On April 1st, the stage at David Geffen Hall at Lincoln Center was set for a truly special night of music, as Nathaniel Rateliff took the stage to perform Harry Nilsson’s album A Little Touch of Schmilsson in the Night. Backed by a full orchestra, Rateliff brought new life to these classic songs and captured the essence of Nilsson’s unique and captivating sound.
A Little Touch of Schmilsson in the Night is an album of classic 20th century standards. Originally released in 1973, the album features Nilsson’s interpretations of tunes from the Great American Songbook, including “As Time Goes By,” “Makin’ Whoopee,” and “Always.”
Rateliff’s performance of these songs was nothing short of spectacular, his powerful voice soaring above the arrangements of the orchestra. But he didn’t stop there. He also performed a selection of Nilsson’s other hits, including “Everybody’s Talkin’,” “Gotta Get Up,” and “Jump Into the Fire.” These songs are well-known for their catchy melodies and memorable lyrics, and Rateliff did them justice with his heartfelt performances.
Phil Cook opened for Nathaniel Rateliff, showcasing his musical abilities as he played the piano with great proficiency. His soulful and emotive piano playing captured the audience’s attention.
Overall, Nathaniel Rateliff’s performance of Harry Nilsson’s A Little Touch of Schmilsson in the Night was a night to remember. His soulful voice, backed by a full orchestra, brought new life to these classic songs and captured the spirit of Nilsson’s timeless music.
Nathaniel Rateliff – David Geffen Hall at Lincoln Center – April 1, 2023
Setlist: Lazy Moon, For Me and My Gal, It Had to Be You, Always, Makin Whoopee, You Made Me Love You, Lullaby in Ragtime, I Wonder Who’s Kissing Her Now, What’ll I Do, Nevertheless (I’m In Love With You), This Is All I Ask, AS Time Goes By, Everybody’s Talkin, The Moonbeam Song, Gotta Get Up, Many Rivers To Cross, Jump Into the Fire, Turn On Your Radio
The latest evidence that musicians can make great writers is illustrated in Bill Janovitz’s LEON RUSSELL: The Master of Space and Time’s Journey Through Rock & Roll History (Hachette Books). Janovitz made 10 albums with the alt.rock stalwarts, Buffalo Tom, and four solos while also carving out a career writing about music. He did this in articles for the likes of Esquire and The Observer and in books including the 33 1/3 series’ The Rolling Stones: Exile on Main Street and Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones.
But Janovitz’ exhaustively captivating profile of Russell, one of rock’s most Zelig-like and complicated figures, is something else altogether. It’s a delicious masterwork of research and insights that could only come from a musician – someone who has tread the up-and-downs of a life as a professional musician, someone who has absorbed the many genres of American music where Russell not only ventured but repeatedly innovated.
With the blessing of Russell’s estate, Janovitz conducted interviews with 130 of Leon’s musical collaborators and bystanders to the Golden Age of Rock-N-Roll’s moments of true creativity and debauched excess. There are Leon’s chops-gathering years in Tulsa and on the road with Jerry Lee Lewis, his days as a session man playing on classics for everyone from The Beach Boys and The Byrds to The Ronettes and Gary Lewis and the Playboys, his catalyst roles with Delaney and Bonnie, Joe Cocker’s Mad Dogs and Englishman and George Harrison’s Concert for Bangladesh. There’s his time as a hitmaker and, even more lasting, a writer of much-covered classics like “A Song for You” and “This Masquerade.” There’s his latter shift to country music, his slide into financial and creative doldrums beginning in the ‘80s and his return in his final chapter under the patronage of a mega-star who idolized him above all, Elton John.
Claude Russell Bridges (aka Leon Russell), piano prodigy, circa 1946. Courtesy of the OKPOP Museum
Janovitz’ book also looks and put into context Russell’s struggles with illnesses, physical and mental, addiction, stage fright, bipolar disorder and much more.
In 530-plus pages and 41 chapters, Janovitz does music-lovers a great service by reminding us of the extraordinary talents and contributions of Russell – a man who is revered by generations of star music-makers, but who is getting a bit lost in the sands of time in the mind of the general public. Here are some of his thoughts on Russell and his journey to bring Leon’s remarkable story to life.
With the amazing list of stars he collaborated with, the many classic songs he wrote and records he played on, do you think Russell is still a somewhat undervalued commodity in the annals of rock music?
I don’t think he is undervalued among those who are aware of who he is. His legacy was obscured due in large part to his own decisions, but also due to the ephemeral attention spans of the music business and trends. He refused to deal with it all pretty music after 1980.
What was “the Tulsa Sound” and the role Russell played in developing it and then, later, when he resettled back in his native Oklahoma to create a home for Shelter Records? And how did his witnessing a performance by Jerry Lee Lewis help shape his career?
There really isn’t a “Tulsa Sound.” But the mix of rock & roll, R&B, gospel, blues, country, swinging drums, etc. were all important to the musicians coming out of Tulsa in the ‘60s. In that way, it is not much different than the Memphis area. But J.J. Cale is a lot different than Leon Russell, and both are very different than David Gates, e.g.
Playing in a teenage band backing Jerry Lee Lewis on a short tour in 1959-60 was the most galvanizing event in Leon’s journey to becoming a professional musician. Lewis was a hero of his as a pianist, but Leon also learned showmanship from Lewis.
Sam Bush, Bill Kenner, and Leon. On tour with New Grass Revival, 1981. ”For two years, we would open the show, and then we would back him, so it was strenuous work. I mean, it wore our ass down,” Bush said. Photo by Diane Sullivan, courtesy Jan Bridges
Russell was an important member of “The Wrecking Crew,” the corps of studio musicians who played on seemingly most hits coming out of Los Angeles in the ‘60s. What were some of the rock classics, and unlikely novelty tunes, he played on during this era?
So many, this list is just a sampling of some of the hits he played on in his pre-star session days:
“Mr. Tambourine Man” – The Byrds
“Be My Baby” – The Ronettes
“Da Doo Ron Ron” – The Crystals
“California Girls,” “Don’t Worry Baby,” “Help Me, Rhonda,” and “Little Old Lady From Pasadena” – The Beach Boys
“The Ventures Play Telstar” – The Ventures
“This Diamond Ring” – Gary Lewis and the Playboys
Whipped Cream and Other Delights LP – Herb Alpert and the Tijuana Brass
Leon’s home/studio in Los Angeles, Skyhill, was a real locus of rock-n-roll creativity and err, debauchery during the classic rock era. Tell us a little about what went on there and who was a party to this insanity?
They called it the “Home for Unwed Musicians.” They recorded around the clock. Leon often had no idea certain people were even living there. But aside from his own Tulsa crew, Bobby Keys, Levon Helm, Pat Boone, Glen Campbell, Eric Clapton, Rita Coolidge, Dean Torrance, Boyce and Hart, Joe Cocker, Steve Cropper, Buddy Miles, Duck Dunn, Jerry Lewis, and other notable figures either passed through or stayed for longer stints, working or just hanging out. It was so out of control there at times that Leon went to crash elsewhere, generally with a girlfriend, though he had another apartment at some point.
The Starlighters at the Tropicana Club, 1959. Left to right: Leo Feathers, Chuck Blackwell, Ron Ryan, Johnny Williams, Russell Bridges (aka Leon Russell). A promoter at Cain’s Ballroom hired the Starlighters to back Jerry Lee Lewis at a show there. After the Starlighters’ first warm-up set, Lewis came up onto the bandstand, pointed at seventeen-year-old Leon, and declared, ”I’m not gonna set down at that piano. He plays a lot better piano than I do!” Lewis immediately hired the band to back him on a tour. Courtesy of the OKPOP Museum
Russell became rich and famous inspired by Black art forms like gospel and blues, but seemed a bit oblivious to racism, even refusing to defend his African-American backup singer wife Mary McCreary when she faced abuse from audiences. Why didn’t he take a stand?
I take umbrage with the terms “refused,” and “oblivious.” I certainly did not use those words in such contexts. As for the influence of different kinds of music, it is a continuum for all musicians, no matter what cultural background. It does not exist in a vacuum.
Gospel, for example, is informed by white and Black people. Leon was decrying racism in his earliest interviews (see The Rolling Stone 1970 Ben Fong-Torres interview quoted in my book, e.g.). He also integrated bands as soon as he could form them. And he married a Black woman and had Black kids.
While there were virulent racists who shouted epithets and did worse at his shows, I think he felt he shouldn’t give oxygen to that particular flame; don’t feed the trolls, as it were. As the Black singer in his band Maxayne Lewis said, he thought the music and the band spoke for itself. He certainly did not “refuse to defend” his wife. This is not to downplay the effect of such hatred on Mary or any of the Black artists Leon worked with. But Leon wasn’t someone to get into a physical altercation with rednecks.
Leon and his most famous acolyte, Elton John, soon after they first met in Los Angeles, 1970. Elton said Leon “was everything I wanted to be as a pianist, vocalist, and writer. His music has helped me and millions of others in the best and worst of times.” Photo by Don Nix, courtesy of the OKPOP Museum
What role did Leon play in transforming Willie Nelson from the clean-cut songwriter to the original hippie-looking outlaw of country music?
He was the primary influence on Willie changing his look and outreach to the rock & roll audience.
What role did his lifelong battle with his many illnesses, both physical and mental, play in his career and personal life?
It was obviously a struggle, as detailed in the book. Depression would sideline him for months sometimes. As for his partial paralysis on the right side resulting from a birth injury, it was a challenge that he met by devising his own style to overcome it.
His relationship with singer Rita Coolidge offered a look at his insecurities and obsessions. Tell us a little about their time together and, something I saw in an early review of your book, his insistence on getting a monkey when she did want to have his child.
I don’t draw a line in the book connecting the lack of a child and a pet monkey that he got for her birthday. But Rita painted a portrait of Leon as a bipolar personality, “Mr. Entertainment” one moment, an a dark brooding person at another. Like a few other women to follow, she felt she did not fit into Leon’s lifestyle during the late-1960s.
“If you’re in Oklahoma, the amount of real legends that you can just reach across, just bump into and touch, there’s not that many,” said Taylor Hanson of the band Hanson. “But Leon was one where, all of a sudden, it was a relationship.” Left to right: Leon, Steve Ripley, and Taylor Hanson. Tulsa Mayfest, 2005. Photo by Kelly Kerr
You write that Leon was a central figure in both George Harrison’s Concert for Bangladesh and Joe Cocker’s career-making Mad Dogs and Englishmen Tour. What was the scope of his involvement in these events? And how do you think an artist like Leon, who you say suffered from massive stage fright and paranoia, could deal with this kind of spotlight?
Leon was the one who put together the Mad Dogs and Englishmen band, chose the repertoire (along with Cocker), arranged the songs and the show itself, played piano and guitar, and sang some songs. He was the bandleader. Joe was the star of the show, but it was essentially Leon’s band. He also helped out to gather the band for Harrison for the first major rock music charity concert, the Concert for Bangladesh. Yes, for both shows, Leon adopted his rock-star-preacher persona, a larger-than-life act to overcome his naturally taciturn personality. He really did have to overcome stage fright.
Elton John was one of the musicians most inspired by Leon. Tell us about Leon’s impact on Elton and Elton’s role in reviving Leon’s artist and financial fortune is his later life?
Elton told me that Leon was his idol, “everything I wanted to be as a piano player.” Leon took him out on the road to open shows for Leon and his band in 1970-71. Elton repaid that debt and went well beyond that by bringing Leon back to the public spotlight, making the hit record The Union together and lobbying to get Leon into the Rock & Roll Hall of Fame.
Your book received advanced raves from a wide range of musicians. What artist today do you think are continuing to be influenced by Russell and carry his torch?
Tedeschi and Trucks Band comes to mind.
You had a long fruitful music career with the band Buffalo Tom. Is there any music-making on the horizon for you?
On Tuesday, March 28, the talented piano player RIOPY graced the stage of the Church of Intercession Crypt. This intimate concert setting added a unique and hauntingly beautiful atmosphere to RIOPY’s already mesmerizing music.
Photo by Kevin Condon IG @weirdhours
RIOPY, born and raised in France, began playing the piano at the age of six. He has since become a world-renowned pianist. His music is a blend of classical and contemporary, with a focus on emotional depth and storytelling through music.
The performance opened with a piece called “La Nocturne,” a haunting and melancholic melody that set the tone for the rest of the evening. From there, RIOPY gave the audience a preview of his upcoming album, Thrive. The album will be released on April 14th under Warner Classics.
Photo by Kevin Condon IG @weirdhours
Throughout the concert, RIOPY shared stories about his life and the inspiration behind his music. He spoke about how his music is a reflection of his experiences and how he hopes that his music can bring comfort and healing to those who listen to it.
RIOPY’s concert at the Church of Intercession Crypt was a testament to the power of music. His beautiful melodies and emotional depth left a lasting impression on everyone in attendance.
The Crypt Sessions is a concert series that takes place in the crypt of the Church of the Intercession, located on West 155th St in Upper Manhattan. The Crypt Sessions series was founded in 2020 by Andrew Ousley, who wanted to create a unique and intimate concert experience for both the performers and the audience.
The concerts are held in the crypt, which is a small, underground chamber beneath the 180 old Episcopal church. The space has a unique atmosphere and excellent acoustics, making it an ideal venue for live music performances. The Crypt Sessions feature a wide range of musical genres, from classical and opera to jazz and indie rock. The performers are often world-renowned musicians who are attracted to the unique setting and intimate atmosphere of the series
Setlist: La Nocturne, Piano Allegretto, Ukiyo, I Love You, Rockefeller Room, Drive
Frank Palangi’s new single “Fall From Grace,” proves that the rock genre still has a place in the music business – as does Palangi. The rock singer has been performing for more than 10 years and continues to make noise in the music industry, “Fall From Grace,” being only his most recent track to hit music platforms. “Fall From Grace,” is sure to leave fans eager to hear more.
Raised in Upstate New York, Palangi first hit the music scene in 2011 with his self-titled debut EP, and since then has had the opportunity to work with a number of music producers. Over the course of his more than decade-long career, he has released a total of five EPs, received Best In the Region for local Glens Falls and Albany areas and national unsigned-only competition finals, radio artist of the year (radio wigwam) and an LA Music Award single Nomination. When the Covid-19 pandemic hit, Palangi wasn’t discouraged, and his optimism shined through his music. Guitar World magazine said of the artist, “Palangi’s positivity extends beyond his music into the way he interacts with his fans.”
Palangi stands out positively from artists today in a number of ways, and “Fall From Grace,” is living proof of that. Palangi’s newest single echoes the sounds of hit rock bands and some of his biggest inspirations such as Ozzy, Def Leppard, Megadeth, and Three Days Grace, just to name a few. “Fall From Grace” can have a subjective meaning to listeners, so almost anyone can resonate with it, one way or another. For some, it could be about a fall-out you had with some of your closest friends, who you thought would stick by you through anything, or for others, it could be about being turned down for a job you really wanted or desperately needed. Either way, “Fall From Grace” is likely going to go down as just one in a long list of hits by Palangi.
“Fall From Grace,” is available on a number of music streaming platforms.
The sounds of Frank Zappa were in the air on Sunday, March 26, as The Furious Bongos took the stage at The Westcott Theater, in Syracuse.
Based out of Wisconsin, The Furious Bongos are a nine-piece progressive rock band who focus on delivering quality renditions of Frank Zappa songs. The band consists of Lo Marie (vocals, rhythm guitar, Conrad St. Clair (bass guitar, music director), Chris Huntington (lead guitar), Flip Fjellstrom (drums), Zachary Bowers (percussion), Scott Fischer (vocals, keyboard), Jonathan Sindelman (keyboards), Willow Dougherty (vocals), and Vince Szynborski (saxophones).
At promptly 8pm the house lights dimmed and the band took the stage. The theater was quickly filled with the groovy bass notes of the opening number, Chunga’s Revenge. The song built layer upon layer of sound, with each band member joining along until the theater was filled with a symphony of sound.
Through out the evening, the band would perform various songs from the Frank Zappa catalog. Lo Marie, Willow Dougherty and Scott Fischer would delight the crowd with their vocal deliveries, while each band member traded turns putting their musical talents on display. The band’s stage manager, Mike Stehr, would join in the fun, taking lead vocal duties during the Zappa classic, Cosmik Debris. Through out the evening, the audience sang and danced along, even earning muffins from the band to reward their participation.
Through out the two and a half hour set, the band put on display the qualities which made Frank Zappa a legend; complex and diverse musical arrangements along with comical, satirical, and at times racy song lyrics. The band delivered on these concepts with the precision and the eccentric delivery which made Zappa famous. They are a must band see for any music fan.
The Furious Bongos – The Westcott Theater, Syracuse – March 26, 2023
Set 1: Chunga’s Revenge > Zoot Allures > Zomby Woof > Uncle Remus > Let’s Move To Cleveland > Find Her Finer > Heavenly Bank Account > Andy > Inca Roads > Cosmik Debris
Set 2: Dirty Love > Doreen > What’s New In Baltimore > Peaches En Regalia > Montana > Village of the Sun > We Are Not Alone > Advance Romance > Sam with the Showing Scalp Flat Top > Black Page #2 > Hot Plate Crew Slut Heaven > City of Tiny Lites
Encore: The Meek Shall Inherit Nothing > Willie the Pimp
Brooklyn was the last stop on the band’s debut North American tour before it was shuttered in early 2020, only performing twice. Since then, they have played all across Europe and the UK, finally making their way back overseas this month, hot off the release of their self-released (on Human Season Records) second album, Gigi’s Recovery, this past January.
Much like the album, the show brought a fully realized, introspective post-punk set with dynamic energy that elevated the record for the 650-capacity venue.
The show started with For Everything, the brooding opener off their debut album, When I Have Fears, which released in 2019.
They continued on at a monstrous pace, invoking a few raucous mosh pits, making it to a newer track, Return My Head and onto More Is Less.
There were moments of Radiohead imbued with Bauhaus, sharing a great polyphonic relationship between both guitars and bass, with the drums driving the rhythm amidst every harsh snare hit, most notably in the 2-part song, Slowdance I+II. Frontman James McGovern’s poetic lyricism gracefully complemented every movement, switching between thunderous bellows and spoken pieces.
The North American Gigi’s Recovery Tour continues through April, where the band will make a surely momentous visit to California’s Coachella Valley Music and Arts Festival, followed by a few other international festival appearances throughout the rest of the Summer.
The Murder Capital | Music Hall of Williamsburg | Brooklyn, NY | March 28, 2023
Setlist: For Everything, Return My Head, More Is Less, The Stars Will Leave Their Stage, Green & Blue, Crying, A Thousand Lives, Gigi’s Recovery, Slowdance I, Slowdance II, We Had to Disappear, Feeling Fades, Only Good Things, Don’t Cling to Life, Ethel
It was a birthday party like no other on Saturday, March 25th, as members of the Trey Anastasio Band and Joe Russo’s Almost Dead joined forces as LaMP to light up Lark Hall in Albany. The memorable evening of stellar improvisation and infectious grooves was extra special for the venue’s owner, Jennifer Miller. That’s because many of her nearest and dearest friends helped pack the place to capacity in celebration of her turning 50 years young.
FUNGKSHUI kicked off the party at Lark Hall on Saturday, March 25, 2023
Kicking off the festivities with a high energy, fun-fueled set was Asbury Park, NJ young bloods FUNGKSHUI. Pronounced “funk-shway,” the exciting upstarts made the most of the opportunity to share the stage with a few of their musical heroes. Comprised of Jack Reed (guitar), Max Vitale (guitar), Jon Scheps (bass), and Kyle Donovan (drums), the psychedelic funk quartet had Lark Hall moving and grooving from the beginning.
FUNGKSHUI performing at Lark Hall in Albany, NY 3/25/23
With two powerhouse guitar players and an incredibly tight rhythm section, the young band showcased a musical maturity well beyond their years. With irresistible hooks, dynamic soloing, and plenty of room left for improvisation, songs like “Orange Cadillac,” “Sinkhole” and “Blue Rat Bastard” highlighted the set. Clearly grateful to be there, afterwards the band members stuck around to chat with new fans and hand out free stickers, while also managing to create quite a buzz about their upcoming appearance at the nearby Rye Bread Music Festival later this summer. With their debut album also on the way, we expect to hear a lot more from this talented group in the very near future.
Ray Paczkowski, Scott Metzger & Russ Lawton performing together as LaMP at Lark Hall on 3/25/23
After a rain-soaked intermission dampened many a spliff, the party reignited inside with a special performance from the recently revived trio known as LaMP. Made up of Soule Monde/TAB members Russ Lawton on drums and organist Ray “The Milkman” Paczkowski, the time-tested duo was joined by Joe Russo’s Almost Dead/WOLF! guitarist Scott Metzger. The band gets takes its name from the first letters of each members’ surname. Originally debuting in 2018 at Nectar’s in Burlington, Vermont, LaMP released their debut album in the summer of 2020 and to date has only played a handful of gigs together, making each appearance a bit of a novelty and a “can’t miss” affair.
Opening their set with a funky rendition of the title track from 2021’s Mimi Digs It, Metzger immediately fits right in with the guys from Soule Monde. Tastefully adding guitar textures and subtle melodies to the otherwise drum and organ instrumentals, The Milkman, as always, pulled double duty by supplying the bass lines on the lower deck of his vintage Hammond organ. All warmed up and full of smiles, LaMP then cooked up something fresh for the curious cats who still weren’t sure what the band was all about. Pro-shot footage of “Out of Curiosity” has been posted on the band’s Facebook page at the link below, courtesy of our friends at Mirth Films.
Ray Paczkowski, Scott Metzger & Russ Lawton performing together as LaMP at Lark Hall on 3/25/23
The avant-groove compositions continued on with “Hit Return,” “Ollie ‘ 88” and “Hey Francis.” Each song undeniably groovy and each with a different feel, every member had ample opportunity to shine and empty their bag of musical tricks. Following “Seven Days” came one of the biggest highlights of the set in the form of “Q Division.” It was here where guitarist Scott Metzger really let things rip, playing off Paczkowski’s funky Clavinet lines and launching into one of the biggest shreds of the evening. Afterwards, an excited Paczkowski would get on the mic and tell everyone how much he loves playing improvisational music with these guys and that it was for moments just like that. Lightning in a bottle.
Scott Metzger performing with LaMP at Lark Hall on 3/25/23
LaMP would continue socking it to the Lark Hall faithful with “Sock Full,” then an extra greasy rendition of “Bernard,” which saw drummer Russ Lawton in complete command behind the kit. Showcasing a wealth of styles and versatility while diving in-and-out of groove pockets with a cool confidence, Lawton would use every inch of his instrument, at one point even banging on the side walls of his kit, cross-sticking it to great effect yielding a huge pop from the crowd.
LaMP’s Russ Lawton got sound from every inch of the drum kit on 3/25/23
The bumping progression of “Elsie’s River” came next, followed by “Allah Uya,” which had the entire room moving and grooving to the world-beat. “Clipse Dog” would then bring the main portion of the show to a close and leave the audience hollering for more. Happy to oblige, the LaMP trio returned to the stage with some very kind words about the venue, its staff, and to wish it’s owner a very happy 50th birthday. “Tinyland” was chosen as the night’s only encore.
LaMP packed the house at Lark Hall on 3/25/23
Truly masters of the craft, the years of experience and chemistry between these three talented musicians is something rarely seen in a live setting. Seamlessly blending together a myriad of styles and creating a sound that simply couldn’t be replicated by anyone else, it was another special night of music at Lark Hall and a birthday party The Millers will never forget. Not only does Brick Tamland love LaMP, it’s safe to say Albany does too.
Up next, the guys will head downstate for a performance at Brooklyn Bowl on March 30th before returning to Burlington for a pair of sold out shows at Nectar’s this weekend. With each member of the group balancing extremely busy touring schedules with their “other” bands, there’s no telling when fans will get another chance to see LaMP light it up again. If you have the opportunity, I would highly suggest going to see this incredible act while you still can. For those unable to make the trip, free livestreams of both Nectar’s gigs will be available via Volume.com.
LaMP | March 25, 2023 | Albany, NY | Lark Hall
Setlist: Mimi Digs It, Out of Curiosity, Hit Return, Ollie ’88, Hey Francis, Seven Days, Q Division, Sock Full, Bernard, Elsie’s River*, Alla Uya**, Clipse Dog Encore: Tinyland
*Abdullah Ibrahim cover **Ali Farka Toure cover
FUNGKSHUI:
LaMP (Russ Lawton, Scott Metzger and Ray Paczkowski):
On Friday, March 24th, Pink Talking Fish teamed up with Escaper at Sony Hall to honor the 50th Anniversary of Dark Side of the Moon, Pink Floyd’s most famous album. PTF played the album in its entirety, with opener, Brooklyn’s Escaper, closing their set with a masterfully psychedelic “Set the Controls for the Heart of The Sun”.
Will Hanza & Luke Bemand of Escaper
Escaper opened up the night with an exciting set filled with face melting solos by Will Hanza. An incredible and very emotive guitarist, Will is a thrill to photograph. It was great to see him and Luke Bemand’s stage chemistry and how well they play together. Escaper invited Cal Kehoe up for the Pink Floyd cover to end their set.
Luke Bemand & Scott Chasolen of The Machine join PTF on stage to play “Tweezer”
Pink Talking Fish started their show by playing “Dark Side of the Moon” in it’s entirety. A daunting task which PTF has performed incredibly many times before, this time was no different. The vocal part in “Great Gig in The Sky” and the sheer funkiness of “Any Color You Like” stood out.
Cal Kehoe-eidescope
The second set was a medley of Phish, Talking Heads, & Pink Floyd. Favorites from that set included Phish classics like “Alumni Blues”, “Letter to Jimmy Page”, “Frankenstein” which included a key-tar solo, “Tweezer” with Luke Bemand on bass and the keyboardist from The Machine Scott Chasolen, and if you play “Tweezer” you know you have to play “Tweezer Reprise”. The band encored with “Sabotage > Eclipse Reprise”.
Pink Talking Fish – Sony Hall, NYC – Friday, March 24
Set 1: Speak To Me > Breathe > On The Run > Time > Breathe Reprise, Great Gig In The Sky, Money1, Us And Them1 > Any Colour You Like > Brain Damage > Eclipse
Set 2: Burning Down The House, Alumni Blues > Letter To Jimmy Page > Frankenstein2 > Letter To Jimmy Page > Alumni Blues, Mother, Houses In Motion, Tweezer1,3 > Tweezer Reprise1,3, Wish You Were Here, Crosseyed And Painless
Encore: Sabotage > Eclipse Reprise
1 w/ Matt Wayne on sax 2 w/ Steve on keytar 3 w/ Luke Bemand on bass & Scott Chasolen on keys
Joshua Bassett recently played at the Hammerstein Ballroom on Friday, March 24th with opener Lindsey Lomis for his only New York date during his The Complicated Tour.
The two put on an unforgettable performance for their audience of 2500, with Bassett playing various songs from his EPs, Different, Sad Songs In A Hotel Room, and Joshua Bassett. Thousands of fans, many of them wearing sparkly tops, colorful pants, and pink cowboy hats, waited in anticipation for Joshua’s incredible set.
Joshua Bassett
Bassett, initially gaining popularity for his role alongside Olivia Rodrigo in High School Musical: The Musical: The Series, resides in New York City but grew up in San Diego, California. The 22-year old pop singer is currently in the middle of his tour and has various dates left in the US and across Europe.
Joshua first entered the stage yelling “New York City!” and jumped up and down during his upbeat song, “Feel Something.” The crowd lost it when he jumped off of the stage, greeting fans and accepting flowers from one girl, whilst encouraging everyone to get into the groove of the music. During his song, “i’m sorry,” Bassett truly awed the crowd with his deeply intimate lyrics as he touched on subjects like depression, addiction, breakups, and loneliness.
He made his way into the middle of the audience during “Common Sense,” as he sang his first ever release acoustically to his starstruck fans. In the chorus of “Different,” he disappeared from the stage and made his way to the upper balconies to greet the rest of the crowd. Finally, at the end of his last song, “Set Me Free,” Joshua climbed onto a piano and jumped off at the drop of the beat, while confetti shot out of cannons on either end of the stage.
Bassett ended his set with a long wait before the crowd began shouting, “One more song, one more song!”, where he reentered and put on a final performance of “SHE SAID HE SAID SHE SAID.”
Setlist: Feel Something, Secret, Doppelgänger, LA, Used To It, Finally Free, Medley (Joshua Bassett EP), Heaven Is You, Sad Songs In A Hotel Room, Lie Lie Lie, Common Sense, Lifeline, All In Due Time, Empire State of Mind, Pt. 2 (Alicia Keys cover), would you love me now?, i’m sorry, Different, Smoke Slow, Iris (The Goo Goo Dolls cover), Beautiful City (Stephen Schwartz cover), Set Me Free Encore: SHE SAID HE SAID SHE SAID
Fresh off live scoring The Fifth Element at The Caverns in Tennessee, The Disco Biscuits marched north to Port Chester for three nights at The Capitol Theatre over March 23-25, quite possibly their strongest run at the ‘Original Rock Palace,’ dating back to 2016.
Few bands display the consistency the Disco Biscuits have displayed as of late, going back nearly a year to their last Capitol Theatre run, which has been followed by more than a dozen original song debuts that have quickly become part of the rotation.
From the crowd, the band looks like they’re having a blast on stage, rocking out to the music they’re creating, feeding off their own creation just as the fans are, creating a live camaraderie that is rarely seen. From the stage, one can see the band is getting down while watching the fans do the same, all while creating live electronic music to an unmatched degree of quality, making it look like just another day at the office.
Typically, Thursday of a three-night Cap run has been more of a ‘‘warm up night,’ as the band gets comfortable in the room. The shows have been great, but have been overshadowed by stellar Friday and Saturday shows. This was not the case this weekend, given the way the band has been playing, as there was no warm up needed and Thursday was on par if not stronger than the next two nights.
Starting the run with a jam that evolved into an almost 20-minute “Gangster,” a “Spacebirdmatingcall” sandwiched “Cyclone” that found Jon “Barber” Gutwillig hitting next level peaks as the industrial techno beat took over. As the set reached the second half, two rarely played songs, “Trooper McCue” and “Floes” appeared, a double dose of early Biscuits, with the more recent “Lake Shore Drive” fitting in nicely in between.
A rarely played “Park Ave” made its third appearance since 2011, and second this year, opening up the second set, then dipping into an inverted “Shelby Rose” which was last performed inverted style at the Capitol Theatre in 2019. The flowing set continued with an inverted “Reactor” which found Barber taking a section for “a couple of laps” as bassist Marc Brownstein put it. The set would close with ”Evolve,” a 2021 composition that gives off a late 90s Eurodance vibe, segueing into a 20-minute set closing “Caterpillar.” With a short encore slot leftover, “Portal To An Empty Head” put a exclamation point on a night that to some was the highlight of the run, but if anything, simply foreshadowed the greatness of the next two nights that followed.
The Disco Biscuits – Thursday, March 23 – The Capitol Theatre – Port Chester
Set 1: Jam > Gangster > Spacebirdmatingcall > Cyclone > Spacebirdmatingcall, Trooper McCue, Lake Shore Drive > Floes Set 2: Park Ave > Shelby Rose 1 > Reactor 1 > Evolve > Caterpillar Encore: Portal To An Empty Head 1 inverted
Friday night featured opener Dogs in a Pile, a New Jersey band that was making waves prior to the pandemic and who have not looked back in that time, touring across the country and building a ‘Dog Pound’ fanbase in the meantime. The full set is worth a listen, especially the final tune, “Time Stands Still,” with Ben Pinnola on saxophone.
When it comes to the Disco Biscuits, anything can be a jam vehicle, nearly everything is in play – new songs, old songs, fan favorites, rare covers – and that is what makes the band so enjoyable to see show after show, no matter if you last saw them a week ago or five years ago.
Cracking open the first set was “Shocked,” which stands to be the first song from the band’s forthcoming “Space Rock Opera,” and had fans shouting “Shocked” as if the tune was a longtime part of the repertoire. A stand alone “Digital Buddha” followed, with the pace accelerated by Barber and drummer Allen Aucoin to a furious froth, giving unparalleled energy as the song reached its peak.
Among all new debuted songs, a clear fan favorite is “Twisted in the Road,” which would proceed to sandwich three songs in between a “Twisted” 22 minute jawn, with lyrics “Let it run and let it roll” becoming a mantra for Biscuits fans in the process. “Bombs” made a return appearance at The Capitol Theatre (played in 2017 and 2019) after being brought off the shelf by fan request at a Drive-In show in May 2021. “Orch Theme,” the ever-welcome dark electronic Conspirator song arrived out of “Bombs,” bringing the rare “Rainbow Song” from the ashes of “Orch Theme,” before winding back into “Twisted in the Road” to close the set and reach the halfway point of the run.
Set 2 began with the fresh “Freeze” that ran for nearly 25 minutes and exemplified one of the best elements of the Disco Biscuits – you can easily forget what song you’re dancing to, and happily so. In the moment, it doesn’t matter what song it is when they’re jamming at this level of consistency, making song chasing secondary to enjoying these jams more than ever before. Anything is in play with improvisation opportunities found at all turns.
The middle section of “Crickets” gave way to “Another Plan of Attack” and “Space Train,” and then an inverted “Above The Waves” that clocked in at a raging 20 minutes. “One Chance To Save The World” closed the set with “King of the World” celebrating this powerful set in the encore slot.
The Disco Biscuits – Friday, March 24 – The Capitol Theatre – Port Chester
Set 1: Shocked, Digital Buddha, Twisted in the Road > Bombs > Orch Theme > Rainbow Song > Twisted in the Road Set 2: Freeze > Crickets 1 > Another Plan of Attack > Space Train > Above The Waves 2 > One Chance To Save The World Encore: King of the World 1 middle only 2 Inverted
Opening Saturday night was Eggy, who has been on the rise as of late and had recently opened for Twiddle at The Capitol Theatre in November 2022. This remarkable Connecticut band has excellent stage presence and precision jamming, with Jerry Garcia Band’s “Gomorrah” a fitting cover for the room.
The Biscuits’ first set opened up with stand alone versions of “Story of the World” and “Astronaut,” a departure from the sandwiching of other tunes inside segments of these compositions. A classic “Little Shimmy In A Conga Line” had a percussion segment that was unique and fit the jam well, and may have been exploring a shift into “O Fortuna” (a cantata by Carl Orff), from the Biscuits’ catalog of classical covers. Shortly after, “Shimmy” started to give off “Digital Buddha,” but having already played “Buddha” the night before, this meant the audio doppleganger for “Buddha” – “Tricycle” – was on the horizon.
The last two minutes of “Shimmy” made it seem as though the band would be dipping into one of their most high energy songs for a segue. Then out of left field came a short, sweet and nasty “Tempest” that provided a bridge to the full on “Tricycle,” which had the crowd singing along in unison like no other in recent memory, the four fully dialed in for this fusion of sound and bringing the audience along with them for the ride. The newer “Vibes” hit the spot out of “Tricycle” and found its way into the ending of “Svenghali” to close the set on a high mark.
The first set had so much energy and hit all the right spots, contending quickly for ‘Set of the Weekend.’ The general consensus at setbreak gave no notes, no criticisms and no hot takes other than ‘these guys are on fire.”
Sorry if that sounds like hyperbole, but the dedicated fan base is in agreement that the band is as dialed in and consistent as they’ve ever been. So when it came time for Set 2, the crowd was abuzz as the setlist was confirmed to be written by longtime Biscuits audio engineer Rich Steele, celebrating his 300th show this evening. The set unfolded as a dissection of one of the Biscuits’ earliest songs, “Basis For a Day” spread out over the 90 minute set with four of the newer ‘Space Opera’ songs woven in between, leading fans to coin the fluid set “Spaces for a Day.“
If you hadn’t heard “Basis For a Day” in a minute, you were in for a treat. The band opened up with “Basis,” segueing into “The Wormhole” before finding their way back to “Basis.” Despite only debuting nine months ago, “Who’s In Charge” has found its home in regular rotation and followed the second “Basis,” with a driving beat behind Barber’s repeated query “Who’s in charge….. of this place right here?” From there, it was back into “Basis” for round 3, followed by “The Deal,” a song so new it had only been played three times prior to this evening. Back into “Basis” and then “To Be Continued,” with a new wave/techno riff from Aron Magner, seeming to be a song towards the end of the Space Opera. By the time they went back into “Basis” for a final time, nearly 90 minutes had passed but fans didn’t notice as they were far too busy getting down.
You couldn’t find a stronger way to cap the run with a set of this nature, where knowledge of the band’s collective level of consistency in performance and songwriting was put high on a pedestal for all to see. Weaving the band’s unnamed/unreleased “Space Opera” in and out of one of their most performed songs was a master stroke and paid dividends for everyone in attendance. A fitting encore of “We Like To Party” framed the three night run, with the band and fans in unison proclaiming enthusiastically, loudly and proudly, “We like to dance, sorry if you don’t.”
Don’t sleep on the Disco Biscuits – they’re in Colorado this coming weekend for four shows, head down south for four more in May before heading to Iceland for their first international jaunt in well over a decade. Tour dates for the summer have just been announced, which find the band touring up the east coast in June for eight shows, starting in South Carolina on June 7 and closing out with two nights at Mulcahey’s in Wantagh. Here’s hoping for more details on the upcoming “Space Opera” as the year progresses.
The Disco Biscuits – Saturday, March 25 – The Capitol Theatre – Port Chester
Set 1: Story of the World, Astronaut, Little Shimmy In A Conga Line > Tempest > Tricycle > Vibes > Svenghali 1 Set 2: Basis For A Day > The Wormhole > Basis For A Day > Who’s in Charge > Basis For A Day > The Deal > Basis For A Day > To Be Continued > Basis For A Day Encore: We Like To Party 1 end only
