NYS Music 2023

Category: Reviews

  • Spafford Mesmerizes in Morristown, NJ

    Spafford is a band that deserves more: more fans, more coverage, and more respect.   With a signature sound amphitheater-ready and a technical proficiency seldom heard in today’s music, the fact they haven’t reached greater heights yet is truly one of life’s simple mysteries. Hooked from the moment I first heard them in 2017, I’ve been singing their praises to anyone who will listen for years now.  That being said, a recent fan post in the band’s “Spaffnerds” group got my blood boiling a bit. It read something to the effect of “Guys. Spafford is destroying the northeast right now and not a single jamblog is writing about it. WTF.” Having written about this band several times in the past, at first I took offense, but then I took it as a personal challenge to get these guys some more ink. So in a completely irrational, last second decision, I loaded up the car in Albany and made the two and half hour drive across state lines to catch Spafford’s headlining show at the Homestead in Morristown, New Jersey on Monday, July 10th.   

    Spafford brought weekend vibes to Morristown, NJ on Monday 7/10/23.

    Having never been to the Homestead before, I initially found parking to be a bit of a situation. With the summer night life of Morristown hustling and bustling right through showtime, I ultimately ponied up at a nearby municipal garage. Following my ear, I knew exactly where to go once I stepped out of the car. That’s because you could hear Spafford’s opening reggae-styled cover of “Soul to Squeeze” by the Red Hot Chili Peppers’ firing up from almost a block away. The colorful and luscious guitar tone of Brian Moss’ custom ax, Raven, was like a beacon calling to everyone nearby, ‘lend us your ears and we’ll send you home happy.’  By the time the band landed on “Plans,” the entire outdoor patio was packed with people. Even the curiously vacant parking lot adjacent to the venue started filling with people who were at least interested enough to listen, but on the fence about paying for it.

    Spafford fans made themselves at home in Morristown on 7/10/23.

    Inside the Homestead was a completely different vibe. A combination of danceable and sweaty energy, the smell of chicken wings and comfort food, and more mesmerizing than anything, the sound. The high ceilings of the venue made Spafford sound huge. Admitted audiophiles, the band which consists of Brian Moss (guitar,vocals), Jordan Fairless (bass,vocals), Nick Tkachyk (drums,vocals), and Cory Schechtman (keybords), work tirelessly before every show to achieve peak tones in whatever room they’re playing; they always sound great on whatever stage you put them.

    Originally formed in Arizona, the last few years have seen much of the band return to their east coast roots. With Moss growing up in Jersey, the show would take on a bit of a “hometown throwdown” feel. Close family and friends could be seen dancing along on the side of the stage, including Moss’ adorable little rock star, Henry, who appeared to be having a blast watching his dad shred into our third song of the night in “Todd’s Tots.” While I don’t know who Todd is, I do know this was the musical highlight of the opening set.  Things would then get down right “untzy” then “reptilian” with a well-placed combination of “Funkenseven” that alligatored into the Jordan Fairless led “Salamander Song” to send the Morristown crowd dancing the whole way into set break at the Homestead.      

    Keyboardist Corey Schechtman played his first show with Spafford at this same venue in 2023.

    Walking out for second set accompanied by music from Rage Against the Machine, you could just feel the boys were about to get down to some serious business.  Launching into the nights only track from their most recent studio album, 2022’s Simple Mysteries, “Fake the Fate,” the dance party resumed almost instantly. Some fans expressing themselves by spinning in circles, showing their moves to drift away while the surging groove carried us straight into “Windmill,” one of the band’s most sought after originals.  Perhaps the centerpiece of the show, Spafford let it all hang out here, tongues included. Sustaining those high notes for added emphasis, when Moss starts making unintentional stank face, you know things are going pretty good. People who were seeing the band for the first time simply could not believe what they were hearing. As Brian’s complicated guitarwork reached soaring new heights reminiscent of what you might hear in the peak of Phish’s “David Bowie,” one older gentleman near the soundboard commented how he hasn’t heard chops like that since his days of seeing Jerry.  

    So Raven: Spafford’s Brian Moss plays his custom ax in Morristown 7/10/23.

    Exchanging rays of mental dues
    Accepting moods that new grooves proves
    A simple song, it has no cost
    Through this rif my troubles’ lost
    You’ve got me dreaming again
    Open my mind to a new way
    A long way from fine

    -Lyrics from “Windmill”

    Up next came another Fairless special with “Lonely,” a track that has continually showed itself to be one of the bands biggest jam vehicles.  This exceptional rendition proved that true once again with Jordan crooning his heart out while the band stretched its legs into some beautiful type II territory. Keyboardist Corey Schechtman also really shinned here. Schechtman, who played his first Spafford gig at this same venue one year prior, has really settled into his role nicely; you can just see how much more confident he is now. With other-worldly skills dripping out of his fingertips, Schectman has the ability to completely change the direction the jam is going…and that’s usually for the better.  Often locking eyes with Nick on drums, the two seemed to have formed a strong bond over this past year.

    Spafford drummer Nick Tkachyk played Jersey in a jersey on 7/10/23.

    Showing amazing musical maturity by building the groove up, then holding onto it until they have everyone’s undivided attention, imagine how difficult it must be to show this kind of restraint. Like driving a Ferrari through a 30mph school zone, Spafford’s patience has always been one of their biggest assets. They always seem to know just the right moment to step on the gas and when to let off of it.  Closing the four song second set was our second cover of the night, a crowd-pleasing version of “Love Song,” as popularized by The Cure. It was only the second time they’ve played it this year. 

    Spafford bassist Jordan Fairless had his fingerprints all over the Morristown setlist on 7/10/23

    With a hard 11pm curfew rapidly approaching, it was from here to “Eternity” as another Jordan led song was selected as the lone encore of the evening, capping off another stellar performance by a band that’s currently at the top of their game.  Afterwards the guys could be seen hanging out by the merch table, signing posters and taking selfies with fans. Their approachability is yet another endearing quality.  

    While the high-flying bird band Goose is currently commanding most of the jam scene headlines, bubbling just under the surface is a whole litany of other amazing acts of the same genre. Right at the top has got to be Spafford. Using music as their weapon and perhaps benefitting from all the recent attention the improv community has been getting, we can only hope this band will get their big break soon. Worth every penny of the $20 ticket and worth traveling for every time I’ve seen them, these guys are the real deal. Real people with a real shot at achieving their dreams. Still finding the balance between touring life, raising toddlers, and writing new songs, these hardworking guys are putting it all on the line every time they go out there, both musically and personally.  When I asked Moss point blank if filling amphitheaters is even what he wants, without hesitation he said, “Of course, that’s what I’m in this for.  We’re here to take over the world.”  A true rock n’ roll answer if there ever was one, well Mr. Moss, I believe you can do it and I believe in Spafford.   

    Spafford | July 10, 2023 | The Homestead | Morristown, New Jersey

    Set 1: Soul to Squeeze*, Plans, Todd’s Tots, Funkenseven>Salamander Song

    Set 2: Fake the Fate > Windmill, Lonely, Love Song **

    Encore: Eternity

    *Red Hot Chili Peppers cover

    **The Cure cover

  • Flashback: Phish pitches Camp Oswego, July 17-18, 1999

    In the summer of 1999, amid an extensive tour, Phish held a two-day festival in the small town of Volney, NY at the Oswego County airport. While reliable numbers are not available, somewhere between 15 and 20,000 attended the two day show, arriving a full day early in some cases to enjoy the scene that set up on the tarmac for a mere 60 hours, before the band moved towards the Midwest and the end of the tour a week later.

    Phish had played three prior festivals at the end of large tours, but never a festival during a tour. The result were two memorable nights amid the most unbearable heat and humidity, leaving fans with a lasting memory of guests sitting in with Phish and an “Icculus” for the ages. Editors Pete Mason and Tim O’Shea attended Camp Oswego, albeit separately. Below is their look back at Camp Oswego.

    Phish Oswego poster by Pete Tschudy

    The Ride in and Arrival

    Pete Mason: I happened to have no issues with arrival, and managed to avoid nearly all traffic. I was living in Syracuse, taking summer classes at SU, and proceeded to leave the day before the festival starts, on July 16th, a Friday. We left around 4pm and were at the gates by 5pm. Syracuse to Oswego is about 45 minutes, so getting to the festival, without much traffic, was a pretty nice start to the weekend. We camped about one car length in from the tarmac, about a five minute walk to The Green, where there was a wall of payphones and place to leave messages for friends. Ah, the days before cellphones.

    This was also the last time I encountered little to no traffic arriving at a Phish show. 13 hours for Big Cypress was a comeuppance in a way, for dealing with no traffic getting to the Oswego and Lemonwheel festivals

    Tim O’Shea: The two hour drive started off just fine with all parties wildly throwing out predictions and wishes for the weekend.  Beeps and head nods from other like-minded cars on the road were aplenty and increased in frequency the closer we got.  Towards the end of the two hour drive, as festival traffic began to pile up and the sun was at its peak, the bus’ engine temperature began to skyrocket.  In an effort to prevent it from overheating and making sure we had a ride back on Monday, we actually wound up pushing the bus for the last half hour of our journey through the stop and go traffic with the engine off.  What better way to get stretched out for long weekend of music than with some cardio and light weights?  It would certainly not be the last time all weekend that heat played a factor.

    The Heat

    TO: For anyone who attended Camp Oswego, the first words out of their mouth generally have something to do with the ridiculous temperatures that weekend.  To say it was a dry and steady heat would be doing it a disservice.  Roasting and oven-like are two of the words that initially come to my mind.  Shade was at an ultra premium and there were constantly long lines for the few communal water spigots.  If you weren’t staying hydrated, you had no chance. In addition to the blazing temperatures, discovering this communal atmosphere and something that was way bigger(and more fun) than just myself really resonated with me since this was all so new at the time.

    PM: The heat was unbearable, oppressive and constant. It was humid and well into the 90s. There was no relief either. We had 3 tents among myself, Madison and Dave. No tarp, no EZ-Up, nothing. Not that that would have helped either, but we did find solace in the air conditioned car, only to walk out into the heat moments later. Hydration was key, and led to little drinking of alcohol that weekend. It was just too damn hot to do much of anything but see Phish, just as the sun was getting lower in the sky and started to cool down.

    A week later, I attended Woodstock 99. The weather was almost as bad, but the result of patrons who had to deal with the heat was far different. At Oswego, people were misting you as you walked by, offered water to strangers, my friend Madison used a Supersoaker to hose down random passersby, with a reaction of ‘Whoa WTF?!’ followed immediately by ‘Ah, that feels great! Thanks!’ At Woodstock, it was pure hell. Little running water, expensive bottled water ($4 even then was highway robbery) and patrons were not as kind as you would find at Phish. More than a few late 90s bros found their way to the front of the drinking line without waiting, didn’t take care of their neighbors and more or less let the festival community and vibe go to shit. Phish fans took care of one another – that was my big take away from the two weekends, and one that drew me into the Phish community.

    Phish Oswego
    Phish Oswego inspired art by Alfred Sohn

    Day 1 Music

    PM: I honestly recall little of the show on the 17th. Two sets, and all I can definitively remember was Son Seals sit-in, which made me wonder if the other guests at The Green stage were going to sit-in the next night. “Down with Disease” was solid, but I was still somewhat new to Phish and hadn’t yet enjoyed the long jams. Beyond that, I became a fan of “Squirming Coil” in the encore. I blame the heat and adult beverages.

    TO: While my memory certainly isn’t pristine as it pertains to all the music that weekend, there are certain moments and images that still resonate strong.  I remember baking in the sun (literally) as the first night’s sunset was accompanied by a scintillating Tweezer jam and hearing the first of many, many Character Zeros to end the first set.  I remember legendary bluesman Son Seals gracing the stage in the second set for ‘Funky Bitch’ and being amazed at how well he was able to manage that Phish song.

    Phish Oswego
    Phish Oswego sticker

    Day 2 Music

    TO: I remember being delighted at the Del McCoury sit-in the following day and feeling a real strange sense of pride as I danced along to ‘The Meatstick’ in the Guinness Book of World Records attempt that was in vain.  And above all else, I remember a mind bending ‘Piper’ in the third and final Sunday set that I still consider one of the best ever played which seemed to seal the proverbial deal for me.  Throw in a hilarious ‘Smoke on the Water’ jam/banter and the ever whimsical ‘Icculus’, and you’ve got a set for the ages.

    PM: I could write a book on the music from Sunday, but I’ll keep it short. Set 1 was pretty solid, with the sun setting and a ‘Punch’ opener. I was still a noob back then, so “Farmhouse, Water in the Sky, Bathtub Gin” were all familiar and made me happy. I was far more focused and rested than the night before, and recall a great deal of the show to this day. When Del McCoury and sons came on stage, I smiled because I sort of predicted that, heard a bunch of bluegrass songs, which I credit to my initial interest in bluegrass music, and a sweet ‘Reba’ that was a highlight of the set for me.

    Second set was fun because “Runaway Jim > Free” meant more music I knew, then finally, this ‘Meatstick” song that I had heard about, which had a dance. Complicated music interests me, and dancing to such music was just feeding the addiction. I danced around with what I thought was the Meatstick dance and loved every second. The rest of the set I was just smiling like I never had before.

    Third set, which I had no idea was happening – I thought second set was it – started out with more music I knew, “My Soul > Piper”, the latter of which went on for a while, and had the slow start. “Prince Caspian” was kinda cool to me back then, and then shit got weird. “Wilson > Catapult > Smoke on the Water > Icculus” and “Quinn the Eskimo” were pretty mindblowing, for the banter alone. Whatever was going on onstage, I wanted more of. Fluffhead finale and Hood encore as we walked back to the car, beating all traffic, I was in my apartment by 2am, learning of David Cone’s perfect game earlier that day.

    Takeaways from the Festival

    PM: Oswego was simply the best Phish festival experience I have had, after Big Cypress of course. It was the right time and place for me, right mindset, friends, and music, all in one place. I go back there every so often and find that same giant smile, every time.

    TO: 111 shows later, I guess you can say I took a shining to this band and all they can deliver.  But for me, Oswego will always hold a special place in my heart not only because it was my first Phish festival in my first string of shows, but because it was my first large scale festival of any kind which opened my eyes to a whole new way of experiencing music.  After Camp Oswego, I knew what I wanted to do every summer for the rest of my life.  And how to do it in frying pan-like conditions.

    Download both nights of Oswego here (July 17/July 18) – recording by Lenny Stubbe

    Watch the fan documentary ‘A Trip to Oswego’

  • Weezer’s Indie Rock Road Trip Makes Pit Stop At Forest Hills Stadium

    The West Side Tennis Club welcomed Weezer to Forest Hills in Queens with open arms this past Thursday night (July 13) for the SoCal quartet’s 22nd stop on a 30-date “Indie Rock Road Trip” summer tour that launched in Huntsville, Alabama on June 4. Dubbed the Indie Rock Road Trip, Weezer’s tour is divided into three legs, the first of which saw them link up with indie rockers Modest Mouse and Momma. Future Islands and Joyce Manor took over support duties for Rivers Cuomo and Co. at the Columbia, Maryland gig back on June 23, and tonight’s show marked the magical end to the tour’s second leg.

    Rivers Cuomo of Weezer | Photo: Michael Dinger

    One of NYC’s best concert venues – indoors or out – Forest Hills Stadium has a rich, storied history that is celebrating 100 years this season. Originally designed in the 1920s as the home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. In the 1960s, the tennis club began booking concerts and attracted some of the most culturally significant artists of our generation – The Beatles, Jimi Hendrix, Frank Sinatra, Barbra Streisand, The Rolling Stones and Bob Dylan, to name just a few.

    However, by 2011, the 14,000-capacity facility had fallen into a “crumbling ruin.” After narrowly escaping demolition, the stadium re-opened on August 28, 2013 with Mumford & Sons performing the inaugural concert (my wife and I were there!). Although the music that night was fantastic, the overall experience, not so much. But over the next four years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, patching up concrete exterior walls, old seats were removed and replaced, a permanent stage was installed, the concourse was redesigned and expanded to twice its original size, the General Admission central tennis courts were replaced and easier access to concessions and restrooms was provided, finally!

    Scoreboard Marquee | Photo: Michael Dinger

    Arriving early to guarantee a painless parking experience (parking is limited in the surrounding area), I also wanted to explore the stadium and its grounds ahead of the first opening act. After securing my media credential at the box office, I proceeded through the main entrance where I was greeted with a plethora of things to do, along with welcoming staff at every turn. Although the craft beer huts and local food eateries were tempting, I opted to walk the periphery of the cherished coliseum to discover for myself what had changed since my last visit nearly a decade ago. The answer, a lot!

    A history buff, I was pleasantly surprised to see banners, plaques and artwork depicting the images of past rock iconswho played here. As I made my way to the bands’ merch table, I came upon a WFUV kiosk – a non-commercial radio station owned by Fordham University and an affiliate of National Public Radio (NPR) who presents Forest Hills Stadium’s live broadcasts – offering patrons free goodies such as stickers and beverage Koozies. An avid fan of all sports, it was also thrilling to witness the hanging banners of by gone tennis legends including Stan Smith, Althea Gibson, René Lacoste, Billie Jean King, Rod Laver and Arthur Ashe.

    An hour after doors, Joyce Manor took the stage promptly at 6:00 pm. Despite the sweltering, 90-degree heat, the band formed in 2008 and hailing from Torrance, California did not seem to mind very much, if at all. Named after an apartment building that co-founder Barry Johnson would often pass by on his walks, as Joyce Manor’s pop-punk sound has evolved, their feverish fanbase has grown right alongside them.

    Barry Johnson of Joyce Manor | Photo: Michael Dinger

    Over the course of 30 minutes, the trio of Johnson (singer-songwriter, guitar), co-founder Chase Knobbe (guitar) and Matt Ebert (bass), who were also joined by touring musicians Neil Bertheir (acoustic guitar, synthesizer) and Neil Hennessy (drums), performed songs with inspiration drawn from emo acts like Weezer themselves. The band of thirtysomethings offered up tracks spanning four of their six studio albums, with the heaviest dose coming from 2014’s Never Hungover Again.

    The showstopper, however, which incited a mosh pit (albeit short-lived) near stage left half-way through their pummeling set, was ripped from their sixth and most recent album 40 Oz. to Fresno (Epitaph Records) released in June of last year. Titled “NBTSA,” short for Never Be The Same Again, the number perfectly exemplified Joyce Manor’s signature blend of melodic guitar leads, rock-solid bass and driving drums in a no-filler, concise package.

    In keeping with the strict, mandated curfew of 10:00 pm due to the stadium’s location within a residential neighborhood, the party kept rolling along in a timely fashion. At 6:55 pm, next up were Future Islands, a synth-driven pop band based in Baltimore, Maryland. Formed in 2006 and fronted by Samuel T. Herring, the quartet is rounded out by Gerrit Welmers (keyboards and programming), William Cashion (bass, acoustic and electric guitars) and Michael Lowry (drums).

    Future Islands | Photo: Michael Dinger

    Ahead of tonight, I knew very little about Future Islands, other than their live performance of “Seasons (Waiting on You)” on the Late Show with David Letterman, the lead single from their fourth studio album (Singles, 2014), became the television show’s most-viewed video on their YouTube page. But after tonight, which included witnessing firsthand a live performance of the same song, I knew much, much more.

    Backed by a supremely talented band, I was most blown away by Herring and his stage persona. Despite the heat, he was dressed head-to-toe in black, and it did not take long for him to become drenched in his own sweat. Once Future Island’s first song of the night kicked in, “For Sure” from 2020’s As Long as You Are, Herring feverishly jumped, kicked, spun and fist pumped his way from one end of the stage to the other, repeatedly, and for all 13 songs in the emotionally thrilling set. When Herring finally stopped to catch his breath, he engaged directly with the audience members, staring intently while continuing to gesture with his arms and hands in continual flowing motions. I would later learn that Future Islands was originally meant to be a performance art piece, which completely makes sense to me now.

    Herring’s vocal delivery is also something of a marvel. Despite being diagnosed with Reinke’s edema (vocal cord swelling) nearly 10 years ago, his delivery is striking and distinct. Along with an extensive background in hip-hop and rapping that began as a teenager, a solo act that he engages in via the moniker Hemlock Ernst, it is also not uncommon for a loud, stadium-shaking growl to be thrown into his vocal recipe.

    Weezer Fans | Photo: Michael Dinger

    With the time approaching 8:30 pm, the stage roadies were putting the final touches on the stage, most of which was being performed behind the gigantic opaque curtain swallowing the stage ahead of the big reveal. Making my way back into the pit with my fellow photographers for the third time, Toto’s “Africa” came across the stadium’s PA system. If you are not an avid fan of Weezer, you might ask “Where’s the connection?” Long story short, back in 2018, the two bands released reciprocal covers of each other’s hits, with Weezer covering the perennial 1982 classic and Toto covering “Hash Pipe” from 2001’s The Green Album. Then suddenly, the curtain dropped and it was time to hit the road!

    Brian Bell of Weezer | Photo: Michael Dinger

    One by one, our lovable, geeky power-pop kingpins entered stage left. Brian Bell (rhythm guitar, keyboards) led the charge, followed closely by Cuomo who was sporting his staple Buddy Holly-esque retro specs. Bringing up the rear were Scott Shriner (bass) and Patrick Wilson (drums), the latter taking to his stool atop an elevated riser. The Los Angeles foursome played in front of an impressive and clever set design built to resemble a stage-sized car dashboard, complete with a steering wheel emblazoned with a Weezer logo, a radio with a tuner and a volume knob. And if that wasn’t cool enough on its own, video graphics were displayed across the massive windshield and a rearview mirror.

    Rivers Cuomo of Weezer | Photo: Michael Dinger

    The nostalgia shifted into high gear with the adrenaline inducing “My Name is Jonas” from 1994’s The Blue Album. A smooth segue transported the stadium to “Beverly Hills” (Make Believe, 2005), with Cuomo substituting the song’s closing lyrics with an homage to the neighborhood of “Forest Hills.” There was also a special guest appearance for two songs from 1996’s Pinkerton – “El Scorcho” and “I Just Threw Out the Love of My Dreams” – as the indie rock solo project of singer-songwriter Lindsey Jordan (better known as Snail Mail) joined Cuomo atop the dashboard.

    Scott Shriner of Weezer | Photo: Michael Dinger

    For a show that could have lasted hours longer with all the career-spanning material that Weezer has to offer – a three decade discography comprising 15 studio albums, and as per Cuomo during his introduction to “Falling for You,” 672 songs! – they did a wonderful job of gifting their fans the classics (“Undone – The Sweater Song,” “Island in the Sun,” “Say It Ain’t So,” “Hash Pipe” and “Surf Wax America”), deeper cuts outside of their studio catalog (“Susanne” and “Blast Off!”) and newer material (“All My Favorite Songs”), including a couple of tracks from two of their four seasonal inspired EPs released in 2022, “Thank You and Good Night” from SZNZ: Summer and “Run, Raven, Run” from SZNZ: Autumn.

    Patrick Wilson of Weezer | Photo: Michael Dinger

    The festive evening closed with a three-song encore capped by fan favorite “Buddy Holly.” With Cuomo perched at the edge of the stage apron, he soaked in the applause raining down on him from the sold-out house engulfing him on all sides. After several moments, before the band took their final bow, he ripped off his shirt and hurled it into the front rows before throwing down the signature “W” hand sign. And with that, we had all been officially Weezer’d, and better for it. Now it was time to take it easy brah.

    Up next for Weezer is a trek to Naeba, Japan for Fuji Rock on July 30, followed by shows in Osaka and Tokyo on August 1 and 2, respectively. Then, it’s on to West Vancouver, Canada for the Ambleside Music Festival on August 19. The next night, August 20, the third leg of the Indie Rock Road Trip resumes in Auburn, Washington where the boys will be accompanied by Spoon and White Reaper as opening support.

    Forest Hills Stadium | Photo: Michael Dinger

    The 2023 summer tour culminates at PETCO Park in San Diego, California on September 3, at which time the band will take a much needed rest to refill their collective gas tank. And in case you missed the Forest Hills Stadium show, or just cannot get enough of these darling alt-rockers, Weezer will be traveling back to the tri-state area for an appearance at the Sea.Hear.Now Festival in Asbury Park, New Jersey on September 17.

    Joyce Manor Setlist: Heart Tattoo > Beach Community > Gotta Let It Go > Ashtray Petting Zoo > Don’t Try > Schley > Falling in Love Again > NBTSA > Big Lie > Victoria > Constant Headache > Christmas Card > Catalina Fight Song

    Future Islands Setlist: For Sure > Hit the Coast > Plastic Beach > Peach > Walking Through That Door > Light House > A Dream of You and Me > Before the Bridge > Long Flight > King of Sweden > Seasons (Waiting on You) > Vireo’s Eye > Little Dreamer

    Weezer Setlist: My Name Is Jonas > Beverly Hills > Return to Ithaka > The Good Life > Pork and Beans > Pink Triangle > El Scorcho > I Just Threw Out the Love of My Dreams > Blast Off! > Undone – The Sweater Song > Falling for You > Susanne > Only in Dreams > The Greatest Man That Ever Lived (Variations on a Shaker Hymn) > Island in the Sun > Perfect Situation > All My Favorite Songs > Say It Ain’t So > Run, Raven, Run > Hash Pipe > Thank You and Good Night > Encore: The Waste Land > Surf Wax America > Buddy Holly

    JOYCE MANOR

    FUTURE ISLANDS

    WEEZER

    FOREST HILLS STADIUM

  • Flashback: Crosby, Stills and Nash open for the Grateful Dead at Rich Stadium, July 16, 1990

    It was hot and muggy in Western New York on July 16, 1990. Crosby, Stills and Nash were opening up for the Grateful Dead at Rich Stadium, and Brent Mydland was amid his final tour with the Dead.

    grateful dead 1990

    The Grateful Dead played Buffalo a total of 12 times in their storied career, including May 9, 1977 at Buffalo Memorial Auditorium (a day after the famed Cornell 77 show) a show at Kleinhan’s Music Hall on March 17, 1970, and six total shows at Rich Stadium, including this show in 1990. A typical summer stop from 1986-1993, Orchard Park’s Rich Stadium had far more space for fans, after the band outgrew the Memorial Auditorium, The Rich shows becoming part of Deadhead lore. 

    grateful dead 1990

    Playing in Foxboro, MA the night before, fans trekked overnight from Eastern Massachusetts to Western New York, a seven hour drive (not factoring in stops, switching drivers and catching sleep at rest stops along the way). With a capacity of more than 70,000, Rich Stadium was ready to welcome more than Foxboro held by a margin of 10,000, plus plenty of fans arriving from across the Empire State who would call this their first Grateful Dead show.

    grateful dead 1990

    On the NYS Thruway, traffic crawled in the heat, with fans walking along the highway, slow cars filling the breakdown lane, with fans looking for Miracles via hand-lettered signs as you filed into the Rich Stadium lot. The traffic was so bad getting from the Thruway to Orchard Park, fans were pulling into the lot as the opener, Crosby, Stills and Nash, were beginning to play, the songs trickling over the top of Rich Stadium.

    Ticket to the Grateful Dead at Rich Stadium, July 16, 1990

    Part of their “Live It Up Tour,” Crosby, Stills and Nash toured off the album Live It Up, the first album the trio recorded since 1983. The album came together when Crosby and Nash began working on a new album as a pair, but following the trio performing at the collapse of the Berlin Wall in 1989, Stills became involved in the Crosby and Nash project, as noted in Dave Zimmer’s Crosby, Stills and Nash: The Authorized Biography (The Definitive Inside Story of the Super Group).

    View this and more Grateful Dead shows from across the years in New York State with our interactive map below!

    Playing a set that was mostly unchanged for the entire tour, CSN made sense as an opener – both bands were part of the late 60s music explosion on the west coast, and with Crosby from Los Angeles and the Dead based in San Francisco and many festival and show billings together, the two bands shared a long history together. Crosby even recorded and performed live with members of the Grateful Dead, billed as David and the Dorks for three shows in 1970. So an opening slot or two on their summer tour was a natural fit, especially with large stadiums like Foxboro and The Rich on the tour schedule.

    grateful dead 1990
    David and a dork

    However, CSN did not mix up their setlist and did not factor in the Grateful Dead shows on their tour, where fans would see more than one night of the tour and catch onto repeats a bit faster. Fans not engaged in the July 16th opening set led to Graham Nash saying to the audience something to the effect of “show us you deserve to wear those tye-dyes and get into it,” reacting to fans non-reaction of the milquetoast opener. One fan recalled that at both shows they saw on the tour, CSN said both times “So, this is what a Grateful Dead audience looks like” with the same banter factored into the set. 

    This show at Rich Stadium for the Grateful Dead would also be the final tour for Brent Mydland, although that may not have been apparent to many fans at the time. A week later, Mydland would play his final show with the Dead, and die three days later from an overdose. There are points of the show between tunes where the band is enjoying themselves and Brent takes a moment to play a few bars of George M. Cohan’s “Over There” and the “Mickey Mouse Clubhouse,” keeping it playful and fans on their toes during these brief interludes.

    It was unmistakable though, the presence of Mydland on this short, Midwest/east-coast 12-show summer tour, that made his death harder on many. His talent and boisterous vocals on “Man Smart, Women Smarter” and originals like “Blow Away,” the last of which was played this evening in Orchard Park, were unmistakable, clearly identifying shows with his raspy, soulful voice and precision work on the keys.

    Following a breezy afternoon, the stadium climate was muggy yet the Grateful Dead were dialed in from the start, opening with “Hell in a Bucket” and following up with an early highlight of the set, “Mississippi Half-Step Uptown Toodeloo.” “Blow Away” had all the emotion Brent ever put into any of version, and featured a “Mind Left Body” jam, standing out as the final performance of the song.

    A pair of cowboy songs – “Mama Tried” and “Mexicali Blues” flowed seamlessly together with Bob Weir on vocals, with a fresh off-the-shelf “Loose Lucy” following, fans cheering in gratitude to hear a song not played since 1974 that made its return in March of 1990. The Rolling Stones “It’s All Over Now” fit in nicely with the flow of this stimulating first set, with “High Time,” and a thoroughly enjoyable “Let It Grow” following, with the Brent-heavy “Don’t Ease Me In” closing out the first set.

    The second set would feature a unique “Sugar Magnolia” / “Sunshine Daydream” sandwich, the show opening with the first stanza of “Sugar Magnolia” before dissolving into a smooth and unexpected segue onto “Scarlet Begonias” after only three minutes. The crowd reaction when “Scarlet Begonias” is realized by thousands is a sound to behold and embrace. Not stopping, the Dead moved into “Man Smart, Woman Smarter,” the lyrics in unison from Garcia, Weir and Mydland driving the song. 

    “Ship of Fools” served as a bridge to the obligatory and long-awaited “Truckin’,” with the “Truckin’, up to Buffalo” lyrics eliciting the largest cheers of the night, the jam meandering but finding itself in the final minutes before “Drums.” If you’re looking to revisit the show or listen for the first time, “Drums” is a percussive trip, with “Space” having a creepy laugh track in the background during the first half, a fun (maybe?) accent to the night for those in attendance.

    grateful dead 1990
    Ticket to the Grateful Dead at Rich Stadium, July 16, 1990

    Jumping out of “Space” were short versions of “The Wheel” and “Gimme Some Lovin’” and a somber “Wharf Rat” to balance them out. “Around and Around” found its place coming out of “Wharf Rat,” diving into “Sunshine Daydream” to an enthusiastic crowd hearing a fantastic full set sandwiched inside a classic Grateful Dead song. 

    “When the 2nd set ended, I remember experiencing an exaggerated exhilarated feeling that I’ve never felt from any show before. Obviously others felt the same because when the Sunshine Daydream reprise finally ended, we were jumping up and down and even the people behind us were so amped that we all just stood there hugging each other. It was ridiculously intense. No other show has lifted me to such heights before and I am so glad I was here.”

    Jazdead, as shared on Dead.net

    The encore of “Brokedown Palace” fit in perfectly to close the night, capping a day for the fans, and Brent Mydland as he performed his final show in New York.

    Crosby Stills and Nash – Rich Stadium, Orchard Park, NY – July 16, 1990

    Setlist: Love the One You’re With, Chicago, Drive My Car, Live It Up, Got It Made, Just a Song Before I Go, Night Time for the Generals, For What It’s Worth, Wasted on the Way, Our House, Almost Cut My Hair, Helplessly Hoping, Déjà Vu, (Got to Keep) Open, Southern Cross, Wooden Ships, Teach Your Children, Woodstock

    Grateful Dead – Rich Stadium, Orchard Park, NY – July 16, 1990

    Set 1: Hell in a Bucket, Mississippi Half-Step, Blow Away, Mama Tried > Mexicali Blues, Loose Lucy, It’s All Over Now, High Time, Let it Grow > Don’t Ease Me In

    Set 2: Sugar Magnolia > Scarlet Begonias > Man Smart/Woman Smarter, Ship of Fools, Truckin’ > drums > space > The Wheel > Gimme Some Lovin’ > Wharf Rat > Around and Around > Sunshine Daydream

    Encore: Brokedown Palace

  • Tom Keifer, RATT and Vixen Bring Rock Back to Tag’s Summer Stage

    For those of us who remember the music of the 80’s & 90’s it was a trip down memory lane with an unforgettable night of music at Tags in Big Flats, NY on Saturday, July 8th. That music came in the form 80’s Metal as headliner Tom Keifer the former singer of Cinderella, Stephen Pearcy former front man of the 80’s band Ratt and and the all woman hard rocking Glam metal band Vixon. Throw in amazing weather ironically in the 80’s and you have an amazing night of music. 

    Tom Keifer bringing 80’s metal back to Tags.

    Tom Keifer has come along way since his days of Cinderella and the tough times of dealing with “vocal cord paresis” in the early 90’s. It’s a disease that litterally attacks the vocal cords and forcing Tom to litterally learn to sing from scratch.  Hey brought many of his favorites this night such as “Coming Home”, “Nobody’s Fool”, “Gypsy Road” and “Don’t Know What You Got (til it’s gone).”

    Former Cinderella front man Tom Keifer playing to a great crowd at Tags.

    Tom’s band is called Keiferband and includes Tony Higbee on lead guitar, Bill Mercer bass (both from Nashville, TN), Jarred Pipe on drums from Hendersonville TN, and Kory Myers on keys hailing from Southaven, Mississippi.  Back up singers are Tom’s wife Savana and Tanya Davis, also from Nashville. 

    Before Tom got things going it was Stephen Pearcy bringing back the 80’s in style.

    Stephen Pearcy performing to an excited crowd at Tags.

    Pearcy, the former front man for the 80’s hair band Ratt proved that age is just a number by belting out famous Ratt ballads as good as he did 40 years ago. Ratt favorites “Back for More”, “ Wanted Man” and “Round & Round” we well received by the crowd.

    Stephen Pearcy, former front man for Ratt helped bring 80’s metal back to Tags for the night.

    Starting the night was Vixen with there all female lineup featuring original member Roxy Petrucci on drums, Britt Lighting tearing it up on lead guitar, Lorraine Lewis on lead vocals and recent addition Julia Lage on bass.

    Vixen, whose history goes all the way back to the streets of St. Paul, Minnesota in 1980, has withstood the test of time by being the only female band from the 80’s to sell over a milllion albums, had six #1 videos on MTV and had four songs in Billboards top 100.  The Tags crowd gave them a huge ovation when they finished their show with “Edge of a Broken Heart.”

    Lorraine Lewis of Vixen enjoys an excited crowd at Tags.

    The show was another amazing night celebrating 30 years of music at Tags Summer Sound Stage in Big Flats, located between Corning and Elmira. The next big show on the horizon is Country star Dustin Lynch on August 11. Go to www.tagstickets.com for more info. 

    Vixen’s Julia Lage gets excited for a great crowd at Tags.
    Vixen Drummer Roxy Petrucci playing for an excited crowd at Tags.

  • MAX Shakes up Jones Beach Theater

    Max Schneider, the charismatic and multi-talented artist, set the stage on fire as he opened for Big Time Rush on June 9th at Jones Beach Theater in Wantagh, Long Island. With his infectious energy and undeniable talent, Max captivated the crowd from the moment he stepped foot on stage.

    This highly anticipated show brought together fans who were eager to witness the magic unfold. As the sun set and the first notes reverberated through the air, it became evident that this night would be filled with unforgettable moments. The atmosphere was electric as fans anxiously awaited Max’s performance, knowing they were about to be treated to an extraordinary display of musical prowess and captivating stage presence.

    Max Schneider, the versatile and dynamic artist, is making a name for himself with his magnetic blend of pop, R&B, and soul. Hailing from Manhattan, Max’s musical journey began at a young age, with songs like “Someday” from the Nickelodeon movie he starred in Rags. Since, he’s immersed himself in various genres and honing his craft as a singer and songwriter. With his undeniable talent and captivating stage presence, Max quickly gained attention and built a devoted fanbase.

    His music is marked by infectious melodies, heartfelt lyrics, and an innate ability to connect with his audience on a deeply personal level. With breakout hits like “Lights Down Low” and “Love Me Less,” Max showcases his versatility as an artist, effortlessly blending catchy pop hooks with soulful vocals. 

    As he continues to push boundaries and explore new sonic territories, Max’s star continues to rise, solidifying his position as a rising force in the music industry. With a string of successful releases and an electrifying stage presence, Max Schneider is poised to captivate audiences around the world with his undeniable talent.

    Max’s performance at Jones Beach Theater was an exhilarating display of his immense talent and showmanship. With a setlist that spanned his diverse discography, Max delivered a high-energy and unforgettable performance that had the crowd on their feet from start to finish.

    Kicking off the set with the infectious hit “Love Me Less,” Max immediately established a powerful connection with the audience. The atmosphere was electric as he seamlessly transitioned into a medley of “Holla” and “Drop It Like It’s Hot,” infusing his own unique style into these iconic tracks.

    Max’s versatility as an artist was on full display as he effortlessly shifted gears into the hypnotic and dreamy “Acid Dreams.” The crowd was captivated by his smooth vocals and mesmerizing stage presence, fully immersed in the musical vibes he created.

    Taking a moment, Max performed a heartfelt mashup of “Someday” and “Me And You Against The World,” showcasing his ability to tug at heartstrings with his soulful delivery and emotionally charged lyrics. The audience swayed along, enveloped in the powerful atmosphere Max created.

    The highlight of his set was the debut of a new, unreleased track titled “Say Less.” The funky and energetic song ignited the crowd, with its infectious hooks and irresistible groove. Max’s performance of this fresh offering left fans eager for what’s to come from his forthcoming album.

    Continuing to dazzle the audience, Max delved into the energetic yet intimate “Blueberry Eyes,” a fan-favorite that showcased his vocal prowess, korean rapping mastery, and ability to evoke genuine emotions. The crowd sang along, creating a beautiful moment of unity and connection.

    With “Strings,” Max demonstrated his artistry and musicianship, delivering a captivating performance that showcased his skill on the guitar. The intricate melodies and heartfelt lyrics resonated deeply with the audience, further solidifying Max’s status as a true musical talent.

    The energy reached its peak as Max unleashed the infectious anthem “Satisfied.” The crowd erupted into cheers, dancing and singing along to every word. Max’s infectious energy and stage presence were contagious, filling the venue with an electrifying atmosphere.

    A standout moment came with the performance of his chart-topping hit “Lights Down Low.” As the opening chords filled the air, the entire stadium was illuminated by the sea of phone flashlights held up by fans, creating a magical sight and a testament to the profound impact this song has had on listeners.

    Closing out the set with the powerful and dynamic “Mug Shot,” Max left the audience craving more. In a moment of excitement and anticipation, he announced a forthcoming album, set to be released at the end of the year, accompanied by an accompanying tour. The crowd erupted into cheers, eagerly awaiting what promises to be another exceptional chapter in Max’s career.

    His performance was a masterclass in showmanship, talent, and connection. With an electrifying stage presence, a versatile setlist, and an unwavering connection with his fans, Max proved once again why he is a force to be reckoned with in the music industry. As fans eagerly anticipate his upcoming album and tour, it’s clear that Max Schneider will continue to rise, and his captivating performances leave an indelible mark on all who have the pleasure of witnessing his artistry.

    Stay up to date with Max on socials and any updates from upcoming tour here. 

    MAX Setlist: Love Me Less, Holla / Drop It Like It’s Hot, Acid Dreams, Someday / Me And You Against The World, Say Less [Unreleased], Blueberry Eyes, Strings, Satisfied, Lights Down Low, Mug Shot

  • Volbeat and Halestorm Rock Toronto at Echo Beach

    Toronto’s Echo Beach was set ablaze on Wednesday July 12th as the Danish rockers Volbeat, accompanied by the powerhouse American rock band Halestorm, unleashed a sonic storm upon the fervent crowd. The air was electric with anticipation as fans eagerly awaited the musical extravaganza that awaited them. And boy, did these bands deliver!

    Halestorm last play the area in Hamburg last year. Kicking off the night with an explosive energy, Halestorm took the stage by storm, leaving the audience breathless with their blistering performance. Frontwoman Lzzy Hale commanded the stage like a true rock goddess, her powerful vocals piercing through the night air. With her signature charisma and raw intensity, she effortlessly captured the hearts of every spectator in the venue.

    Halestorm’s guitar-driven anthems reverberated through the amphitheater, igniting an uncontainable fervor among the crowd. Songs like “Love Bites (So Do I)” and “The Steeple” resonated with fans, who eagerly sang along to every word. The band’s seamless synergy and tight musicianship were evident, creating an undeniable chemistry that fueled the entire performance.

    After a brief intermission, the stage transformed into a grandiose spectacle, signaling the arrival of Volbeat. The “Servant Of The Road” tour had kicked off in Toronto, and the band wasted no time in proving why they are considered one of the most dynamic acts in rock music today.

    Frontman Michael Poulsen’s commanding stage presence and distinct baritone vocals took the audience on a wild ride. The band effortlessly transitioned from hard-hitting, foot-stomping rockers like “The Devil’s Bleeding Crown” to more melodic and introspective tunes like “Becoming.” Each song was executed flawlessly, fueling an intense euphoria that pulsed through the veins of every fan.

    Volbeat’s performance was accompanied by a stunning visual display, with mesmerizing light shows and striking backdrops that added an extra layer of grandeur to the concert. The crowd’s collective energy reached its peak during the band’s iconic hit, “Still Counting,” with fans chanting the infectious chorus with unbridled enthusiasm.

    The chemistry between the band members was palpable, as they effortlessly navigated their extensive catalog of rock anthems. From the blistering guitar solos to the thunderous drumming, every musician on that stage showcased their immense talent, leaving the audience in awe.

    The Volbeat and Halestorm show at Echo Beach was an unforgettable experience, leaving no doubt that rock ‘n’ roll is very much alive and thriving. These two bands proved that they are the rightful torchbearers of the genre, infusing it with their unique sound and captivating performances. The Toronto crowd was treated to a night of pure rock ‘n’ roll magic, and everyone left Echo Beach with their hearts pounding and their souls rejuvenated.

    Halestorm

    Volbeat

  • In Focus: Pleasantville Music Festival 2023

    The Pleasantville Music Festival 2023 was held on July 8th at Parkway Field, in Pleasantville.  This year’s lineup featured many New York State based performers; including headliners, They Might Be Giants. 

    They Might Be Giants
    They Might Be Giants

    Curating a one-day event with 18 musical acts, on three stages, is a daunting task. Aiding in the selection process, The Garage at Lucy’s. The Garage, a Pleasantville music club, hosted a series of battle of the band competitions. Victors were given the opportunity to open the day on one of the three stages.

    Allison Ponthier

    With the lineup complete, the festival was good to go. First up on the Pamnation Party Stage, Hunter Road. This Valhalla based group set the bar high for the following acts, with their rocking opening set. On the Party Line Chill Tent Stage, singer songwriter Ursula Hansberry performed solo, sharing her bluesy jazz style with the early attendees. On the main stage, overall battle of the band winner Summer Fling welcomed everyone with a distinctive funk, rock, pop sound. 

    Summer Fling
    Summer Fling

    Kudos to the festival for their music traffic management allowing people to move from stage to stage without missing acts they would like to see. From Chill, to Party, to Main, the groove of each stage matched its description. The sequencing of bands was also spot on. When one band finished, the next one picked up where the last one left off, talking it to the next level.

    Hunter Road
    Hunter Road

    Mother nature made a special appearance at Pleasentville Music Festival 2023, bringing with her two rounds of pouring rain and lightning. This required the stoppage of music and the need for people to leave the park grounds till the storms passed. Even with two delays, many stayed through the end. In retrospect, instead of being a deterrent, the rain acted like a cleansing of the pallet, as if to prepare oneself for the next musical course. 

    Allman Betts Band

    In addition to some of New York State’s finest musicians, there were notable national acts on the bill. Sophie B. Hawkins took to the Chill tent stage in bare feet, closing out that performance space. People were spilling out beyond the sides of the tent to get an earful of her music. On the main stage The Allman Betts Band shared originals while slipping in a few Allman Brothers tunes, to the crowd’s pleasure. Allison Ponthier was a glow with her indie pop sound, sharing a new unreleased song as part of her set. 

    Sophie B. Hawkins

    Multi Grammy Award winners John Flansburgh and John Linnel, aka They Might Be Giants, brought the night to a close. With forty years of performing under their belt, they did not hold back. Backed by a full band (including The Horns), TMBG bestowed on the crowd their surreal, humorous, experimental style of music, jamming on tunes till it was time to go.

    Main Stage

    They Might Be Giants
    Allman Betts Band
    Allison Ponthier
    Blac Rabbit
    Smooch w/Matt Crossett
    Summer Fling

    Pamnation Party Stage

    The Criticals
    Strange Neighbors
    Moonunitt
    SunDub
    Social Creatures
    Hunter Road

    Party Line Chill Tent Stage

    Sophie B. Hawkins
    Pete Francis
    Brandi & The Alexanders
    The Moonrise Cartel
    Dave Casale w/Petey Hop
    Ursula Hansberry

  • Tedeschi Trucks Band Take It Higher in Canandaigua

    Another beautiful summer night on the shores of Canandaigua Lake enjoying some live music at CMAC. Such was the fate for the thousands of fans who filled the shell and lawn for the Tedeschi Trucks Band show Tuesday night. What could be better?

    The stage would also be filled to the max. Reggae great Ziggy Marley and his ten-piece band would command the stage for an hour-long opening set before the Tedeschi Trucks Band would take over, besting Marley with their unit of twelve. At nights end however a band of eighteen would be serenading the audience. Six from Marley’s band would join the headliners for a raucous encore of a mashup of Sly and the Family Stone’s “Sing a Simple Song” and “I Want to Take You Higher.”

    Like a series finale, all the story lines from the evening came to a head at once, resolving in highly entertaining fashion. Mini-jams broke out all over: a keyboard duel, a 2-man bass-off, a drums and percussion battle, a triple guitar threat, horns aplenty, and a handful of vocalists directing it all to a t. The entire audience was on their feet, amazed at how they managed to wrap up the evening so perfectly.

    Watching it unravel song by song, it was a lot to binge in just one evening. Marley flexed his heritage in the opening set, getting properly political with the dark dub of “See Dem Fake Leaders” and “Justice,” which effortlessly worked in splashes of his father’s “Get Up Stand Up.” Those contrasted nicely with the sunnier “We Are the People” and “Circle of Peace.” His two female backup singers added some edge with rapping over “The Lucky One” and the soulful closer “Look Who’s Dancin’” while also exhibiting some entrancingly good dance moves.

    The intrigue was set, it was time for the main act. The Tedeschi Trucks Band worked a solid groove on Joe Cocker’s “Woman to Woman,” using it as a quasi walk-out tune for Susan Tedeschi. When she finally took the stage, she immediately commanded it, her incredible voice carrying over all else. She would continue to be the person of interest in the following “Anyhow,” ripping a rocking solo reminiscent of Traffic’s “Dear Mr. Fantasy.”

    Each ensuing song would bring different members of the endlessly talented ensemble into the spotlight. Piece by piece the story of the band would come together, all working toward that grand finale. The three segments of the band, be it Tedeschi, Truck, or Band, got equal time and each had their highlights. Tedeschi’s voice shined brightest on “Don’t Think Twice It’s Alright,” just crackling and soaring. Trucks’ guitar found no better time to growl, stretch and moan then the set-closing “I Want More / Beck’s Bolero” combo. The drummers took over on Dr. John’s “I Walk On Guilded Splinters,” blasting low rumbles leaving the rest of the band hanging on and hanging in. Keyboardist Gabe Dixon took a turn on the vocals and highlighted his playing on the New Orleans soaked “Gravity.” Saxophonist Kebbi Williams got his turn on the retro soul groover “Part of Me,” and also got to tangle for a spell with Trucks, Dixon, and bassist Brandon Boone on a gorgeous “Midnight in Harlem.”

    Whatever they made it out on a Tuesday night for, be it Tedeschi, Trucks, or any and all of the band, there’s not a chance anyone went home unsatisfied. And now the difficult wait for the next season to get released so we can binge on their talents all over again.

    Photo gallery by Jamie Mohr

  • Long-Awaited Documentary of Pink Floyd Founder Syd Barrett Comes to NYC

    The meteoric career of Pink Floyd’s madcap founder Syd Barrett has birthed a legend and influence that seems to grow more with each passing year. Syd was the songwriter/singer/guitarist for little more than the band’s watershed 1967 debut album, Piper At the Gates of Dawn, and two equally influential but barely selling solo discs, The Madcap Laughs and Barrett (both 1970), a lyrical and instrumental savant who was virtually gone upon arrival.  

    Syd Barrett

    Was he an acid casualty?  A victim of early adult-onset mental illness? Or did he just almost immediately tire of the pressures of pop stardom, the endless gigging and demand for the next hit single as soon as he began to achieve fame?  And what became of him when he left the music world – retreating back into his family’s home in Cambridge to paint and then destroy his works, a hermit who rarely left his house, a singular musical voice who would never pick up a guitar again?

    Barrett has been the subject of several fine books and documentaries but none as thorough and sensitive to his struggles as “HAVE YOU GOT IT YET?” Directed by award-winning filmmaker Roddy Bogawa (Taken By Storm: The Art of Storm Thorgerson and Hipgnosis) and the late, acclaimed album art designer Storm Thorgerson (Pink Floyd, Led Zeppelin, Paul McCartney, Black Sabbath), this long-awaited documentary will have its U.S. debut at NYC’s Quad Cinema, from July 14 – 17.  Director Bogawa will be present for Q&As during several of the 14 NYC screenings.

    “HAVE YOU GOT IT YET?” is a chronicle of the mosaic of Barrett’s creative and destructive impulses, his captivating presence and absence – a portrait of the complex puzzle that was his life.  His story is told by a multitude of family, friends and associates, many who have never shared their experiences. These include childhood schoolmates, his caretaker sister Rosemary, former girlfriends, 60s musical contemporaries like Pete Townsend, the younger musician he influenced like Stone Roses’ John Squire and, of course, his fellow Floyds – David Gilmour, Roger Waters and the late Rick Wright. 

    Syd’s story begins with what is described as a charmed childhood in bucolic Cambridge, England, the son of a doctor who was strikingly handsome, charismatic and, most of all, talented in the arts. According to his first girlfriend Libby Gauden: “Life was too easy for him, everything worked — his painting, his friendships, everything.”  With his entrance into the Cambridge School of Art in 1962, he gets into “the Beats, Beatles and The Stones.”  Born Roger, he will borrow the name “Syd” from a local bass player, Syd “The Beat” Barrett, for his professional career.  He will eventually move to London to continue his art studies and into a flat with bandmates-to-be Rick Wright and Roger Waters. They will soon begin playing together and, with the arrival of LSD in his diet, morph from a band copying Bo Diddley-styled R&B into something far more unique, improvisational and adventurous.

    The documentary contains a remarkable collection of never-before-seen photos and film clips from his childhood and musical career.  The latter includes the legendary 8mm reportedly shot during Syd’s first acid trip, along with the legendary Friday nights gigs at London’s UFO club.   Of these, Pete Townsend says: “The only time I missed a Who gig was to take acid and see Syd and the Floyd at the UFO.” Townsend goes on to praise Syd’s unique guitar technique, his use of two Binson echo units, generating a syncopated throb which he calls “spectacular psychedelic heavy metal.”  There are other great memories of these gig and the Floyd’s impact on Swinging London related by the band’s psychedelic light show creator Pete Wynne Wilson, legendary photographer Mick Rock and their managers Peter Jenner and Andrew King.  Another great video find is a color remaster of the early promotional film for “Scarecrow” from their debut disc.  The Dream Academy’s Nick Laird-Clowes goes on to compare the Syd of this halcyon era to a switched-on Lewis Carroll or Hilaire Belloc, “an English romantic wearing a psychedelic cloak.” 

    Shortly after their February 1967 signing to EMI Records, Syd and Pink Floyd would find themselves recording their debut album at the label’s famed studio, now known as Abbey Road, as The Beatles were working on Sgt Pepper in an adjoining studio.  Their debut single, “Arnold Layne” would make the Top 20 and the album would reach #6 on the charts.  By the time of their second single, the #5 “See Emily Play,” trouble would be brewing as Syd would balk at appearing to mime their hit on the weekly TV countdown show, Top of the Pops.  He would say: “John Lennon doesn’t have to do this, so why should I?”  He would make the first two episodes and skip out on the third.

    According to Floyd drummer Nick Mason, Syd “didn’t want to be a pop star.” His use of LSD, grip on reality and his irresponsibility would escalate with a move to a flat on 101 Cromwell Road, a true “den” of perversion according to those on the scene. Here, he would be regularly dosed by hangers-on according to his girlfriend of the time, Lindsay Korner.  By this time, Syd would also stop playing and singing in the middle of gigs.  A mini-tour of U.S. designed to pull the band back together would be a disaster. The low lights?  They were a horrendous performance at the Fillmore West and bizarre appearance by a virtually catatonic Syd on “Dick Clark’s American Bandstand.” 

    The turmoil in his brain would manifest itself in singles that were recorded but not released, “Vegetable Man” and “Scream Thy Last Scream.” In the later part of 1967, the band would bring in Syd’s longtime friend David Gilmour as a support guitarist.  Syd Barrett would be out and the five-man Floyd is over when they decided not to pick him up to play a gig at Hastings Place in January 1968. 

    Gilmour and Waters who would come to the rescue and help Syd finish his debut album, The Madcap Laughs.  In the documentary, Gilmour states his belief that “the writing was better than Piper,” praising its “truly fascinating lyrics.”  Gilmour and Wright would come to his aid to complete his second and final studio album, Barrett. 

    After a few aborted attempts at more recording and live gigging and an unsettling visit by a vastly overweight and unrecognizable Syd visit as the band was recording their Syd tribute, “Shine On You Crazy Diamond” in 1975, Barrett would finally head back to Cambridge – walking the 50 miles from London.  According to his sister Rosemary, who was his caretaker until his death from pancreatic cancer in 2006, “he didn’t want to be reminded of it; he wasn’t Syd anymore.”  Indeed, he was Roger again, a man who largely kept to himself and painted, then promptly destroyed, most of his work. 

    Anyone who has listened to Syd’s music or that of his many musical disciples like Robyn Hitchcock and David Bowie, know that his unique lyrical whimsy and naïve instrumental genius have had a massive impact on the music that came after his brief time in the spotlight. While they do touch base on some of the unseemly episodes in his life, the film is really a tribute to Barrett’s unique and lasting impact on pop’s more creative edge.

    At the conclusion of the film, it’s the great playwright Tom Stoppard who sums it up best.  “Tragic tales resonate more than tales of triumph.”  And while Bogawa and Thorgerson’s film frames the tragedy, it’s their take on his singular talents that will resonate with viewers, like the long tale of his comet-like career and genius.”