Unknown Mortal Orchestra continued their four show run at New York City’s Webster Hall this past Friday night, April 14. Continuing through Sunday to complete their New York stop on The V Tour.
Throughout the night, the group led by Ruban Nielson, blasted through songs from all of their albums, self-titled to the recently released V.
The show slowly ramped up with only a solo keyboardist playing a minimal piano track, leading into the rest of the band coming out on stage to perform the newest album’s opener, The Garden. Some songs seamlessly transitioned between one another, leading to a perpetual sense of musical cohesion.
The whole night felt like a family get together. From the familial themes sung about on V to Ruban’s brother Kody on drums, even their Dad regularly emerging to play saxophone, among a variety of other brass instruments.
Alongside their original material, two memorable covers joined the setlist. The group played The Grateful Dead’s “Shakedown Street” and Billy Joel’s “Movin’ Out,” the latter being a first. The band’s unique melding of psychedelia, rock, and funk blended astonishingly well with these two songs.
The V tour continues on in North America this week, concluding in Boston, before traveling overseas for the remainder of the summer.
Unknown Mortal Orchestra | Webster Hall | New York, NY | April 15, 2023
Setlist: The Garden, From the Sun / Secret Xtians, Swim and Sleep (Like a Shark), Weekend Run, The Opposite of Afternoon, Thought Ballune / Little Blu House, Necessary Evil / Monki, Ministry of Alienation, In the Rear View, Nadja, So Good at Being in Trouble / Waves of Confidence, Layla, Multi-Love
Encore: Meshuggah, Shakedown Street (Grateful Dead cover), Like Acid Rain, Movin’ Out (Billy Joel cover), That Life, Hunnybee, Can’t Keep Checking My Phone
(Note: The tour had a film-only policy for photographers)
Alternative country band Divining Rod just released a new single, “GOAT” in support of their latest studio album, Santa Monica & Other Golden Classics, due for release on May 19.
The sound of “GOAT” is reminiscent of Southern Rock’s golden age, due in large part to the song’s exhilarating vocals by founding member Miyuki Furtado. Santa Monica & Other Golden Classics marks Divining Rod’s first major release since the pandemic first hit the United States.
The cover of Driving Rod’s new album, Santa Monica & Other Golden Classics. Credit: Sean Joyce.
Divining Rod started out as a solo project for Hawaiian native Miyuki Furtado, originally of the rock band the Rogers Sisters. After the Rogers Sisters broke up, Furtado left his beloved Brooklyn neighborhood with his family for greener (and less crowded) pastures. “My wife and I bought a small, beat-up house north of the city and settled down.” With the help of guitarist/vocalist Patrick Harmon, Furtado began playing shows handling guitar, vocals, and drums, utilizing his homemade drumset while Harmon added his unique guitar playing and harmonies to the mix. Second drummer John Malone and bassistMatt Svigalsround out the band.
“GOAT” may be one of the ‘greatest’ songs by Divining Rod of all time. If the rest of Santa Monica & Other Golden Classics is anything like its latest single, Divining Rod is sure to have a long career ahead of themselves, and future releases by the band will be music you certainly won’t want to miss. Before Santa Monica & Other Golden Classics is released, stream Divining Rod’s latest hits.
When discussing their latest single “GOAT“, band frontpersonMiyuki Furtadowrites:
I’m sometimes asked if my songs are fiction or based on something that actually happened to me in real life. My songs are often based on experiences I’ve had or on stories I’ve heard from friends and acquaintances. It is not uncommon for the subject matter to be a combination of several people. There are times, however, when I’ll write about a specific person; like this one. A pretty terrible person is being portrayed in this story: selfish, dishonest, and cruel at times. GOAT is an appropriate title for the song. Despite this, I wonder if I am subconsciously writing about my negative qualities, given that I was raised Buddhist. In Buddhism, people are a reflection of the individual, so it could be my own embarrassment about my own negativity. The question is still fresh in my mind, I guess – Yeesh!
Divining Rod’s new single, “GOAT” is now streaming, and their new album Santa Monica & Other Golden Classics is out May 19.
Caroline Rose delivered a truly captivating performance at Webster Hall in New York City on April 16. The concert was in support of her latest album, The Art of Forgetting, which was released just a few weeks prior on March 24th.
Caroline Rose Performs at Webster Hall, Photography by David Reichmann
The opening act for the concert was Hammydown, a talented musician who delivered a powerful set that warmed up the crowd perfectly for the headliner. Hammydown, who identifies as a trans musician, took a moment during their set to discuss the importance of representation and how Caroline had been their best friend in helping them record their album and feel safe on tour. This touching moment only added to the sense of community and connection that was present throughout the night. Their statements brought big cheers from the New York audience.
Hammydown Performs at Webster Hall, Photography by David Reichmann
One of the most striking aspects of the show was Caroline’s decision to play the entire first set in front of large panels that hid her band, with lighting that showed only the silhouettes of her bandmates. This gave the performance a unique and mysterious quality, which only added to the already electric atmosphere. The band performed the latest album in its entirety. Caroline joked, “This is the kind of album that will be considered a classic in five years.”
Caroline Rose Crowd Surfs at Webster Hall, Photography by David Reichmann
Returning to the stage for her encore, Caroline removed the panels to showcase her talented band, and the energy in the room surged even higher. It was clear that Caroline had carefully thought out every aspect of her performance, from the setlist to the visuals, to create an unforgettable experience for her fans.
Caroline Rose at Webster Hall, Photography by David Reichmann
One of the most memorable moments of the night was when Caroline walked through the crowd during the encore as she performed. She then crowd surfed, wearing a blissful smile as she floated through the venue with her arms outstretched. This demonstrated her connection to her fans, and it was clear that the feeling was mutual, as the crowd was absolutely wild with excitement.
Caroline Rose walks through the crowd at Webster Hall, Photography by David Reichmann
Overall, Caroline Rose delivered an outstanding performance that left a lasting impression on all those in attendance. Her attention to detail and willingness to take risks in her performance paid off in spades, making this a show that will not soon be forgotten. If you have the opportunity to see Caroline Rose in concert, do not hesitate – it is an experience you won’t want to miss.
Caroline Rose’s North American tour continues, and you can see her upcoming tour dates here. Be sure to check out her latest album here, and listen to Hammydown’s music here.
Pianist and composer Angelica Sanchez put on a brilliant performance this past Saturday, April 15th at the St. Andrew and St. Luke Episcopal Church in Beacon. Sanchez, following no particular setlist and rather letting the music come to her in the intimate venue, did not fail to put on an incredible show for her captivated audience.
Angelica Sanchez
Sanchez, born in Arizona but now based in New York, is well-recognized for her jazz piano playing and has been featured in various publications like the New York Times, the Jazz Times, and the Chicago Tribune. She’s played multiple shows across NYC and the East Coast, and has another concert scheduled at Carnegie Hall for The Sophia Rosoff Concert Series: Jazz Piano Pairings 1. She is set to continue her tour until late November, playing venues across Massachusetts, Connecticut, California, the United Kingdom, France, Finland, and more.
Sanchez truly put on an outstanding performance in the dark-lit church venue. During one piece, she took out a drum mallet and began hitting the inside of the piano, adding a slow beat to her previously solo playing. The sheer silence of the crowd, coupled with the rain and thunder heard from the outside, beautifully matched the almost eerie ambiance of her piano playing. She masterfully blended dissonant chords and melodies together to create a panicky tone throughout her performance, with an incredible resolution toward the end. Her quiet humming to her crafted melodies entranced the audience members as they intently listened to her various eclectic compositions. The crowd stayed silent after each piece and waited to clap until the very end, making her one-hour set feel like a giant performance of a single piece.
Sanchez’s show was not something to miss. She is set to play many more shows across New York state throughout 2023, and her tour schedule can be found here.
Tesla rocked the Seneca Niagara Casino in Niagara Falls with an incredible performance on April 15th. They last played the Niagara Falls area in 2019 and the Buffalo area in 2015. The legendary hard rock band has been a staple in the rock world for over three decades. The crowd eagerly anticipated the show from the moment the band took the stage. Tesla began with “Ladyluck,” a high-energy classic that set the tone for the night.
One of the show’s highlights was the band’s tribute to their former bandmate, Tommy Skeoch. Jeff Keith’s powerful vocals soared over Frank Hannon and Dave Rude’s heartfelt guitar work during the touching rendition of “What You Give.” Fans sang along to the emotional lyrics, paying their respects to the late musician.
Throughout the night, Tesla played hit after hit, including “Modern Day Cowboy,” “Love Song,” and “Love Me”. Fans sang along to every word, their voices blending together in a chorus of appreciation for the band’s incredible music.
But it wasn’t just the music that made the night special. Tesla’s connection with the audience was undeniable, and the crowd responded with cheers and applause. Brian Wheat’s bass and Troy Luccketta’s drums provided a rock-solid foundation for the band’s sound. Frank Hannon and Dave Rude traded blistering solos, their fingers dancing across the fretboards with ease.
As the night came to a close, Tesla launched into a rousing encore, playing “Little Suzi” and “Signs” to the delight of the crowd. Fans sang along, their voices blending together in a powerful show of appreciation for the band’s incredible talent.
In conclusion, Tesla’s performance at Seneca Niagara Casino was a masterclass in classic hard rock. The band’s musicianship was impeccable, their showmanship undeniable, and their connection with the audience was electric. It was a night that will be remembered by all in attendance, a testament to the enduring power of rock and roll.
On Thursday, April 13, Sony Hall hosted a concert featuring three legendary names in hip-hop and jazz music: GZA, Big Daddy Kane, and Roy Ayers. Each artist brought their unique style and energy to the stage, creating a night to remember for fans of all ages.
The evening began with Roy Ayers, who delighted the crowd with some of his biggest hits, including “Searching,” “Everybody Loves the Sunshine,” “Running Away,” “Firehouse,” and “Apache.” Ayers, a prolific jazz-funk musician who has been active since the 1960s, is known for his use of the vibraphone and his signature blend of jazz, funk, and soul.
Next up was GZA, one of the founding members of the Wu-Tang Clan and a hip-hop legend in his own right. He took the stage to thunderous applause and launched into an electrifying set that included fan favorites like “Duel of the Iron Mic,””Living in the World Today,” “Cold World,” “Labels,” “4th Chamber,” “Shadowboxin,” and “Clan in the Front.” GZA’s powerful flow and sharp lyrics combined with the crowd’s energy to create an electric atmosphere that left everyone wanting more.
After GZA’s set, Big Daddy Kane took the stage to the delight of the audience. The rapper, who first rose to prominence in the late 1980s and early 1990s, performed classic hits like “Smooth Operator,” “Ain’t No Half Steppin’,” and “Warm It Up.” His performance was a testament to his status as a true hip-hop icon, and the crowd responded with thunderous applause and cheers.
GZA then returned to the stage to finish the show, performing some of the biggest hits of his career, including “Reunited,” “C.R.E.A.M.,” “Triumph,” “Liquid Swords,” and “WU Tang Clan Ain’t Nuthin to Fuck With.” The crowd was on its feet rapping along to every word, as GZA and his live band brought the night to a close with an unforgettable performance.
Setlists:
Roy Ayers Searching, Everybody Loves the Sunshine, Running Away, Firehouse, Apache
GZA Duel of the Iron Mic, Gold, Living in the World Today, Cold World, Labels, 4th Chamber, Shadowboxin’, Clan in Da Front, Killah Hills, Crash Your Crew
Big Daddy Kane Smooth Operator, Aint No Half Steppin, Warm it Up,
GZA Legend of the Liquid Sword, Reunited, Shimmy Shimmy Ya, C.R.E.A.M. Triumph, Liquid Swords, Wu Tang Clan Aint Nuthin To F With
The most prolific and exciting band in the jam scene, this side of Phish, is Pigeons Playing Ping Pong (PPPP), and they brought their rabid flock of fans and patented bevy of groovy tunes to the famous Brooklyn Bowl for the opening night of a 3 night run on April 13th. The 3 hour show showcased the band’s vast talents and was buoyed by a fervent fan base happy to see their favorite band return to New York City. The show was brought to us by Dog Fish Head and Record Store Day.
photo courtesy of Lee Melnikoff
Baltimore-based, Pigeons has been around longer than one might suspect. The members have been performing as a unit for over 15 years. The band formed at University of Maryland when Greg and Jeremy were in the dorms together in 2007 – the boys inform me that Wikipedia has this wrong. Drummer Gator was hired in 2015 to complete the current lineup of Scrambled Greg Ormont (Vocals, rhythm guitar), Jeremy Schon (lead guitar) and Ben Carrey (bass.) Some acts PPPP has opened for include Umphrey’s Mcgee, Moe., Disco Biscuits, String Cheese Incident, and Lotus. Some acts that have opened for PPPP include Goose, Kitchen Dwellers, Tauk, Karina Rykman and Magic Beans. PPPP present their own festival, Domefest, which is highly respected and regarded in the scene.. The band serves up a lively chat of all things PPPP in their FB group appropriately titled, “The Flock.” There is another FB group for merchandise and tickets. The band has released an initial EP and then 5 full length albums that all start with the letter P.
photo courtesy of Lee Melnikoff
Over a tasty dinner, I was able to ask Jeremy and Greg some questions. Greg ordered the salmon – a dish he orders almost every night for dinner on the road because it packs on protein and energy while being easy to digest before the show.
Chadbyrne: What’s the most challenging song you play live and why?
Greg: I find our newest songs are most challenging, especially when they have vocals. I’ve been focusing more on lyrics these days, sometimes finalizing them right before showtime, which makes them tricky to memorize. Instrumentally, our new song “Miyagi” is a doozy.
Jeremy: You’ll know when you hear it!
Chadbyrne: PPPP has blown up in recent years, is there a specific moment when you felt like you “made it”?
Greg: That’s really nice of you to say. I don’t know if I’ll ever truly feel like we “made it” per se, but it was so exciting when we decided to quit our day jobs to pursue music full-time about 12 years ago. I held a few jobs after college, but we were simultaneously touring almost every weekend of the year. We would go on these epic weekend runs and then I’d show up for work just so beat. Eventually we decided it was time to give this thing a real shot and tour full-time, and the fun hasn’t stopped.
Jeremy: Every time I look into the crowd and see people smiling and/or losing themselves to our music, I get that amazing feeling that “we made it”. We’ve had so many awe-inspiring moments at shows and festivals that it’s hard to just pick one, but a few big ones that come to mind are some of our Peach Festival sets, our first headlining shows at the 9:30 Club, and All Good Festival in 2015.
Chadbyrne: As a songwriter, what song are you most proud of and why?
Greg: All of them! Writing music is so fun because you always remember each song’s origin and development. Some ideas develop quickly, others take years, but in both cases it’s so exciting when they’re finally played live because you remember the journey.
Jeremy: I try not to pick favorites, but it’s always a proud moment when I hear people singing along with our songs!
Chadbyrne: If music hadn’t worked out, what profession do you think you would have undertaken?
Greg: I was in sales after college. I had a knack for it, but I wasn’t passionate at all. I don’t know if I could go back to a 9 to 5, but I could see myself getting into real estate as a means to an end to spend more time with my family.
Jeremy: If I didn’t find myself somewhere in the music industry, I’d probably be working some sort of IT job. I have degrees in Marketing and Business Information Systems, in case anyone is wondering the secret behind my playing.
Chadbyrne: Who is your favorite guitarist and why?
Greg: I always keep my ears open for inspiration and don’t play into the favorites game much. That said, I love Nile Rodgers, but I also love Shmeeans from Lettuce, Ryan from The Motet, Dan from Kyle Hollingsworth Band and countless others. They’re all great listeners, unique players, always melodic and in the pocket. Also since we don’t have a keyboardist, I often listen to those elements live. Huge fan of Joey Porter from The Motet and his funky approach on the clavinet, and everything Page from Phish plays.
Jeremy: I’m a huge Phish fan, so I can’t deny that Trey Anastasio has been a huge inspiration – he’s a master of tension/release.
photo courtesy of Lee Melnikoff
“Let Your Cup Overrun”
Yam Yam opened the night. Pigeons took the stage just after 9pm. This was the only night of the run anticipated not to sell out but that was just as well for the hard core members of The Flock in attendance as they were afforded more dancing room. “Distant Times” was the perfect up-tempo opener and the crowd knew all the lyrics. But it was “Live it Up” that was the highlight of the first set. The popular Pigeons staple builds and builds until Jeremy and Greg get locked into a tight call and response ultimately paying off with an exquisite crescendo.
After a Chili Peppers cover, as usual, Fun in Funk provided a spark near the end of the set. PPPP are masters of no matter the genre or the song – they can always find a groove and it is usually danceable. Manny Newman again demonstrated why he is one of the best LDs in music.
photo courtesy of Lee Melnikoff
PPPP is like going to the Circus. Greg is the affable and enthusiastic carnival barker who lures in patrons, Jeremy is the lion tamer guiding and patient who leads the posse to the next level and Ben is the charismatic clown always entertaining the masses with zest.
A highlight of the 2nd set was Gator on the drums – he is a heavy hitter adept at keeping impeccable time behind the kit as best exemplified by his bombastic extended drum solo at the end of “Water.” PPPP should do the soundtrack to a sci-fi film as the music is not of this world. Jeremy continues to demonstrate that he is the most underrated guitarist around – with the fastest fingers in the scene. The show was complete, with even Ben singing a tune. The encore was special with arguably the band’s best tune, “Dawn a New Day.” Upbeat and packed with lyrics ala “Strawberry Letter 23,” it is a lengthy joyous romp and a proper way to end the epic night on a positive note.
Pigeons Playing Ping Pong – Brooklyn Bowl, Williamsburg – Thursday, April 13
Set 1: Distant Times, Henrietta, Live it Up, Hit the Ground Runnin, Around the World, Overrun, Fun in Funk>Skinner
Set 2: Fall in Place, Water, Beneath the Surface, Bad for You, Melting Lights, Ha ha ha yeah, su casa, schwanthem
Bruce Springsteen performed a tour de force at the Rocket Mortgage Arena in Cleveland, Ohio on Wednesday, April 5th. Being just down Interstate 90 from Buffalo, many fans that couldn’t attend the sold out Buffalo show took the road trip three hours west to Cleveland.
Springsteen set the tone for the evening with a powerful performance of “No Surrender.” The Boss and his E Street Band set the tone for the evening with a passionate rendition that left the audience eagerly anticipating what was to come. What followed was a show that showcased Springsteen’s immense talent and musical prowess, and left the crowd spellbound.
Bruce Springsteen’s connection to his audience was palpable from the first note, as he masterfully worked the stage and engaged with the crowd throughout the night. The setlist was a perfect blend of old and new, with some surprises thrown in for good measure. Springsteen and his band delivered a night of music that had the audience on their feet, dancing and singing along to every word.
The band’s musicianship was exceptional, with each member delivering an outstanding performance. Bruce Springsteen’s voice was as powerful as ever, and his emotive guitar work filled the arena with sound. He seamlessly moved from one song to the next, delivering hit after hit. Some including “Ghosts,” “Prove It All Night,” “The Promised Land,” “Backstreets,” and “Badlands.”
One of the standout moments of the night was an emotionally charged performance of “Last Man Standing,” which Springsteen wrote for a close friend who had passed away. The song was a moving tribute that left the crowd in reflective silence. Springsteen’s musical prowess was further highlighted in “Last Man Standing” as he delivered a poignant and memorable performance.
The encore was a fitting end to a night that will be remembered by all who attended. Springsteen and his band delivered a medley of hits, including “Rosalita (Come Out Tonight),” “Dancing in the Dark,” and “Thunder Road.” The crowd sang and danced along, showing their appreciation for a performance that will be talked about for years to come.
Bruce Springsteen’s performance at the Rocket Mortgage Arena in Cleveland was nothing short of exceptional. Springsteen proved that he is still one of the greatest musicians of our time, with a performance that was both powerful and passionate. The Boss and his E Street Band left the crowd wanting more, and provided a night of music that will be remembered for years to come. Bruce Springsteen has proven he still has it at 73 years young.
When discussing the capital region’s vibrant post-COVID underground music scene, it’s impossible to ignore Troy’s No Fun. Founded in Dec. 2021 by August Rosa, originator of the Albany/Saratoga Springs craft beer business Pint Sized, the venue has quickly become a hotbed for DIY music in the capital area and greater northeast region.
More than just a place, Rosa views it as a project and a springboard for creativity in the area. “I built it here so we could have new and different artists come through,” he said. “I’m trying to involve the folks that I think have their head in the same place that want to bring new, challenging different artists to the capital region.” While Rosa initially intended for No Fun to be an extension of his first enterprise, he’s enjoyed seeing the space take a life of its own.
Performance by Algonquin singers/drummers The Medicine Singers at No Fun in September. (Photo credit: Rudy Lu)
Rosa fits the appearance of your prototypical mid-30s punk. He sports thick frame glasses and a brown beard, wearing a gray beanie, blue-yellow flannel, and gray jeans. Even though he scoffs a bit at his fashion sense, Rosa had an active eye for aesthetic when setting up the venue itself.
Made for 200 people, No Fun is an artsy yet minimalistic space, with a checkerboard floor, walls of white sheet rock, and a modest yet decently sized stage area in the back, complete with a disco ball. The single bathroom specifically emits a punk aesthetic, featuring a crude black paint jump and walls covered by graffiti and posters for future No Fun shows. Aspiring for a genuine atmosphere, Rosa modeled the space with DIY venues of NYC in mind. “I want it to feel like you’re more at an art space or your friend’s apartment than a business,” he said. “I think that’s resonated, for sure.”
While No Fun’s physical layout was very much intentional, Rosa feels its importance pales in comparison to the people actually occupying it. We’ve had packed houses on the regular here,” he said. “I think we’ve sold out about a dozen shows this year so far which is awesome.”
In terms of promotion and planning of shows, Rosa describes No Fun as a team effort. Describing his noteworthy act booking efforts, he mentions hauls such as NYC noise rock band A Place To Bury Strangers and global acts such as Algeria’s Imarhan and an upcoming show featuring Australia’s Surprise Chef. There’s Shane Sanchez, the frontrunner of Super Dark Collective, a capital region promotion which hosts shows on the grittier and experimental side. Rosa also credits Sanchez as having “amplified the hip-hop angle” at No Fun.
He additionally mentions bartender Shane Secor, the man behind promotion arm Hey Greasy!, shouting out his booking of Gibby Haynes from Butthole Surfers and his rock-and-roll and Rochester connections. Rosa also namedrops a couple peripheral figures such as Rachel Freeman, ex-runner of the Byrdhouse venue in Albany and current regional promoter through Byrdhouse Records. “I want to give massive credit to the team that I initially put in place here, and I’m so grateful that they’ve stuck around,” he said. “Between the people that were initially hired here, and the folks that evolved with it as it continued, the place wouldn’t be the same without them.”
Despite the hindrances of an Omicron-delayed beginning for No Fun, Rosa has found nothing but joy in the project so far, delighting in memorable and unique performances at the venue. He reminisces on hosting prolific New Jersey indie pop group Pinegrove and organizing for an interesting collaboration between Algonquin singers/drummers the Medicine Singers and members of legendary noise rock band Swans. “I’m seeing more of people just coming out to stuff where they’re like, ‘I saw some weird band that No Fun booked, it’s probably gonna be cool, I don’t know much about the band,’” said Rosa.
This same approach went into his program on Friday, March 3, a four-band showcase featuring some new and some native to the Capital District scene.
Tonight isn’t a sellout, but the crowd is still significant and full of enthusiasm. Up first is Aaron Wilson, co-owner of Herbie’s Burgers on Lark Avenue and tonight, frontman of a folk rock four-piece. The guitarist has long auburn hair and dons a light beard and glasses, singing about beer and romance. The five-song set starts upbeat before becoming wistful for a couple tracks, closing out with an energetic and quick number backed by thwacking drums.
Next is Binghamton dream pop act Pleasure Dome. They’re a six-piece with two keyboardists and one guitar, fronted by vocalist Cydney Edwards who softly sings over waves of reverb. Their six-track set ranges between slow, moody shoegaze and uptempo surf rock, featuring plaintive melodies. Their stage presence is expressive but not overzealous, inspiring dancing near the front of the crowd. “Tonight was really fun, but the venue is mislabeled because we had a good time,” said guitarist Brandon Musa after the performance.
Third is Precious Metals, a local alt-rock band. Lead vocalist J. Lee White reminisces of glam with frizzy brown locks and a jean jacket over a tank top, singing in a shrieky falsetto that harkens of Journey’s Steve Perry and Geddy Lee of Rush. The four-piece mixes groovy, urgent originals with covers such as Jimmy Eat World’s “Sweetness,” building the excitement and motion from the show’s earlier half.
Closing the night is singer-songwriter The Age, who steals the show. Age oscillates between blue-eyed soul and funk rock across his six song set, crooning Billboard-worthy melodies, dueling with his backing guitarist John Drabnik, interpolating Arctic Monkeys and the Outkast, and effortlessly engaging his audience. His four-man group’s musicianship is commendable and their enthusiasm is infectious, with the checkered tiles of No Fun becoming a dance floor by the second song. To finish, Age shreds the closing track in Purple Rain-esque fashion, capping off a magnetic performance.
The Age on March 3. (Photo credit: Kiki Vassilakis) The Age on March 3. (Photo credit: Kiki Vassilakis)
The scene at No Fun as the night ended is exactly what the venue is about: an excited swarm of people having enjoyed a wide-ranged and impassioned show of regional music over the course of three hours. Nights like these prove just how much the No Fun mission can pay off.
Rosa’s been patient, understanding that “just like anything, it takes time to develop your crowd, to have people feel comfortable to have them feel like the space is theirs.” If the space wasn’t theirs before, now it is.
Higher Ground has served, for more than a quarter centry, as Burlington’s premiere indoor music venue, a checkmark for bands looking to make their park in the Green Mountain State. Fans who have been able enough to catch a Higher Ground show know to stay until the show is over, where concert posters are sometimes handed out to lucky fans.
ECHO: A Survey at 25 Years of Sound, Art, and Ink on Paper, a unique art book featuring a collection of concert posters spanning the history of Higher Ground, the legendary music venue located just outside Burlington, VT, was released on April 1st. ECHO is a site to behold for concert poster collectors across the country.
This meticulously designed coffee table book, appearing like a stack of bound silkscreened posters, features the concert posters that have been a staple of Higher Ground and their partnership with acclaimed design firm and nonprofit, Solidarity of Unbridled Labour and Iskra Print Collective.
The book’s intro, written by Wilco frontman Jeff Tweedy, taps into the project quickly.
What coheres in these images is the work of the music and art communities intertwined and invested in each other…Concert posters are as close as one can get to the solid evidence that we all crave—proof that what happens when we create is beyond the scope of the individual work.
Jeff Tweedy
With more than 350 original concert posters, all taking place in Vermont – mostly at Higher Ground – the book is snapshot of music history in the Northeast, tracking bands as they progressed around the country, growing in size in many cases, with some moving from the smaller Showcase Lounge to the larger Ballroom space.
The artwork is inviting for any music lover, those who appreciate the art of concert posters, and others who appreciate variety in graphic design.
Ween / 07.23.99 / Edition of 350 / 22 x 26 / Design • Todd Wender
There are dozens of artists you’ll find inside the pages of ECHO, among them Neil Young, Ice Cube, Norah Jones, My Morning Jacket, Wu Tang Clan, Ween, Sturgill Simpson, Phish, Willie Nelson, Anderson .Paak, and many more. There are also the obscure artists you’ll come across in the pages of the book, those who fit a niche, faded out or otherwise never crossed your radar; the artwork in Echo will have you discovering new music.
Iskra Print Collective, a community space in Burlington that is dedicated to the practice, understanding, and appreciation of the printmaking arts, has held the task of creating silkscreen posters for certain shows at Higher Ground, which are uniquely not available for purchase. These prints evoke the spirit of each artist and band are embodied with bold creativity, and the deep dive into screenprinting found in ECHO is remarkable.
Michael Jager, co-Founder and Creative Director of Solidarity of Unbridled Labour and Co-Founder of Iskra Print Collective, works to conceptualize and realize ideas that help guide and create culture and positive change from within. Working with Ezra Pound’s principle, “Make it new,” through his multi-disciplinary collaboration, Jager has created work for brands including Burton Snowboards, Microsoft’s Xbox, Nike, Levi’s, Phish, MTV, Virgin, Lululemon, Yara, Tomra, Seventh Generation, MasterClass, and Patagonia.
Making the project even more special is all proceeds going directly to Iskra Print Collective.
Sturgill Simpson / 02.18.15 / Edition of 345 / 15 x 15 / Design • Andrew Lakata
Nestled inside the pages and pages of artwork inside ECHO are interviews with Alex Crothers, founder and co-owner of Higher Ground.
Crothers shares his unique insight from the past 25 years in his interview, which is echoed in his initial correspondence with Jager, outlining his vision for a partnership between the two.
Crothers opened the venue in 1998 and has produced more than 10,000 events in that span of time. By attracting rising stars as well as legendary musicians, Crothers pushes Higher Ground with core values to create bigger and better things while embracing community, storytelling, and the creative process. Through working with Iskra Print Collective, Higher Ground meets this mission.
Wu-Tang Clan / 12.21.10 / Edition of 275 / 15 x 15 / Design • Chris Partelow
ECHO is a must own book for any music-lover or Vermonter, and a must for any concert poster collector. The incredible design of the coffee table book is also the perfect addition to your library. Purchase ECHOhere.
