in every passing moment.”
“I paused Twin Peaks to watch the kitchen clock,” said Joanna when thinking back on writing Rorschach Sky. “It was moving backwards. A slow, disorienting, luxuriously surreal countdown. April 7th, 2020, which I only knew because I grabbed my phone to type a bunch of exclamation points in my notepad. I had barely changed out of my pajamas for three weeks. I was happy for Time: being able to veer off course. Stretch like silly putty until becoming shimmery and translucent, changing color and sequence like a kaleidoscope. Shifting identity like the clouds.”
Joanna Schubert’s debut album is titled Oropendola, which is a bird whose name translates to “golden pendulum.” These tracks shimmer with bursts of energy and emotion, swinging from playfulness to earnestness with deft, technicolor brushstrokes. The album is a celebration of choosing life even in the face of its ephemerality, and of finding motion even in the midst of stillness.
The album title, which comes from the album’s opening track “Rorschach Sky,” is a fitting one then: the phrase points to the missed opportunity of spending your life waiting for something when life is happening all around you.
On lead single “Knocking Down Flowers,” Schubert finds life in the least likely of places: a construction site. Here, she recognizes and illuminates the power of living at the intersection of contrasts. The album’s emotional core comes through on roiling ballad “Trust the Sun” and clear-eyed album closer “When You Carried Me.”
While much of the rest of Waiting for the Sky to Speak careens across black-ice patches of inner conflict, both these songs offer a tentative hand outward, towards love, friendship, and family. Overall, Waiting for the Sky to Speak is an imaginative and colorful chimera of a collection that marks Oropendola’s triumphant arrival.
To watch the video for “Rorschach Sky,” click the link here.
To listen to Waiting for the Sky to Speak, click the link here.
The improvisatory Rust Dust, also known as Jason Stutts, has announced the release of his sophomore Album, Twere But It Were So Simple via Omad Records. On March 10, the new album was celebrated with a CD release party at The Museum of Folk Art in NYC.
Some musicians require precision for the success of their projects, while others take a supple approach. Rust Dust belongs to the latter group, allowing whatever sounds, words, energy, and emotions to manifest into songs. According to Dust, “I don’t typically sit down to write a song. Sometimes I’m lucky enough to recognize them when they appear.” This process can occur for minutes or over the course of years.
Twere But It Were So Simple is a spacious-sounding LP that was recorded live in a ramshackle Brooklyn brownstone. The vivacious instrumental “Helter Fukov Awakens” segues into improbable guitar pop, with songs such as “All-Lit-Up-With-Nowhere-To-Go” and “UFO.” Additionally, songs like “Ice Queen Sandwich” and “Speaking In Tongues” vibe together like Robyn Hitchcock cornering Townes Van Zandt at a buoyant, boozy rent party. Songs such as “Snakes In My Pockets”, “A Rope Around My Neck” and “Sky,” a haunting, heartbreaking collaboration with the award winning John DeNicola took a somber turn.
Fans can expect to enjoy a harmonious country and a blues roots melody when listening to Rust Dust’s new album. To match his vintage aesthetic, Dust used an old Yamaha nylon and a Godin Multiac which is a modern nylon-string electric designed to mimic an acoustic when plugged to craft his sound.
A mutual appreciation for old gear initially brought Stutts and DeNicola together. The two helmed the first Rust Dust record known as Diviners and Shivs in DeNicola’s Upstate New York studio. His newest album can be featured here.
For a band with such a rich and vast musical archive like the one belonging to The Grateful Dead, when a search for a show recording comes up completely empty, it’s almost hard to fathom. But that appears to the be the case for a Grateful Dead show on March 17, 1970 with the Buffalo Philharmonic Orchestra which has a legacy that seems to grow with each passing year, as pleas for any video or audio recordings continue to go unanswered. In a tragic case of irony, this particular show seems to feature some of the most avant-garde music and experimental visuals of the band’s still fledgling touring career. All we’re left with is a scant trail of news clippings, the recollections of those who were present, and a pretty valid reason as to why any media will never surface.
This performance, which was billed as a benefit for the Orchestra called the Philharmonic Rock Marathon, took place at Kleinhans Music Hall, where the Buffalo Philharmonic Orchestra still plays to this day. This particular gig in 1970 was billed as a collaboration between the worlds of classical and rock music and the first of its kind. After a cancellation by The Byrds, who were originally scheduled to appear, the Grateful Dead swooped in and would seem to serve as more than an adequate replacement for this type of experimentation. The band even waived their normal appearance fee, jumping at the chance to work with Lukas Foss, a renowned German-American pianist and conductor who was musical director of the Buffalo Philharmonic at the time.
‘The Dead’ are accepting expenses but waiving their usual huge fee, to help the Philharmonic benefit and for the ‘privilege and delight,’ as they put it, ‘of working with Lukas Foss.’ It will be a four-hour concert in six parts, any one of them a major event. The whole program, in fact, is history-making as the first fully-shared concert by a rock group and symphony orchestra.
Buffalo Evening News, March 17, 1970
As promised, the performance offered a myriad of musical collaborations that were no doubt enhanced with a state-of-the-art $4000 light rig that was brought in, with a laser beam shone through a prism bathing the music hall walls in color. Between this and a motorized lift platform in the orchestra pit that the band played on, which at one point would rise when they played and lower when the orchestra took over, the Grateful Dead’s fingerprints on the modern day jam scene only grow more evident.
Finally, the merging of two musical forms, the Dead and the Philharmonic in an old-time jam session. Also on the program will be a new concept in light shows. Laser beams!
Joe Fernbacher, from the Spectrum, University at Buffalo, March 13, 1970
The Grateful Dead and Buffalo Philharmonic Orchestra were joined by another band on stage as well, The Road. All three outfits, under the stewardship of Lukas Foss, combined to produce a night full of incredible music that, sadly, seems to have gone unrecorded. The first portion of the evening saw Lukas Foss at the piano, backed by members of all three groups, playing his own piece called “Non-Improvisation,” a 1967 composition for four players (clarinet, violincello, piano & percussion), based on the first movement of Bach’s concerto for harpsichord in D minor. The aim was for all the musicians to create a rhythmic and electronic counterpoint to the piano, which seemed to be a much easier hurdle for The Dead to clear than The Road.
As conductor Foss played his Bach non-improvisation, the Road came in around him with their wall of sound, providing a bit too much rhythm & shout and not enough freeform experimentation. The Dead worked their wave of music more adeptly around this freeform style.
Deadbase Review
The Road did get a set of their own at some point afterwards, though the few reviews found online seem to focus more on the Dead Head-heavy crowd vocally urging them off the stage, clamoring for their band to return. Naturally, with no known recordings, the song selections for the Dead’s set that followed are sparse at best. But we do know “Dark Star” was prominently involved, a song in its full experimental glory in 1970. And in the night’s sense of collaboration, the band even brought on a third drummer to join in the musical fray.
The Dead uses two drummers, Mickey Hart and Billy Kruetzmann, to form a ‘figure 8’ of sound around the guitars and organ. This duo broke from the set rhythm of ‘Dark Star’ into a ping-pong drumming contest, adding a new beat with each volley. They closed the match with a duet synchronizing move for move. Lynn Harbold, Philharmonic percussionist, joined in this number on Hart’s drums doing a fine job.
James Brennan, from the Buffalo Evening News, March 18, 1970
After the first of two billed sets of standalone Grateful Dead music, Foss returned to the stage with a battery of sub-conductors to lead the orchestra in the American premiere of his “Geod,” where the laser show with the aforementioned prism and laser beam seem to have been prominently involved. “Geod” required five conductors to give cues to play audibly and inaudibly. Most of the music was said to be very quiet, familiar tunes played against a soft curtain of sustained tones, with snippets of wind phrases added for context. “Taps,” “Battle Hymn of the Republic,” “Going Home” and a very slow “Merrily We Go Along” were just some of the tunes heard in this sequence which even had the audience participating as well.
Sounds included gentle singing from the orchestra, organ, harmonica, percussion & mandolin. The audience joined in clapping at once point, and by the end of the performance was making knocking, popping mouth sounds that seemed to fit quite well.
Thomas Putnam, from the Buffalo Courier Express, March 18, 1970
The Grateful Dead then played their second set of the evening, though few details are available. The only other known song selections from this evening appear to be a “Saint Stephen,” which saw firecrackers thrown on stage at one point, and a set closing “Turn on Your Lovelight” helmed by Pigpen. Reviews of the show seem to pay more attention to the crowd’s palpable love of the band and the energy present at Kleinhans Music Hall this evening.
When the Dead got warmed up, it seemed the audience would not be content with anything less than having the Dead finish the concert by themselves. Speaker fuzziness spoiled the first number, but after the sound system was improved the group went through several numbers with good effect, including a long performance in which the beat had most of the audience clapping and dancing.”
Deadbase Review
After a second set of Dead music, the Buffalo Philharmonic returned to the stage, conducted by Foss for two John Cage pieces titled “Variations II” and “Variations III.” This reportedly featured tuxedoed members of the Orchestra walking down the aisles, all playing small triangles in time, creating an eerie, funereal-like atmosphere that surely was a sharp juxtaposition from the euphoria that seemed to be present earlier.
The final segment of the Philharmonic Rock Marathon gave the musicians one last chance to produce this revolutionary blend of rock and orchestral music. Both The Road and The Dead were brought back on stage to join the Buffalo Philharmonic with half of the Orchestra assigned to each. Another conductor led The Road’s section at one end of the hall and Foss conducted the Grateful Dead and its half of the Orchestra at the other end. With conductors issuing verbal instructions on how and when to play, the two sides went back and forth in a musical free for all, closing out the evening in grandiose fashion.
The closing rock-Philharmonic challenge is the most exciting new concept of contemporary music. As the groups and orchestras jammed, the atmosphere was intensified with a laser-beam light show. Rapid patterns and curves of pure light chased along the walls in time with the music like frantic balls of yarn…As an evening of rock and symphony avant-garde it was not only entertaining and often exciting, but carved new territory for players and listeners in both styles.
James Brennan, from the Buffalo Evening News, March 18, 1970
Unfortunately, this magic doesn’t seem to have been captured anywhere except in the minds of those who were present. Monetary rewards have even been offered at this point for anyone who may have a recording of this hidden somewhere among their stash. But there appears to be a logistical reason as to why this will never appear. According to the Philharmonic archivist, union rules made taping impossible, and recordings of live symphonic concerts without recording fees were forbidden. Add in the factor of the sheer size of taping equipment in 1970 and it’s no wonder that there wasn’t much of a Tapers Section at this show.
That being said, if anyone does happen to stumble upon any possible leads of a recording of this show featuring the Grateful Dead and the Buffalo Philharmonic Orchestra, they are eagerly encouraged to contact NYS Music or Chris Foss, son of Lukas, at fosscb@gmail.com.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Welcome to Round 4 of NYS Music’s March Madness 2023. We’ve whittled down 64 the bands to these Elite 8 up and coming bands from across New York State. They’ve made it this far, and we’re digging in and highlighting this next generation of New York bands on the rise.
Since 2015, New York State Music has crafted a March Madness competition that spans all the musical harbors of the Empire State. As fans and musicians, the NYS Music team aims to spotlight the great talent found across New York in a friendly contest, bringing broader attention to the next generation of artists and bands on the rise. March Madness 2023 highlights 64 bands and artists you might not know, but should know, as these homegrown talents are making waves through the New York State. Check out Round 3 here.
Enter your email address, get to know the bands, and vote for your favorites below!
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Voting for Round 4 has ended. Stay tuned for the Final Four, starting Tuesday, March 21.
Yard Amphitheater Region
Honey Suckle Vine vs Mainline
Meet Honey Suckle Vine – Capital District
Honey Suckle Vine (HSV) is a high-energy 4-piece blues-rock band based out of the Capital District of New York State. The songwriting team of Joey Jaquez (vocals, harmonica) and Jeremy Silverman (guitar, vocals) have been creating original material for over 20 years across the USA. Joined in 2017 by long time friends Graham Espe (bass, vocals, recording and production) and David Snediker (drums, vocals), HSV is ready to entertain. Check out their most recent album Painted Nights. On March 24th, they’ll be playing at Putnam Place with Tops Of Trees, Kyla Silk, and House of Saturn. You can also catch them at Active Ingredient Brewery for an acoustic show on March 25 and Nanolas on April 15th.
Meet Mainline – Hudson Valley
Mainline officially hit the scene at the end of 2019 when Anthony Schettino (Bass), Johnny Iodice (Lead Singer & Guitar), Mason Servedio (Drums), and Devin Reck (Guitar) released their debut single “Open Fire” which eventually led to the self-titled EP that came out in February of 2020. Their album “The Unholy Idol” has garnered up over 80,000+ streams across platforms, and has gotten worldwide attention. The current lineup since 2022 now includes Ryan Hartell on guitar, replacing Devin Reck. As of November 2022, the band released their most recent single “In Nothing We Trust” everywhere on streaming. Their last show was March 10 at Pete’s Saloon in Elmsford, NY. You can find Mainline on April 22 at Dingbatz in Clifton, NJ, opening for Kore Rozzik!
Funk n Waffles Region
Fine Grain vs Forest Dwellers
Meet Fine Grain – Troy
Fine Grain, a shoegazey punk band from Albany took both the red and blue pills with a Genny and got banned from Trader Joe’s. The girthy tones of this gritty group will remind you of late nights on a stoop in September, your first beer after work, weird questions about your parents cephalopods, and of course, the crushing weight of capitalism. With prog-inspired riffs, post-punk murk, and the occasional ripping sax solo, fine grain offers up rambunctious reverie fit for hardcore fans of all generations. Fine Grain’s maturation is a testament to the transformative possibility of punk, showing how pulled threads of the past can still stitch together a promising new future. Check out their album “Missing Adult“.
Meet The Forest Dwellers – Rochester
The Forest Dwellers are a reggae-infused folk/ indie group based out of Rochester, NY that plays universal medicine music. The band blends melodic music with incredible vocal harmonies. Stemming from different styles and genres, The Forest Dwellers fuse them into a new take on a familiar sound all its own. Listen to their song “Open Road” here. The Forest Dwellers are playing Sterling Folkfest in Sterling, NY dates May 25th- 29th. As well as The Family Hoedown at the G Lodge in Hannibal, NY dates June 9th-11th. You can also catch them playing every Wednesday in June at Abilene Bar and Lounge in Rochester, NY as part of their first residency.
Jane Dough Region
Murder in Rue Morgue vs Sarah King
Meet Murder in Rue Morgue – CNY
Murder in Rue Morgue is CJ Carr, John Wolff, Matt Biss, and Dan Ouimette, hailing from the hometown of Manowar, and Level 7 in Auburn. The band is highly influenced by melodic death metal, such as In Flames, Killswitch Engage, and Times of Grace. The band is a group of hardworking musicians who leave it all up on the stage giving the best show every time. Listen to their 2019 album “Endless Cycles” here.
Meet Sarah King – Hudson Valley
Known for her powerhouse voice and “fiery, vulnerable songs,” Sarah King creates thought-provoking, versatile Americana music. Her genuine stories about real-life emotions and situations also draw on classic folk-blues themes, balancing songs about the devil and booze with hard-won moments of reflection and acceptance. Her acclaimed 2021 EP The Hour, produced by Simone Felice and David Baron, earned her recognition as the New England Music Awards Songwriter of the Year and performances at the 2022 Folk Alliance International and Philadelphia Folk festivals, as well as supporting slots for acts including Blues Traveler and The Steel Woods. Sarah will be busy finish recording her new album in Woodstock in May before playing at Red Ants Pants Festival in Montana at the end of July. She’s also scheduled for a busy summer of festivals and touring, so be sure to stay tuned for announcements!
Strand Theatre Hudson Falls Region
The E Block vs Seize Atlantis
Meet The E Block – Capital Region
The E-Block is a 5-piece indie R&B band based in Upstate New York, blending the acoustic warmth of singer-songwriter music with an ice-cold rhythm section informed by modern R&B. Led by guitarist Luke Pascarella, with the line up of saxophonist James Soren keyboardist Devin Tetlak, bassist Daniel Folds, and drummer Leroy “Rudy” Dalton, the band’s deep bag of influences and free-flowing style have earned them a reputation as a unique live act in the Capital Region scene. Follow their instagram for all the current action, including their new project “Waterfall” releasing this spring. In the meantime, listen to their most recent track “Stay” here. There are currently no upcoming shows, but check back on their website for any announcements.
Meet Seize Atlantis – Glens Falls
Seize Atlantis has a unique, tight sound fueled by punchy bass, hard-driving percussion, melodic lead guitar, and pronounced moody vocals with meaningful lyrics, a truly dynamic range of soft to heavy Alternative Rock. Formed in 2019 out of Glens Falls, Seize Atlantis is a four-piece band most closely influenced by bands such as Red Hot Chili Peppers and Pearl Jam, providing their own spin on a variety of covers from classic rock to modern pop in addition to their own original music. Seize Atlantis is currently working on their second EP which will be released this July. Listen to their most recent release, “I Need It” here. Catch their performance at Scally’s Roadside Bar and Grill in Hudson Falls on March 24th.
NYS Music has partnered with these great businesses across New York State to highlight the 64 up and coming bands and artists of NYS Music March Madness.
The finalists of of each region will be rewarded with a collection of prizes worth $3000. Partners for NYS Music’s March Madness 2023 include Mirth Films from Albany, a music news/entertainment outlet that specializes in original video content and live streaming, with news coverage ranging across the whole country, who will provide a professional multi-camera recording session at a prestigious venue in Albany for the winning band, premiering exclusively on Mirth Films.
Additionally, one finalist will earn a spot on the lineup for the Scarsdale Music Festival, held on June 3, 2023.
WEQX is a radio station in Manchester, VT. They’re are completely independently owned and operated, always have been, since 1984. This station exists out of a love for music, a love for radio, and the commitment to always giving their listeners the best of the best.
