Brooklyn might not be the place where you’d imagine the next great American folk band to come from, but Liam Robinson and Jean Rohe are looking to change that. The duo has been channeling the sounds of Appalachia and the soul of America since they met over 15 years ago. After exploring their musicality as individuals, Robinson and Rohe drop their next album Into the Night on Friday, May 26th.
In a musical landscape that is often ripe with generic lyrics and songs made to “trend” on social media, Into the Night is a breath of fresh air. Punctuated by rhythmic guitar strums, bright banjo beats, passionate vocals, and simple but powerful drums, Into theNight does enough to stay engaging without straying too far away from its traditional influences.
Although the project is undeniably folk-inspired, elements of rock, bluegrass, jazz, and even pop are found throughout the 11-song album. The real standout element of Into the Night however is Robinson & Rohe’s writing and lyricism, which often comes across more like well-crafted lines of poetry than the lyrics of a song.
The album begins with the feel-good title track “Into the Night” which acts as the perfect introduction to the overall tone and atmosphere of the project. Robinson & Rohe put together one of their best and most harmonious vocal performances of the entire album. The pair’s soulful singing gives way to the steady beat of drums and the intricate sounds of a fiddle as the track reaches its climax. The first half of the album also features the songs “Off track” and “Where I’m Coming From”, which both help to demonstrate the project’s strong instrumentation and production.
Another gem is “One Last Waltz”, which invites the listener to reflect on time, love, and the brevity of life. Its poetic lyrics and powerful cascade of horns, drums, and guitars act as a comforting “goodbye” as the album nears its end. While Into the Night doesn’t reinvent the wheel when it comes to contemporary folk music, Robinson & Rohe display their songwriting and arrangement skills on just about every track. Together, the duo crafts a project that is not only impressive in its musical value, but also approachable for anyone looking to hear something shaped by the heart.
Robinson & Roe will celebrate Into the Night in New York City at Rockwood Music Hall on June 4th. The full list of upcoming performances can be found below:
Waterparks, pop punk/modern rock icons, brought the house down at Philadelphia’s legendary Theatre of Living Arts (TLA). It was the 6th show of their East Coast leg on the Intellectual Property Tour, and boy, did they deliver an unforgettable performance.
With HUNNY and Elliot Lee warming up the crowd, the energy was off the charts. TLA was packed with their devoted fanbase, affectionately known as “parxies,” who created an electric atmosphere. Waterparks’ signature style and intense electric sound had the audience mesmerized and electrified throughout the night. It was an absolute blast, and a testament to their status as one of the leading bands in the pop punk scene.
A New York native, Elliot Lee is a visionary musician who has been rewriting the rules of pop music since bursting onto the scene. With her unmistakable blend of haunting melodies, poetic lyricism, and a voice that resonates with raw emotion, Elliot Lee has captivated audiences worldwide. The atmosphere crackled with anticipation as Elliot’s ethereal vocals filled the venue, intertwining seamlessly with the hypnotic melodies. The crowd was transported to a realm where emotions ran deep, where vulnerability and strength coexisted. It was a transcendent experience, as Elliot bared their soul through their music.
Standout moments included the hauntingly beautiful performance of “Easy To Be You,” where Elliot’s voice soared effortlessly, carrying a weight of raw emotion that left the audience breathless. The pulsating beats and shimmering synths of “Fun” had everyone moving to the rhythm, surrendering to the cathartic release of the music.
Elliot Lee Setlist: Upside Down, Sicko, Drama Queen, Pill for Happiness, Solo, Happy Face, Fun, 54321, Easy to Be You, Pink (Freak)
HUNNY is a dynamic indie rock band that emerged from the vibrant music scene of Southern California. Formed in 2014, this five-piece ensemble quickly garnered attention for their infectious energy and heartfelt lyrics. The band’s during the show consisted of lead vocalist and guitarist Jason Yarger and bassist Kevin Grimmett. With their unique blend of dreamy melodies, gritty guitars, and introspective storytelling, HUNNY swiftly captivated the audience. As the frontman, Yarger’s charismatic persona commanded attention, effortlessly navigating between vulnerable introspection and explosive bursts of passion.
The band’s seamless chemistry created an irresistible atmosphere, driving the crowd into a frenzy. The setlist was a carefully curated journey through their discography, combining fan favorites like “Vowels (And the Importance of Being Me)” and “Televised” with newer gems from their latest album. Each song resonated deeply, with the band’s infectious hooks and infectious melodies washing over the audience.
HUNNY Setlist: Natalie, Saturday Night, Vowels (And the Importance of Being Me), Halloween, JFK, Shy, Loser, Good Will Hunting Song, action –> reaction, Lula, I’m Not Mad, Televised, Sports With Strangers
Waterparks (not to be confused with an aquatic amusement park) is a pop punk band from Houston, Texas. Made up of frontman Awsten Knight, drummer Otto Wood, and guitarist Geoff Wigington, the trio quickly gained a reputation for their captivating live performances and clever songwriting since they formed in 2011. Blending elements of pop, rock, punk, and electronic music, they have carved a unique niche for themselves in the music industry. With their infectious melodies, high-energy performances, and fearless attitude, Waterparks has become a defining voice in modern pop-rock, inspiring a new generation of music lovers and proving that they are just getting started.
During the opening chords of ST*RFUCKER and Awsten’s debut in a giant red parka, the audience became a living, breathing entity, swaying and jumping in unison. The surge of adrenaline in the room was palpable, as fans eagerly embraced the band’s electrifying sound.
Awsten effortlessly commanded the stage with his charismatic presence. He engaged the crowd with his patented fan interaction strategies which included affectionately bullying the crowd and airdropping a photo from their photographer’s (Jawn Rocha) phone to random fans. The connection between the Waterparks and parxies was undeniable, as cheers and chants filled the venue.
As the energy reached its peak, the crowd erupted into a frenzy of excitement, with people crowd surfing their way towards the stage. Waterparks’ music created a sense of unity and exhilaration, as fans supported each other, riding the wave of excitement and joy.
Amidst the chaos, Waterparks skillfully navigated through their setlist, flawlessly transitioning from one hit to the next. Tracks like “Numb,” “Stupid for You,” and “Group Chat ” ignited the crowd. Parxies went absolutely wild when the band played “Crave”, the one song that called for Geoff to sing a verse.
As the set reached its crescendo, Waterparks returned for an encore that left the crowd in awe. “REAL SUPER DARK,” “Turbulent,” and “Funeral Grey” ignited a final surge of energy. The audience erupted, jumping and singing along with unbridled enthusiasm. The band poured their hearts into every note, reciprocating the crowd’s unwavering energy.
Their ability to connect with the audience through their music created an electric atmosphere, leaving everyone craving for more. The sight of people crowdsurfing and the collective euphoria of the concert will forever be etched in the memories of those lucky enough to experience the magic of Waterparks live in Philadelphia.
Waterparks Setlist: ST*RFUCKER, Numb, Rare, Stupid for You, Crave, Brainwashed, 2 Best Friends, Fuck About It, War Crimes, [Reboot], Royal, Telephone, Ritual, High Definition (Acoustic snippet), I Miss Having Sex but at Least I Don’t Wanna Die Anymore, Group Chat, Closer, A Night Out on Earth
Waterparks Encore: REAL SUPER DARK, Turbulent, Funeral Grey
The North America portion of the Intellectual PropertyTour will keep going all the way until June 14th when they finish in Los Angeles. If you find yourself abroad, you can catch Waterparks in Europe (with support from Stand Atlantic) and in Australia later on in the year. Stay tuned to their website and socials for more information on those dates.
HUNNY will be following Waterparks till the end of the line so be sure to follow Kevin and Jason’s adventures on tour (and for future endeavors).
Elliot Lee will be departing after the show in Georgia. Be sure to follow them on socials and check their website for any performances that they play when they get back home to NY.
Rob Beaulieu Band’s new album Fade Just Right features nine songs by the band, each one with a unique sound that compliments the overall feel of the album. Different members of the band get their opportunity to shine throughout the pieces, coming together into the album’s many harmonies.
Rob Beaulieu founded Rob Beaulieu Band, a deeper dive into Americana when compared to other projects, mixing in blues and soul alongside it. He is also a founder and member of the bands Raisinhead and Stone Revival Band. Beaulieu plays guitar and provides vocals for the band, with other members including: James Kirk (bass and vocals), Chad Ploss (drums and vocals), Dave Spadaro (Guitar), Sherry Jean Waite (Vocals), and Tony Perrino (Organ).
The album opens with “Ghosts,” which sets the standard for the rest of the album. About the dedication of lovers throughout their lives, even when they have been separated, “Ghosts” has Rob Beaulieu Band’s signature harmonies and organ acting as a haunting undercurrent for the piece.
Each song brings in a new element to mix up things a little bit. The titular song “Fade Just Right” has a much slower piece than most of the album, and uses a xylophone-like sound in one of its motif’s, a sound unique to the piece. In songs such as “Searchin for Paradise” and “Light from the Shoreline,” Sherry Jean Waite takes the role of lead vocalist, a performance that shines through in the album.
While the songs all have different stories to tell, “Ghosts” and “Spooky” have a haunting theme. “Spooky” in particular latches onto this, with a slower pace and emphasis on a long, mournful note that echoes throughout the piece. The song creates its own phantoms with these notes, the ghosts of “Spooky” occasionally joining in with the harmony through these “phantom calls.”
The final song, “Sweet Marie” is an energetic conclusion to the album, ending it on a high note. The song’s love letter-like nature is enhanced by its clean rhymes, making it sound almost like a love poem. All the instruments in this piece are tuned for the upbeat finale and are given space to play without the vocalists.
The band will be playing at The Hollow in Albany on June 23 at 8:00 p.m. alongside Aiko the Dog. For more information and to RSVP for their next show, check out Rob Beaulieu Band’s website.
Beak and Skiff kicked off their Summer Concert Series this past weekend with a pair of sold-out performances by The Avett Brothers on Friday May 19 and Saturday May 20.
The Avett Brothers hail from Concord, NC and consist of brothers Scott (vocals, banjo, guitar, piano and Seth Avett (vocals, guitar, piano) along with Bob Crawford (bass, double bass, violin), Mike Marsh (drums), Joe Kwon (cello), Bonnie Avett-Rini (piano) and Tania Elizabeth (fiddle). The band have built a devoted fan base with over two decades of touring, and more than ten studio albums.
While the weather could not have been more perfect during the day on Friday, as show time approached wind gusts and rainclouds moved over the venue. This did not dampen the spirts of thousands of concert goers as the early arriving sold-out crowd packed the standing area in front of the stage, while more fans spread lawn chairs out across the field. At 7:15, Scott Avett led the band to the stage and was greeting with a thunderous ovation.
The band jumped right into “Laundry Room”, a stand out track from 2009’s I and Love and You. Scott and Seth dazzled the crowd with their harmonious vocals. “Stop your parent’s car, I just saw a shooting star,” Scott sang, to another loud ovation from the crowd, as the song exploded with energy. Next was the folk classic “Old Joe Clark”, which built off the already existing energy. Each band member took their turn displaying their talents, and the song broke into instrumental duals between the various members. Scott and Seth took turns wandering to the front of the stage, and onto the speaker cabinets to further excite the crowd. The remainder of the evening featured several stand out songs from the band’s catalog, including “Headful of Doubt,” “Murder in the City,” and “I and Love and You”.
Night two began in similar fashion, albeit with heavier rains and cooler temperatures. The weather appeared to be clearing as show time approached, however heavy showers again moved in at showtime. The band took the stage armed with kazoos and immediately jumped into the upbeat instrumental piece “The D Bag Rag”. Next was “Talk on Indolence,” a track which dated back to the band’s early blue grass days. Brothers Scott and Seth hopped about the stage and the crowd, who at this point had forgotten about the heavy rains, danced along with them.
The band would roll through over two hours of career spanning tracks, and even included the Doc Watson Family cover, “Groundhog.” As the set came to a close, the band performed the upbeat “Ain’t No Man.” The song featured both brothers taking turns on vocals, as they strutted and danced about the stage. The audience’s pleas for an encore were honored by the band, who returned to perform four more songs. The band would close two days of stellar performances with “No Hard Feelings,” a heavy and emotional track about staying free from harboring enemies, sharing love and ultimately about accepting death.
In all, the Avett Brothers delivered two nights of incredible performances at Beak and Skiff, featuring unique set lists, with over forty different songs played. Despite the weather, it was truly a special start to the summer concert season.
If you are an iconic ‘90s/’00s band mapping out a massive, 93-date global 30th anniversary reunion tour, then scheduling a show at The World’s Most Famous Arena is a no-brainer. And that is exactly what the classic, long-time lineup of Blink 182 – Mark Hoppus, Travis Barker and Tom DeLonge –marked on their calendars last October when they made the tour announcement, along with the release of a new single, “Edging”, their first musical output since 2011.
Prior to the tour launch in St. Paul, MN on May 4th, and outside of a surprise appearance at Coachella in April, DeLonge had not been involved with the group formed in San Diego County, CA for the past nine years. But after finally overcoming the traumatic after-effects from a 2008 plane crash (Barker) and a cancer diagnosis in 2021 (Hoppus), the band decided to give it a go.
On a chilly mid-spring evening in Midtown Manhattan, the first of two bands providing support for Blink-182 was Beauty School Dropout (BSD), who took the stage at 7:35 pm. For the entirety of their 25-minute set, the renegade-pop band from Los Angeles, CA (featuring Cole “Colie” Hutzler, Brent “Beepus” Burdett and Bardo) wowed the audience members who had arrived early to the historic venue. Presenting material across a wide array of genres – including pop, punk, rock and hip hop – these young men handpicked by Hoppus himself, under his newly created venture capital music start up called Verswire, electrified the arena with emotionally-charged vocals, thundering guitar and stampeding drums. As the clock struck 8:00 pm and their set came to a close, BSD exited the stage to what else? Frankie Avalon’s “Beauty School Dropout” of course, made famous by said teen idol’s performance in the film version of Grease. BSD are definitely ones to watch, and their sophomore EP “We Made Plans & God Laughed,” is out now.
Accompanying Blink-182 on all their US and Canadian dates is Turnstile, a hardcore punk from Baltimore, MD who formed in 2010. The quartet of Brendan Yates, Daniel Fang, “Freaky” Franz Lyons and Pat McCrory is also joined on the tour by Meg Mills on rhythm guitar. Entering stage left at 8:15 pm, the melodic hardcore musicians have three studio albums in their discography, the latest being Glow On, which was released in 2021 to critical acclaim and garnered the band three nominations (Best Metal Performance, Best Rock Song and Best Rock Performance) at the Grammy Awards held this past February. In less than two years, the abrasive, guitar-driven band has gone from playing suburban basements to 1,500-person clubs to 20,000-capacity arenas, without blinking (no pun intended) an eye. Turnstile commanded the MSG crowd instantly, particularly frontman Yates’ vox, and for forty minutes, we were all entranced with their grooving chassis of riffs and emo-ish lyrics. Sans a bad song in their catalog, including “Holiday,” a portion of which was used as the soundtrack for a 15-second Taco Bell commercial via TikTok, I cannot wait to see what lies ahead for Turnstile or to catch them on their next late night talk show appearance.
At 9:30 pm, with the last road crew member’s shadowy silhouette barely visible as he checked to make sure no microphone cords were askew, the moment was finally here! As Richard Strauss’ “Also Sprach Zarathustra, op. 30″ erupted over the house PA, a portent of a significant event to come (like Elvis taking the stage in his later years), one by one they appeared. First DeLonge at stage left, then Barker took his stool behind the kit at center stage, and lastly Hoppus (the trio’s beating heart), waving to the crowd as he strapped on his Fender Jaguar bass at stage right. As a Gen Xer and self-proclaimed fanboy since the first Blink-182 earworm that grabbed my attention, 1997’s “Dammit” (Dude Ranch), tonight was more than special, it was festive and nostalgic, taking me and all the fans in attendance like me, back to yesteryear.
As Blink-182 ripped through one hit after another, including six offerings from their third studio album (Enema of the State) that contributed significantly to their meteoric rise to fame in 1999, Hoppus and DeLonge lived up to their reputation with humorous, and sometimes sincere and introspective stage antics and banter during song breaks. Here is a sampling of dialogue necessitating inclusion for this review, some of which transpired while Barker was performing high over the stage atop a levitating drum riser connected to four alloy steel chains:
We’re sorry if that [song] got you pregnant.
You’re mom was safe yesterday, but your mom’s not safe tonight.
Holy shit, we killed that. Did you notice that my hips and my knees didn’t give out when I went down to the ground?
Travis, when you were doing that drum shit, when I was watching you, I got an erection. I was so fucking hard. I have never been that hard before in my life.
There is a timing issue and I want you all to be aware of it. The next song is hard to play and I have usually been scoring about C+ on it, and I don’t know what to expect.
I wish I could be like Harry Styles and play 15 nights here for you all. Did someone fucking boo Harry Styles? Don’t pull that shit in here. Hey, I got a joke. How are One Direction and ‘70s porn alike? Harry Styles.
Somebody is smoking so much marijuana drug.
This next song I wrote at a part in my life where I was really down, and I didn’t know if I could go on. I was really sick with cancer. I was hooked up to chemotherapy machines and now I’m fucking here tonight at MSG with all of you. I love you all.
One of these shows I’ll get through a show without crying like a baby, not tonight, not tonight.
This is the last song of the show, and then we’re gonna play three more songs. You know why? You wanna know why? Because we’re contractually obligated!
Give it up for our bestest friends in Turnstile. But most of all, give it up for the greatest band to ever walk the face of the planet, Rage Against The Machine.
All jokes aside, for more than 90 minutes, the electric and synergetic atmosphere created and shared by Blink-182 and its adoring fans elevated the show from a mere exhibition to an experience never to be forgotten. Walking to my car 30 minutes or so after the show, I came upon a large circle pit of fans on the corner of 31st Street and 8th Avenue, still basking in the afterglow of the epic show. There was a stereo playing “All the Small Things” at its highest volume, fans were hopping up and down in synchronicity, all of whom were belting out the lyrics we all love and know by heart, “Say it ain’t so, I will not go. Turn the lights off, carry me home.” Suddenly, out of the crowded pit came Hoppus (the only member to remain in Blink-182 throughout its entire history), hopping up and down himself, with a huge grin across his face. His security detail, watching it all unfold beside me, were more than happy, however, to whisk him back into the waiting black SUV and speed off into the dark Gotham night.
After Blink’s final show of their North American leg concludes at the Bridgestone Arena in Nashville, TN on July 16, the band will take a much needed rest before resuming their world domination across the pond with twenty-four (24) dates in Europe (September 1 to October 16). Following a pair of shows in Las Vegas, NV on October 21-22 at the When We Were Young Festival, the boys will get another respite before heading to Oceania in early-February 2024 for sixteen (16) more shows, with the trek concluding in Latin America with a dozen shows – the last four of which taking place in Mexico City in early-April 2024.
Blink-182 Setlist: Anthem Part Two > The Rock Show > Family Reunion > Man Overboard > Feeling This > Reckless Abandon > Violence > Up All Night > Dysentery Gary > Dumpweed > EDGING > Aliens Exist > Cynical > Happy Holidays, You Bastard > Stay Together for the Kids > Always > Down > Bored to Death > I Miss You > Adam’s Song > Ghost on the Dance Floor > What’s My Age Again? > First Date (with snippets of “Pinhead” and “Blitzkrieg Bop” by Ramones) > All the Small Things > Dammit (with snippet of “No Scrubs” by TLC)
The temps are heating up outside, and so is the music scene in the Capital District in New York, including two of the most exciting bands on the scene right now. On Saturday, May 20th, New York City-based band Escaper warmed everyone up for the main act, Prince Bowie.
Escaper
Escaper is possibly the most appropriate name for a band in the history of band names — after all, it is impossible to ascribe a specific genre to this act. Will Hanza (guitar, vocals), Phil Kadet (keys) Sam Crespo (drummer from Space Bacon), and Luke Bemand from (bassist from Lespecial) have truly escaped a label of any kind. They enjoy being known as “one who breaks free from confinement,” and this comes across in every note that they play. If you haven’t had a chance to check out this band yet, you are truly missing something special. If you want to get right on it, you can check out their music on SoundCloud.
Prince Bowie
Prince Bowie is one of the most unique acts I have ever seen, covering the songs of Prince and David Bowie like you’ve never heard before. Prince Bowie almost never has the same lineup twice. This has no effect whatsoever on their level of talent, however, it is impossible to tell that they rarely play together as they gel quickly on stage.
Saturday Night’s Lineup
Saturday’s lineup included some local favorites as well as some glorious out-of-town guests. Featuring Eric Gould (Bass, Pink Talking Fish), Cal Kehoe (Guitar, Pink Talking Fish), Alric “AC” Carter (Keys, TAUK), Rory Dolan (Drums, lespecial), Chris Brouwers (Trumpet, The Horn Section / Cool Cool Cool), Greg Sanderson (Tenor Saxophone, The Horn Section / Cool Cool Cool, Josh Schwartz (Baritone Saxophone, lead vocals, The Horn Section / Cool Cool Cool) and Matt Wayne (Alto Saxophone, Bobby Deitch Band), they were joined for a few songs – “Under Pressure” and “Kiss” among them – by local legend Shannon Lynch (Saxophone, vocals, Midnight Sun, Conehead Buddha).
Prince/Bowie – Putnam Place, Saratoga Springs – May 20, 2023
Set: Let’s Go Crazy, Let’s Dance, Delirious, Ziggy Stardust, 1999, Starman, KISS, Under Pressure, DMSR, Young Americans, I Wanna be Your Lover, Fame > Cream, Space Oddity, I Would Die For You, Controversy, Moonage Daydream Encore: Life on Mars, Purple Rain
Making their Saratoga Springs debut, the force was strong with Spafford on Thursday, May 4th. Delivering an awe-inspiring, booty shaking performance full of type-II improvisation, buttery smooth segues, spacey textures and more dynamic soloing than even Han could handle, the highly talented quartet proved once again that when it comes to pure jams, Spafford is light years ahead of the pack.
Putnam Place served as our cantina for the evening, and while you will surely find a more wretched hive elsewhere, on this evening there were no villains here, only friends with plenty of character. You see, despite it being Spafford’s first time in ‘Toga, the electro-funk jam band has been around for more than a decade now. Developing a strong following via old-fashioned word of mouth and fan interaction, frequently sharing high quality live streams and relentless touring, those that already know, know, and these so-called “Spaff-Nerds” will happily travel far and wide to see these jam band Jedis play. For many in attendance, it was a no-brainer making the trip to Putnum Place, a venue with an almost mythical status as being a “rite of passage” for improv acts.
Originally formed in a place far, far away in Arizona, Spafford is comprised of Brian Moss (Guitar), Jordan Fairless (Bass), Corey Schechtman (Keys), and Nick Tkachyk (Drums), and have actually orbited around the Capital Region numerous times, previously playing venues like the defunct Lucky Strikes in 2017, the Palace Theatre (supporting Umphrey’s McGee) and headlining “Jam Night” at Albany’s Alive at 5 concert series last summer, thus making their long awaited Putnum debut all the more surprising and overdue. Making up for lost time and determined to leave a lasting impression, the evening with Spafford kicked off with a spunky version of “Left on the Runway” from their latest album, 2022’s Simple Mysteries.
Acknowledging the familial vibe early and flowing straight into “All My Friends,” the collective buzz in the room immediately went up a notch. That’s because longtime Spafford fans know “All My Friends” is almost always paired up with “Bee Jam,” one of their most coveted improv vehicles. Sure enough, the Bee would take flight on this night, soaring through Saratoga with an absolutely stellar, 18 minute rendition that contained everything from head banging grooves, crunchy funk-drenched breakdowns, the first huge guitar solo from Brian Moss and sonic exploration that effortlessly dipped into a murky type-II atmosphere, only to emerge on the other end with “Mind’s Unchained.” Corey’s Schechtman’s tasteful piano textures really came through here, adding a layer of beauty that made you want to close your eyes and live in the moment for as long you could. Slowly building to the song’s blissful crescendo, the song would cap off an impressive 40 minutes of uninterrupted music to start the show. Little did anyone know the biggest jam of the first set was still yet to come.
As bassist Jordan Fairless slapped away at the intro of “Dog House,” his voice was in top form and so was his playing. Picking up the pace as the song shifted into “Part II,” we’d get another tasty organ solo from Corey, before the song would showcase some of the bands more jamtronic and improg influences with “the human metronome” Nick Tkachyk navigating the ship. Taking you along for a colorful, sonic journey into the musical unknown, the song would ultimately clock in at the 19 minute mark and bring the scorching first set to a close.
After a smoke-filled intermission, Spafford would stay on target and turn the heat up even higher for set two. Once again choosing a song from their latest studio album to kick things off, the band came out of the gates swinging for the fences with a 21 minute “Diesel Driver” that was, simply put, a home run. Despite being a relatively recent song, Spafford played the ever-loving snot out of it, showing a maturity and patience well beyond their peers. Then working their way through the Braveheart-esq sounding “Pursuit of Madness,” for me, it was all about the “Broken Wing” that would follow. An absolute showcase of what this band is capable of, if you were able to stand still during this song, sorry not sorry, but you might want to check your pulse.
Going with dank grooves for days and yielding an all-out dance party that reminded you of what the Putnum Place was like before the pandemic, the energy here was through the roof. Yet another 20 plus minute jam, it was around this time I realized, “holy smokes, they haven’t stopped playing this entire set!” Maybe that was their plan all along? Almost on que, as if they could hear my thoughts, “Broken Wing” then melted into “Plans” in the most buttery-smooth way. Giving guitarist Brian Moss and his custom Raven one last chance to shred, every time I get a chance to watch this man play is awe-inspiring. The entire second set alligatored together as one frame of music, I’ve been saying it for years, but if that didn’t make you a believer in this band, then I give up trying to convince you.
Thanking the audience for packing out the place despite it being their first time there, Moss would speak from the heart and address the crowd by saying, “What a blast we had this evening. What a beautiful town, great food, great people. Should we come back?” After a resounding cheer, minus the one guy who jokingly gave a thumbs down, Spafford would cure us all and send everyone home happy with a 13-minute encore of “The Remedy.” While it may have taken them several years to find their way to Saratoga Springs, east coast jam fans won’t need to wait nearly as long to see the guys again. With the promise of planning something spectacular and unique, up next the band is preparing for an intimate three-night run of shows at NYC’s famous Blue Note Jazz Club beginning May 29th. Later in June, you can catch Spafford performing at the picturesque Lincoln Hill Farms in Canandaigua, NY.
Spafford | May 4, 2023 | Putnum Place | Saratoga Springs Set 1: Left on the Runway, All My Friends > Bee Jam > Mind’s Unchained, Doghouse > Part II Set 2: Diesel Driver > Pursuit of Madness > Broken Wing > Plans Encore: The Remedy
Making their maiden voyage through Albany, Kendall Street Company had fans jumping for joy on Friday, April 28th when they brought their barefoot brand of high energy, jam-infused beach rock, along with their signature sense of humor, to Lark Hall for the first time. As enlightening as it was entertaining, it was the kind of show that sent you home thinking you’d just danced with the stars of tomorrow, today. The type of band that makes sure everyone is having fun, and If you didn’t this night, why were you even there in the first place?
Jumping for Joy: Kendall Street Company brought the fun to Albany for their Lark Hall debut on 4/28/23.
Based out of Charlottesville, VA, the band originally formed in 2013 and has been riding a steady wave of momentum since the end of the pandemic. Thanks in large part to constant touring, dedicated songwriting and finding a balance between humor, business and being the best of buds, Kendall Street Company consists of frontman Louis Smith on rhythm guitar and vocals, the dress wearing Brian Roy on Bass, Ryan Wood on drums, Ben Lederberg on electric guitar, and saxophonist/keyboard player Jake Vanaman. Their sound is often hard to categorize, a melting pot of various styles and influences ranging from soul-searching blues, to jazz inspired bluegrass, to psychedelic yacht rock, to straight up feel-good pop rock. Along with an equally diverse and impressive list of covers in their bag, Kendall Street Company showcased it all on this Friday night in Albany.
Kendall Street Company opened the show on 4/28/23 with their brand new single, “Becca’s Dad.”
Opening the performance with their latest single “Becca’s Dad,” followed by “Wineglass Television,” we got our first cover song of the night in the form of the Grateful Dead‘s “Bertha,” which the Lark Hall faithful happily ate up. Having reviewed several Lark Hall shows in the past, it never once occurred to me what the bird actually sounds like. Thanks to one of the most memorable and educational moments of the night, however, it’s now a chirp I don’t think I’ll ever forget. In deadpan poker face, KSC frontman Louis Smith would take us to school by calling up a Lark sound effect and piping it through the PA system long enough to where it was funny, then unfunny, then hypnotic and then funny again. Amusing themselves and the audience alike, make no mistake, these guys are serious musicians.
Barefoot Boogie: Kendall Street Company rocked Albany’s socks off on 4/28/23.
Continuing on with “Porridge,” “Unwind (Boiler Jam),” and a surprise cover of “Ode to Viceroy” by Mac DeMarco, the band would play another unreleased new song called “Trapeze”. The highlight of the night came next when fans in the crowd approached the stage and gifted the band a few containers of Aged White Cheddar potato chips, clearly a request for the guys to play their song of the same name. After taking a moment for a mid-set snack, as if the knock-off Pringles were communion wafers, not only would the band grant the request, they would jam it out using the chip containers as percussion shakers! While everyone in the audience was legitimately laughing out loud, the guys made note how the chips were a little dry and made them thirsty. Whether it was a planned bit, or spontaneous like I hope it was, it was effective and endeared the guys to the Albany crowd even more.
Shake It Up: Give an artist a can of chips and they’ll get you something out of it. 4/28/23
After “Sweet and Clean,” we got our third cover song of the night with “Doctor Worm” by They Might Be Giants. Speaking from the heart and getting a little sentimental, Kendall Street Company would then play the first song they ever wrote together, the irresistible “Cars.” Showing promise from the very beginning, on this night, KSC took a hard left during the song, detouring to the 5 boroughs and mashing it up with the Beastie Boys classic anthem “No Sleep Till Brooklyn.” “Laura, I’m Sorry About the Cobbler” would bring the main portion of the show to a close and leave the audience hungry for more. Happy to entertain the intimate crowd, Kendall Street Company would get a little sexy on the humorous encore of “Stanley Birddogmouth,” resulting in full audience participation similar to what you might see during a “YMCA” sing-along. As ridiculous as it was fun, it was hard not to get caught up in the charming antics Kendall Street Company provided to the unassuming Albany audience. This unteachable charisma and their innate ability to connect will surely help them go as far as they want to.
Kendall Street Company “cheesed” it up in Albany, Aged White Cheddar style on 4/28/23.
After taking a little time off to celebrate drummer Ryan Wood’s wedding, the band is set to make several east cost appearances later this summer. With upcoming stops in Pembroke, MA, Asbury Park, NJ and a late night Phish after party at The Cutting Room in NYC, Kendall Street Company will also take part in some major festivals like Strangecreek Campout and The Peach Music Festival in Scranton, PA. A band on the rise and one you definitely need to see live, if you’re looking for some good tunes, a good time and good company, Kendall Street has plenty to offer.
Kendall Street Company | 4/28/2023| Lark Hall | Albany, NY
Setlist: Becca’s Dad, Wineglass Television, Betha [1] , Porridge, Unwind (Boiler Jam), Ode To Viceroy [2] , Trapeze, Aged White Cheddar, Sweet & Clean, Doctor Worm [3] , Cars > No Sleep Till Brooklyn (Albany),> Cars, Laura, I’m Sorry About the Cobbler
On Sunday, May 14th, The Academic stopped at the Bowery Ballroom. On their “Sitting Pretty Tour,” the young four-man band from Ireland brought their alternative Irish flair to New York City. An intimate crowd dotted the Bowery floor to swallow up any standing space. The venue selection ensured the audience was in for a treat, for the ballroom sound system holds the power of electric guitars and bass incredibly. This deemed important, because The Academic are proven rock revivalists.
Photograph by Tharynn Olson
Alternative/indie band, Summerdrive, opened for The Academic. Their set was short but effective, for their performance livened up the waiting crowd. With intriguing synths and intentional drumming, Summerdrive gave a tasteful while all the same riveting show. They heavily created a similar listening experience that the Bleachers or COIN would.
Not long after Summerdrive left the stage and the instruments were swapped, The Academic made their way onto the stage. Hoots and hollers elevated the band’s excitement as they gazed upon the crowd. Bassist, Matthew Murtagh, and guitarist, Stephen Murtagh sauntered onto stage followed by drummer, Dean Gavin. Lead vocalist, Craig Fitzgerald amped the energy when he approached the mic with an electric guitar slung over his shoulders. “How are you doing New York? It’s been a while!”
Photograph by Tharynn Olson
The setlist rolled by too easily, sewn together by impressive guitar solos and conversation with the audience. They emanated a wildly unique sound that seemed to be in conversation with different decades of alternative music. Accents from melodies of The Talking Heads, guitar riffs from Led Zeppelin, and more modern personal lyricism like that of Cage The Elephant or The Neighbourhood were present in their performance.
Classic-rock married to indie, The Academic has mastered the art of the guitar. Their Irish origin gifted them with the ever presence of rock and roll, and since the U.K. never parted ways with the music genre like America did for a while, they had continuous exposure to the evolution of rock. I look like a million when I play my rock n’ roll.
Photograph by Tharynn Olson
At the end of a drum-heavy song, the guitarists and singer circled around the drumset. They surrendered their instruments’ sound to Gavin while he masterfully annihilated his drum solo and bowed down to him on his throne. The Bowery lights synced up with his percussion, creating a strobed visual. Gavin’s solo was absorbed by the audience as were the multiple guitar solos throughout the evening.
After playing some songs from their new album, “Sitting Pretty,” released February 10th, Fitzgerald took a moment to give thanks to the crowd. He asked if anyone in the audience attended their show last year at Mercury Lounge in the city, and pockets of shouts volleyed amongst the crowd. In this interlude of crowd engagement, he complimented the high energy and inquired, “Any Irish in the crowd tonight?” A strong majority of the hands shot up. He grinned.
Photograph by Tharynn Olson
The Academic hosted a very engaging show. With dramatic dancing and conversational interactions with fans, the atmosphere was endearing. Towards the end of their set, lead vocalist Fitzgerald got onto the floor to be level with the crowd. While he sang, the crowd enveloped him. Phones shot up above heads to capture the moment, and fans sang excitedly around him.
He returned to the stage to finish out the rest of their set. The vivacity was contagious. Small groups of friends merged with strangers. By the end of the show, there were no strangers in the room, only people with a mutual affinity for rock and four Irish musicians. Fitzgerald and his bandmates showered thanks to everyone for attending, and even more gratitude to the staff at Bowery Ballroom. “Give it up for everyone working in this beautiful venue tonight!”
Photograph by Tharynn Olson
The Academic put on a grand show in a small but iconic venue. Their musical future brightened on Sunday, for they collected many new fans. The “Sitting Pretty Tour” is only the beginning for this refreshingly genuine rock-band.
Summer festival season could not have kicked off with a more perfect start on Saturday, as the Syracuse Food Truck Association hosted their third annual Food Truck Battle at the New York State Fairgrounds. The event featured over fifty local and regional food trucks as well as a day filled with local and national music alike, culminating with a headlining set from Andrew McMahon in the Wilderness.
Andrew McMahon performs at the 2023 Syracuse Food Truck Battle
Festival attendees were treated to a line up of over fifty local and regional food truck of varying cuisine. The trucks lined the road ways around the Fair’s Chevy Court. Happy festival goers packed the streets, hoping to try some of their long standing favorites, or perhaps venture into a new cuisine. A panel of local celebrity judges sat stage side, sampling fare from each truck, and would later present several awards. Festival goers were also encouraged to vote for their favorites.
Quality food wasn’t the only thing on the menu, as the day’s agenda featured a diverse mixture of both local musicians and national touring acts. The day’s music kicked off with a set by local favorite, Just Joe. Just Joe, formerly of heavy metal band Brand New Sin, delivered a set of classic rock covers played entirely on the piano. His set was followed by a high energy performance by My So Called Band, who played a set of 90’s rock covers. Fondu was up next, and by now the festival grounds were starting to pack in with the afternoon crown. The area around the stage began to fill with dancing concert goers, who were enjoying the disco-party atmosphere provided by Fondu. The Brownskin Band followed, delivering a set of R&B music. Finally, Hard Promises wrapped up the local music portion of the day, with a set of 70’s classic rock covers.
Fondu performs at the 2023 Syracuse Food Truck Battle
Following an intermission to present the day’s awards, national touring act Michigander took the stage. Led by lead singer Jason Singer, the four piece band performed a set of indie pop-rock tracks. They opened with “Superglue”, the catchy first single off the band’s latest EP, It Will Never Be the Same. The song’s chorus is one everyone in attendance could sing along with, even if they had never heard it before. The band’s set had fans dancing and swaying in the area surrounding the stage. One group off to the side danced and sang along to every word and even caught the attention of Jason Singer. “You guys are awesome. When you play a new city, you never know if anyone will show up. Thank you so much.”
Michigander performs at the 2023 Syracuse Food Truck Battle
After a short stage change over, it was time for Andrew McMahon in the Wilderness. The area surrounding the stage had filled in almost entirely by this point with fans of McMahon, both young and old. Taking the stage promptly at 8:30pm, the band launched into the high energy “Stars”, off their latest release Tilt at the Wind No More. McMahon, who sings and plays piano, bounced around the stage between stints on the piano. He danced on top of the piano, at times leaping into the air. He ran through the crowd singing, without missing a beat. In all, the band delivered 90 minutes of stand out tracks spanning McMahon’s career, one that has seen him play in three different bands. The crowd, who packed the area in front of the stage, sang and danced along the entire set. They pleaded for an encore, one which McMahon quickly obliged. Returning to the stage with guitarist Bob Anderson, the two delivered a haunting rendition of “Nobody Tells You When You’re Young” followed by “Cecilia and the Satellite” the later which was written for McMahon’s daughter, who frequently accompanies the band on tour. It was a climactic ending to a wonderful day of food and music.
