Modern rock-folk band ‘The Left-Handed 2nd Baseman’ have announced the release of their latest album, The Dogs Race to the Door.
The Left-Handed 2nd Baseman (LH2B) is based in Rochester and became the creation of singer/songwriter/producer Fran Broderick. They fuse diverse musical influences ranging from alt-folk to synth-pop, the result by stirring anthems is anchored by Broderick’s captivating lyrics.
The upcoming release for The Dogs Race to the Door arrived on October 21 and marks the first full album with the LH2B band and the first album since 2018’s Trench Digging During Peacetime. Including 10 new songs while 2 are reworked tunes from 2015’s Eudaimonia. The band includes vocalist/guitarist Fran Broderick, drummer Zak Mendoza, bassist Dan Carter, Shane Kelsen on piano, organ & synth, rhythm guitarist Ben Rossi plus backing vocals and co-producer Brendan Simms.
The Dogs Race to the Door uses a collection of combined acoustic sounds while implementing synthesized elements to create an upbeat soulful mix of alternative folk songs. Their vocals are gruff yet heartfelt and exhibit themes of overcoming hardship, their experience with manhood while articulating these themes through storytelling. This album is sure to get your body grooving, head bobbing and feet moving
Key Tracks: I-90, Branch Collar, A Man Under the Influence
Nora Polinnia’s sophomore EP, Present Chronicles, is more than just a collection of songs; it’s a heartfelt expression of resilience and a call to action. While residing in New York City, Nora’s music transcends borders and languages, making her an influential voice in the fight for justice.
In her own words, “Yes, indeed, there is a time and place for groovy, happy music – such was my first EP. However, I think that now it is time to clarify my beliefs and the beliefs of those I hold close.”
Present Chronicles is an EP that came to life unexpectedly, driven by the collective pain of Nora’s home country, Ukraine. As she watched the world around her, Nora couldn’t help but wonder how she could make a difference, how she could channel her anger and communicate the Ukrainian people’s struggles to the rest of the world.
The result is a musical journey that delves into themes of resilience, loneliness, betrayal, and the responsibilities that come with our heritage. It’s an exploration of the human experience during times when accepting reality is not an option.
“Some of the songs I wrote didn’t seem war-related to me at all. They didn’t feel like they encapsulated the message I wanted to put out. Some I wrote before the war even began, but soon I realized that they are very relevant. They address all of the emotional factors and burdens that came into play because of what was happening.”
Nora Polinnia
Nora’s Present Chronicles doesn’t aim to invoke pity; it seeks to reveal the anger and resilience of the Ukrainian people and expose the reality of the Russian invasion. Tracks like ‘KGB‘ on the EP boldly challenge Russian propaganda and use ironic lyrics to mock the regime.
This musical project, born out of a deep sense of purpose, carries a message of hope and strength. Nora hopes that her music will serve as a legacy, a testament to the strength and resilience of the Ukrainian people.
Nora Polinnia’s artistry is a reflection of the power of music to inspire change, and her music carries a message of hope and resilience that resonates deeply with her audience.
Celebrating the 20th anniversary of their platinum-selling debut album Permission to Land, The Darkness flew into Terminal 5 this past Wednesday night, October 18 at a 3,000 capacity concert hall located in Manhattan’s Hell’s Kitchen – for the twelfth layover on their massive, 52-date global trek.
For those unfamiliar, the British quartet of Justin Hawkins (vocals, guitar, keyboards), brother Dan Hawkins (guitar), Frankie Poullain (bass) and Rufus Tiger Taylor (drums), son of Queen’s Roger Taylor, erupted onto the music scene in 2003 with said album’s infectious hit single “I Believe In A Thing Called Love.”
Justin Hawkins of The Darkness | Photo Credit: Michael Dinger
Providing opening support for The Darkness were Josh Dion (vocals, drums, keyboards) and Geoff Kraly (bass, modular synthesizer), better known as Paris Monster. Formed in 2012, the indie experimental duo and local natives hailing from Brooklyn took the stage promptly at 7:50 pm. Known for their musical virtuosity, Dion and Kraly play multiple instruments simultaneously and sound more like a quartet rather than just the two of them. As Hawkins would exude to the packed venue later in The Darkness’ set, “Frankie described it to me earlier. He says, ‘it sounds like aliens came down to Earth, listened to some of our music, and then decided to do their own version of it.’ Their fucking amazing. Paris Monster, it’s my favorite band.” The highlight of Paris Monster’s 40-minute, 10-song set was the closing number “A Vision Complete,” lifted from their debut EP It Once Had Been Kind released in 2013. For fans of the beat-driven, groove-based sound, inter-mixed with elements of funk and soul, I strongly urge you to check out their first full-length album entitled Lamplight (2019).
Paris Monster | Photo Credit: Michael Dinger
With The Darkness’ stage crew having put the finishing touch to the set, all of whom donned matching navy blue boiler suits complete with their nickname on the back, Abba’s instrumental “Arrival” played on tape over the house PA. And right on schedule, at a few ticks past 9;00 pm, the house lights went dark and the rock and roll outfit from ‘the other side of the pond’ appeared from the shadows.
Dan Hawkins of The Darkness | Photo Credit: Michael Dinger
Playing 2003 Permission to Land’s album in its entirety (and according to Justin, “in no particular order”), the 90-minute set kicked off with “Black Shuck,” a song about the Old English legend of a ghostly black dog roaming the English coastline – which actually is the lead track from their debut album. Before exploding into “Get Your Hands Off My Woman,” Justin spotted a fan along the rail sporting a brilliant, Queen-branded Hawaiian shirt that he confessed has “coveted for many moons.” After asking that the shirt be taken off and handed over, Justin quipped, “Thanks friend, you’re never going to see it again. Cheers!”
Frankie Poullain of The Darkness | Photo Credit: Michael Dinger
As the festive night ensued, Justin and his mates gifted the power ballad and fan favorite “Love Is Only a Feeling,” and then ripped through their pop anthem and smash hit “Friday Night,” backed by an exceptional Gotham audience who belted out the infectious chorus in unison. With the epic gig’s denouement upon us, Justin sang a beautiful rendition of “Happy Birthday” to Josh of Paris Monster, followed by “I Believe In A Thing Called Love” – sans audience members taking pictures or video with their phones – as per Justin’s request.
Rufus Tiger Taylor of The Darkness | Photo Credit: Michael Dinger
After taking a few moments off stage for everyone to catch a collective breath, The Darkness triumphantly returned to the stage rocking silk bathrobes. As Justin introduced the band before commencing the penultimate track “I Love You 5 Times,” there had been some personnel reshuffling – brother Dan was now behind the kit, Frankie had taken up an acoustic guitar, Rufus had a bass in his hands and their guitar tech, Softy, was seated at the Mellotron. The night concluded at 10:30 pm, but not before Justin majestically rode atop the shoulders of a roadie through the floor crowd during the solo to “Love on the Rocks With No Ice,” which was preceded by an impromptu jam of Don McLean’s “American Pie” (and not the full version that Justin had jokingly promised!).
Justin Hawkins of The Darkness | Photo Credit: Michael Dinger
Hawkins is the quintessential embodiment of the rock star persona, and per usual, he was at the top of his game on ‘hump day.’ His flamboyant, explosive on-stage energy was truly a spectacle to behold. Equipped with a signature falsetto and exquisitely delivered guitar solos featuring an intricate fingerpicking style, Hawkins gives The Darkness a magnificent pageantry that stands up in comparison to the likes of his biggest influences, notably Bon Scott, Steven Tyler, Robert Plant and Mick Jagger. Whether it be his dramatic gesticulations, a high-flying leap off the drum riser that would make David Lee Roth proud, or a show of strength by holding a self-supported handstand for what seemed like an eternity, he exhibited true showmanship and an enduring passion for his craft.
Watch The Darkness perform a cover of Radioheads’ “Street Spirit (Fade Out),” immediately followed by “Holding My Own” here:
This past October 6th, an expanded edition of Permission To Land was dropped by the band as a five-LP package, a four-CD+DVD package, a double-CD package, as well as across various digital streaming platforms. Fans of The Darkness can also look forward to a feature-length documentary dubbed “Welcome To The Darkness” coming to cinemas for one night only, on November 9th, in the UK and Ireland. Distributed by Lightbulb Film Distribution and directed by renowned photographer Simon Emmett, the film is a comeback tale of a “cult band” in search of its past glory that will also be available on digital download and Blu-ray beginning December 4th.
Paris Monster Setlist: The Unclean > Laugh it Off > Andalusia > Hot Canyon Air > Ape > I’m Not Gonna Miss This Dive > Grandma > Darkest Days > Had Damon Caught His Sloane > A Vision Complete
The Darkness Setlist: Black Shuck > Get Your Hands Off My Woman > Growing on Me > The Best of Me > Makin’ Out > Givin’ Up > Love Is Only a Feeling > Curse of the Tollund Man > Stuck in a Rut > How Dare You Call This Love? > Street Spirit (Fade Out) > Holding My Own > Friday Night > Happy Birthday > I Believe in a Thing Called Love > Encore: I Love You 5 Times > Love on the Rocks With No Ice
UPCOMING WORLD TOUR DATES
10/21/23 – Sayreville, NJ @ Starland Ballroom 10/22/23 – Washington, DC @ 9:30 Club 11/07/23 – Berlin, Germany @ Admiralspalast 11/08/23 – Hamburg, Germany @ Markthalle 11/09/23 – Köln, Germany @ Essigfabrik 11/11/23 – München, Germany @ Technikum 11/13/23 – Ciampino, Italy @ Orion Live Club 11/14/23 – Milan, Italy @ Alcatraz 11/15/23 – Nonantola, Italy @ VOX CLUB 11/17/23 – Prattleln, Switzerland @ Konzertfabrik Z7 11/18/23 – Luxembourg City, Luxembourg @ den Atelier 11/20/23 – Rubigen, Switzerland @ Muhle Hunziken 11/22/23 – Bruxelles, Belgium @ AB 11/23/23 – Paris, France @ La Cigale 11/24/23 – Amsterdam, Netherlands @ Melkweg 12/02/23 – Belfast, Northern Ireland @ The Telegraph Building 12/03/23 – Dublin, Ireland @ 3Olympia Theatre 12/05/23 – Edinburgh, Scotland @ 02 Academy 12/07/23 – Newcastle Upon Tyne, England @ O2 City Hall 12/08/23 – Norwich, England @ UEA LCR Norwich 12/09/23 – London, England @ Roundhouse 12/11/23 – Glasgow, Scotland @ Barrowland Ballroom 12/12/23 – Manchester, England @ New Century Hall 12/14/23 – Bristol, England @ Bristol Beacon 12/15/23 – Nottingham, England @ Rock City 12/16/23 – Wolverhampton, England @ Wulfrun Hall 12/18/23 – Leeds, England @ O2 Academy 12/19/23 – Nottingham, England @ Rock City 12/20/23 – Brighton, England @ Brighton Dome 12/22/23 – London, England @ Roundhouse 01/26/24 – Wellington, New Zealand @ The Opera House 01/27/24 – Auckland, New Zealand @ Powerstation 01/30/24 – Adelaide, Australia @ Hindley Street Music Hall 02/01/24 – Fremantle, Australia @ Metropolis 02/03/24 – West Melbourne, Australia @ Festival Hall 02/07/24 – Brisbane, Australia @ The Fortitude Music Hall 02/09/24 – Bruce, Australia @ UC Refectory 02/10/24 – Moore Park, Australia @ Horden Pavilion 03/02/24 – Miami, FL @ Monsters of Rock Cruise
The night at Elsewhere Brooklyn with Sam Gellaitry showcasing his newest EP, Under the Illusion, was nothing short of a mesmerizing musical journey. On October 13th, the venue buzzed with anticipation as Gellaitry took the stage and immediately immersed the crowd in a soundscape that can only be described as pure auditory bliss.
Under the Illusion is a testament to Gellaitry’s evolution as a musician. The EP seamlessly blends elements of electronic, hip-hop, and R&B, creating a tapestry of sound that is both innovative and emotionally resonant. Each track on the EP carries a unique flavor, yet they all maintain a consistent, ethereal quality that captivates the listener. From the dreamy “Alone” to the groove-laden “Think I Know,” the EP takes the audience on a sonic journey that transcends genres.
What truly sets Gellaitry apart is his ability to connect with the crowd. Throughout the performance, he exuded an infectious energy and passion for his craft. His interactions with the audience were genuine and intimate, making everyone feel like they were part of a shared musical experience. His stage presence was magnetic, and it was evident that he was pouring his heart and soul into every beat and melody.
Elsewhere Brooklyn provided the perfect backdrop for this musical odyssey. The venue’s industrial-chic aesthetic and state-of-the-art sound system were a perfect complement to Gellaitry’s avant-garde style. The crowd’s energy was electric, with fans of all ages and backgrounds coming together to celebrate the music. The atmosphere was both vibrant and laid-back, creating an environment where people could lose themselves in the music and dance the night away.
Gellaitry’s performance of Under the Illusion was a testament to his artistic prowess and ability to connect with his audience on a profound level. The night at Elsewhere Brooklyn will undoubtedly be remembered as a magical evening where music transcended boundaries, and the crowd’s energy and vibes were a testament to the unifying power of sound. Under the Illusion by Sam Gellaitry was not just a collection of songs; it was an experience that left a lasting impression on everyone fortunate enough to be there.
Deliriant Modifier, a new collaborative album by Sally Gates (Titan to Tachyons), Trevor Dunn (Mr. Bungle) and Greg Fox releases on October 20. The record is inspired by a neuroscience thesis by Anil Seth, and explores ideas of limitation, perception, and improvisation in the musical realm.
Sally Gates references neuroscientist Anil Seth’s thesis, saying: “Perception = controlled hallucinations. Hallucinations = uncontrolled perception”. The group took this as inspiration, using controlled perception as a grounding idea in the creation of their record. Deliriant Modifier is entirely improvised, with the exception certain parameters, cues, and duration times set in place for each track.
Improvising is the result of a natural outpouring of everything you absorb. Whatever you’ve been listening to, practicing, or even reading, watching.
Sally Gates
The first track, “Macro/Micro,” is an eclectic exploration of percussion, strings, and guitar, forming a captivating opening to the record. The improvisation begins sporadically, and as the track continues, the musicians find clarity and cohesion.
The sixth track on the record, “Limits Of A Circle,” begins with a striking, wavering percussive introduction. A strong, gritty guitar interrupts it with thrilling riffs and solos, but the track truly shows the group’s skill in creative percussion.
“Excise Spurious Time,” the closing song, introduces a clear, nervous piano, responding to itself with higher and lower harmonies. The piano exudes nimbleness, as the musicians form what could be soundtracked against a harrowing film.
Using limitations as a framework for improvisation is one way to set goals, think about form, and harness the freedom. Anarchy is ok some of the time, but it’s also nice, for the listener and the performer as well, to keep things from going off the rails all the time.
Trevor Dunn
The three New York-based musicians began the composition of Deliriant Modifier by asking the question, “Do limitations aid or hinder the functionality in composition?” Answered by the unique composure and creative responses to the improvisational prompts, it aids their originality and bold appeal.
Deliriant Modifier released on October 20 on Riverworm Records. The artists are Sally Gates, Trevor Dunn and Greg Fox.
In April of 1994 Phish appeared at the Alumni Arena on SUNY Buffalo’s campus. Trey fell through a hole in the stage during soundcheck which would hobble him for the remainder of that spring tour. It’s possible the band held that incident against the entire city of Buffalo. They didn’t return until two and half years later, and that show, on October 19, 1996, would be their last ever visit to the Western NY metropolis. That was 27 years ago.
Fall 96 Postcard via PhanArt.net
Fall 96 Postcard via PhanArt.net
It was a show I had the pleasure of attending. A junior at Syracuse, I had netted just one show that summer, and was determined to take advantage of the Mid-Atlantic start to the tour that would wind them down the coast to Atlanta for the famous “Remain in Light” Halloween show. Tucked between Wednesday night shows in Lake Placid and Hartford, CT, which in retrospect I am not sure how I pulled off either, let alone both, was an easy rust-belt Friday-Saturday run from Pittsburgh up to Buffalo. So out we headed.
The band was a bit uneven at this point, early in the tour, and in 1996 in general. Lake Placid was nothing special, Pittsburgh was solid and this Buffalo show, was generally forgettable. And forgettable is a pretty apt word from my personal standpoint, I really don’t have a lot of strong memories from that night, couldn’t even tell you a single song they played offhand. And popping the show in for another listen, I can’t really recommend anyone put this in their queue. The playing is fine, the song selection is fine, but there’s just nothing really notable here to be worth anyone’s time.
I have but one strong memory from this show.
In those days, I was stubbornly determined to be in the front row. I literally had nothing better to do with my time. If it meant sitting out in the baking sun all day and then sprinting like my life depended on it, I did it. If it meant waiting out in the bitter cold singing “Tweezer” with some newfound friends, I did it. If it meant weaseling my way down to the floor and sneaking my way past multiple levels of security, I did it. The latter worked like a charm the previous night in Pittsburgh, a far superior show which I enjoyed front and center.
Fall 96 shirt via PhanArt.net
Fall 96 Phish via PhanArt.net
At Buffalo, I again snuck onto the floor and was biding my time chatting it up with some friends who were right on the wall of the 100 level. We were talking about the Pittsburgh show and I mentioned where I sat. They asked where I was sitting that night, and I coyly mentioned I would be in the front row again. They didn’t think I could do it, so now I definitely had to come through. Shortly before the lights went down I walked down the aisle right to the front row and there was an empty seat just waiting there for me, right in front of Trey. Easy peasy!
Fall 96 shirt via PhanArt.net
Some blurry footage of most of the entire show on YouTube can be found below. I watched it all. Like I said, I can’t recommend it for the music. Even for a nostalgic look back at the band and how the lights were back in “the day” is ruined by excessive zoom and blurrier than blurry footage. As I sat through the whole thing trying to figure out what I could possibly say about this show, it took until the end of the very last song for it to dawn on me. The video finally panned out to show the full stage, lights and crowd during the peak of “Run Like an Antelope.”
There is a blurry visage of a young guy in the front row bouncing up and down and throwing his fists wildly into the air as the band goes into manic climax mode. That would be me. Two plus hours of feeling somewhat down on the memory of a ho-hum concert was erased instantaneously. There’s just something about seeing a 27-year younger version of yourself, no matter how blurry, finding ultimate bliss for a few minutes. Guess the show wasn’t all that bad, that guy seemed to be enjoying it.
Phish – Marine Midland Arena, Buffalo, NY – Saturday, October 19, 1996
Soundcheck: Funky Bitch, Reggae Jam, Life On Mars?, Billy Breathes
Set 1: My Friend, My Friend, Rift, Free, Esther > Llama, Gumbo, Down with Disease > Prince Caspian > Frankenstein
Set 2: AC/DC Bag, Sparkle > Slave to the Traffic Light, Bouncing Around the Room, Split Open and Melt, Fluffhead, Swept Away > Steep > Run Like an Antelope, Hello My Baby
Encore: Fee[1], Rocky Top
[1] Trey sang verses through megaphone. The second set started with a Wish You Were Here tease.
On Saturday night, October 14, the Patchogue Theatre in New York came alive with the spellbinding music and visual artistry of the legendary guitarist, Andy Summers. The crowd gathered in anticipation of a performance that promised to be much more than just a concert. As part of his tour entitled “The Cracked Lens + A Missing String,” Andy Summers combined his exceptional guitar skills with a unique multimedia presentation.
The show kicked off with the hauntingly beautiful “Tru Nature,” setting the tone for what was to come. With his distinctive guitar style and unparalleled skill, Summers effortlessly transported the audience into a world of musical wonder. The setlist was an eclectic mix of his solo works and iconic songs from his time with The Police, making it an experience that catered to fans both old and new.
What truly set this evening apart were the interludes between songs, during which Summers shared captivating anecdotes. These stories offered a glimpse into the inspirations and experiences that shaped his music and life. One unforgettable tale involved an accidental overdose of Ambien, which left him with no memory of how he made it from the plane to his hotel. This candid storytelling offered a humorous yet humanizing perspective on the legendary artist.
The evening continued with songs like “The Last Dance of Mr. X” and “Tea in the Sahara,” which not only showcased Summers’ musical virtuosity but also his storytelling ability. Each song became more than just a composition; it transformed into a vivid narrative that resonated deeply with the audience.
Another remarkable story recounted Summers’ adventures with the late John Belushi, where they embarked on a journey involving magic mushroom omelets. The audience was transported into this wild and unexpected adventure through Summers’ vivid storytelling, making them feel like they were right there with him.
The visual component of the show was equally mesmerizing. Behind Summers, a large screen displayed a collage of photographs he had taken throughout his storied career. These visuals served as a stunning backdrop, creating a visual narrative that harmonized with the music. The result was an immersive experience that combined sound and sight, forging a profound connection between the artist and the audience.
The show culminated with the iconic “Message in a Bottle,” leaving the audience with a lasting memory of an extraordinary evening that transcended the boundaries of a typical concert.
Setlist: True Nature, Metal Dog, The Bones of Twang Zu, The Last Dance of Mr X, Tea in the Sahara, Round Midnight, Spain, Roxanne, Manha de carnaval, A Felicidade, Triboluminescence, Spirits in the Material World, Bring on the Night, Message in a Bottle
Multi-Grammy award winner Thundercat came to Buffalo Riverworks on October 14, showcasing his talent as both a bassist and singer. After immediately selling out tickets to the Town Ballroom, promoters quickly upgraded the venue size. Hundreds of more fans got to pack in for a night of the In Yo Girls’s City Tour.
Photo Credit: Maddie McCafferty
Openers Coco and Breezy started off the night in Buffalo with their upbeat energy. These musical twins have grown up with a deep passion for dance music that stems back to their time as tour dancers for Prince. They’ve taken their many influences to build a sound that fuses house, R&B, and Afro-Latino roots. These skilled producers brought their fun-filled tunes to a crowd ready to groove.
Shortly after, Thundercat – also known as Stephen Bruner – took to the stage with a Mac Miller intro song. He quickly got to shredding on the bass and filling the venue with vibey tunes. His bandmates Dennis Hamm (keys) and Justin Brown (drums) took this collective playing experience to the next level. Awe-inspiring to watch, the three got lost in the music. They play off one another while intrinsically layering one cohesive piece into another.
Photo Credit: Maddie McCafferty
Thundercat performed a wide array from his musical catalog, including songs off of his 2017 album Drunk including “Uh Uh” and “A Fan’s Mail (Iron Song Suite II).” Most of his performance encapsulated his latest album, It Is What It Is.
Closing out the night, Thundercat played his most recent release with Tame Impala, “No More Lies,” finishing off the night with everything harmonically sound and soulfully upbeat. A profound musician that without a doubt is inspiring other young musicians to delve into their passions head first. He even signed a young kids bass at the show.
Photo Credit: Maddie McCafferty
In case you missed a night of sweet tunes, don’t worry there is plenty more coming to Buffalo this fall season. Up next at Riverworks is San Holo coming October 21 and Dropkick Murphys performing October 24. Get your tickets here.
Setlist: Lost in Space / Great Scott / 22-26, Interstellar Love, How Sway, Uh Uh, Overseas, Dragonball Drug, Lava Lamp, A Message for Austin / Praise the Lord / Enter the Void, Oh Sheit It’s X, Black Qualls, A Fan’s Mail (Tron Song Suite II), Jameel’s Space Ride, King of the Hill, Tokyo, Lone Wolf and Cub, Funny Thing, Them Changes
On October 14, a cool Brooklyn night, Elsewhere played host to an intimate and emotionally charged performance by the sensational Hannah Diamond, as she unveiled her latest album, Perfect Picture. The evening was a celebration of empowerment, self-confidence, and the universal struggles we all face in terms of self-perception, all wrapped in a visually and sonically captivating experience.
The tracklist of Perfect Picture takes us on a touching journey, each song delving into the complex web of emotions that revolve around self-identity and the pursuit of perfection. The album kicks off with the enchanting title track Perfect Picture, which immediately sets the tone for the night. As Hannah’s ethereal vocals blend with mesmerizing visuals, it’s clear that she is on a mission to explore the intricacies of human self-perception.
The theme of empowerment is prevalent throughout the album, and songs like “Affirmations” and “Unbreakable” stand out as anthems of self-confidence and resilience. These tracks evoke feelings of strength, freedom, and the realization that true beauty lies in embracing our flaws and imperfections. Hannah Diamond’s lyrics are a beacon of hope, reminding us that our self-worth should not be contingent on societal standards but on our ability to love ourselves.
The show was an intimate affair, which perfectly suited the album’s personal and vulnerable themes. The crowd’s energy was electric, with fans singing along and dancing in unison to the infectious beats. It was evident that Hannah had a genuine connection with her audience, making the performance feel more like an interactive conversation between friends rather than a traditional concert.
Hannah Diamond’s stage presence was nothing short of mesmerizing. She effortlessly navigated between her hit singles and the deep cuts from “No FX,” and it was clear that she was emotionally invested in every note she sang. Her humility and vulnerability on stage resonated deeply with the audience, as she encouraged everyone to embrace themselves.
Perfect Picture is an album that delves into the essence of human existence, examining the power of self-love and the beauty of imperfection. Hannah Diamond’s performance at Elsewhere Brooklyn was a testament to the depth of her artistry and her ability to connect with her fans on a profound level. In an industry that often perpetuates unrealistic ideals of beauty and perfection, Hannah’s music serves as a beacon of authenticity and self-empowerment, reminding us all that we are, indeed, perfect just the way we are.
Full of gritty energy, thoughtful storytelling, extremely tight improvisation, a spectacular light show, and a palpable connection to their audience, Kitchen Dwellers brought their unique brand of psychedelic bluegrass to Cohoes, NY on Thursday, October 12th.
No strangers to the Capital Region, Kitchen Dwellers have played the area many times over the years, but the second show of their 2023 fall tour would be their first at the historic Cohoes Music Hall, one of the oldest (and allegedly haunted) venues in the country. Delivering an absolute scorching performance, the level of musicianship on display was scary good.
Kitchen Dwellers made their Cohoes Music Hall debut on 10/12/2023.
Showing up to the corner of Remsen and Cayuga, you were instantly met with heady vibes from the municipal lot as the jokers and tokers greeted one another. There was a laid back feeling of familiarity and optimism as people of all ages lined up to check out the plethora of band merch and the gorgeous limited edition show poster designed by artist Dan Dippel. Fans who got there early enough were treated to a delicious appetizer from the young-and-hungry opening act, Fireside Collective from Asheville, NC.
After a brief set change, Capital Region show promoter Greg Bell of Guthrie Bell Productions took center stage to welcome everyone to the Cohoes Music Hall and wax nostalgic for a moment before introducing Kitchen Dwellers to a massive ovation. Wasting no time serving up the main course, the band set the tone early with a “Sundown” opener, the first of five songs that would be played from their latest album, Wise River. They had the crowd captivated from the very first note.
Kitchen Dwellers (L-R): Max Davies, Torrin Daniels, Joe Funk, and Shawn Swain performing on 10/12/23.
Consisting of Torrin Daniels on banjo, Joe Funk on bass, Max Davies on guitar, and Shawn Swain on mandolin, describing their inspired sound is no easy task. Utilizing traditional string instruments, adding a few effect pedals and foregoing a drummer, their expansive playing is full of character, bombastic banjo riffs, lightning fast licks, virtuosic finger picking and foot-stomping grooves. These guys make the complex look effortless. After squeezing “Their Names Are The Trees” into a “This Time” sandwich, the Kitchen Dwellers were cooking with pure gasoline as they alligatored “Smokestack” through a pair of choice covers – “Salt Creek” and “Alcohol in the Bloodstream.” Coming up for air to greet the audience and exchange some friendly banter about the proper pronunciation of Cohoes, the band would then invite Fireside Collective dobro player, Tommy Maher, to the stage for the remainder of the set.
Chest Fever: Fireside Collective’s Tommy Maher (dobro) joined in on the fun on 10/12/23.
Taking control of the ship and guiding the band through the crowd-pleasing title track of 2019’s Muir Maid, upright bassist Joe Funk’s vocals sounded fantastic here, while the extended interplay and energy of Torrin’s flying dreadlocks and Maher’s youthful exuberance sent the room into a fever pitch. With the venue itself located just on the outskirts of Levon Country, perhaps that was their intention all along, as a well-placed cover of The Band’s classic “Chest Fever” would bring the opening frame to a close.
Kitchen Dwellers’ Joe Funk croons away in Cohoes, NY 10/12/23.
When Kitchen Dwellers hit the stage for round 2, it didn’t take them long to address the elephant in the room, or in this case, the ghost. Nicknamed “The girl who made vaudeville famous,” many believe the spirit of Eva Tanguay has haunted the Cohoes Music Hall since her death in 1947. Often “felt” hanging around just off stage left and sometimes in the center of the balcony’s second row, the band acknowledged this bit of folklore by offering up their song “Ghost in a Bottle” in tribute.
Ghost in a Bottle: Kitchen Dwellers make an offering to the ghost of Eva Tanguay on 10/12/23.
The real meat and potatoes of the set would come next as the Dwellers found their groove on “Stand at Ease” which seamlessly segued into a cover of “White Freightliner Blues.” Showing a deep respect to their roots by weaving together a tapestry of their influences, the dexterity and speed at which these guys play make it almost impossible to stand still. After a stellar version of “Gypsy,” the band gave a special shoutout to a group of friends who traveled there from Vermont, allegedly breaking the record for the most people you can cram into a van, something which Torrin found debatable. Announcing they weren’t going to do the typical encore thing and that they’d just play until the venue kicked them out, the enthusiastic crowd were then treated to a sizzling combination of “Mountain” > “Drowning (… Again)” > “Ebenezer’s Winter” to bring the tasty night of galaxy-grass jams to a close just after midnight.
Putting a fresh spin on an old genre and blending the past with the future, Kitchen Dwellers rose to the occasion in Cohoes and threw down a performance that will be talked about for years to come. Upon leaving the Cohoes Music Hall, perhaps one excited fan summed it up best, saying “That was the best $20 I’ve spent in a very long time.“
With fall tour just getting underway, fans in New York won’t need to wait long to catch them again. Kitchen Dwellers have been tapped by Twiddle to take part in their final shows next month before going on an indefinite hiatus. The sentimental sendoff will take place at the historic Capitol Theatre in Port Chester. For more details on tour dates and tickets head to kitchendwellers.com.
Kitchen Dwellers | October 12, 2023 | Cohoes Music Hall | Cohoes, NY
Set 1: Sundown, This Time > Their Names Are the Trees > This Time, Smokestack>Salt Creek >Alcohol In the Bloodstream, Muir Maid * > Chest Fever *
Set 2: Ghost in the Bottle > Cuckoo’s Nest [Traditional] > Ghost In the Bottle, Stand At Ease > White Freightliner Blues, Gypsy, Mountain > Drowning (… Again) > Ebenezer’s Winter
* Featuring Tommy Maher of Fireside Collective on Dobro
