Category: Reviews

Five Nights of Goose at The Capitol Theatre

Goose and their flock of fans have descended upon Port Chester for five nights of indie jam rock. With three nights down, there have been debuts, fresh covers and a sit-in from none other than Jim my Fallon.

Photo by Cory Schwartz

Sunday, March 12

Goose closed out their five-night stand at the Capitol Theatre on Sunday night with a blazing hot show packed with pockets of dense improvisation.

Opening the night with “Time to Flee,” the quintet wasted absolutely no time and delivered a punchy 17-minute version highlighting guitarist Rick Mitarotonda’s scorching guitar tone and playing. The band next offered up the synth-drenched arrangement of “Indian River” coupled with its usual “Welcome to Delta” jam. The peppy piano-led groove felt more energetic than its normal laid-back vibe, blasting to more incredible peaks as the energy in the crowd seemed to continue rising.

A big trend for the final two nights of the Cap run was pure ENERGY. The 1800-capacity venue was amped from the first note of Wednesday night’s show but the weekend crowd took it to another level.

A deceptive cool-down song in the Peter Anspach-penned “Honeybee” quickly elevated to more soaring guitar licks from Mitarotonda before Goose fired up the dance party of “Jeff Engborg.” Named for Anspach’s old Great Blue bandmate, the fifth Goose performance of this song is a personal favourite of mine due to what I call “Big Clav Energy.” The rhythm section of drummer Ben Atkind, percussionist Jeff Arevalo, and bassist Trevor Weekz locked in as Anspach and Mitarotonda shredded over peak after peak.

Taking a moment to breathe and reflect with the 75-show bustout of “It Burns Within,” the band jumped into a fun “Butter Rum” to close the set. While a concise and energy-filled 8-minute version could have done just fine in this slot, Goose opted to deliver possibly the finest version of the song played to date, stretching just past the 20-minute mark. Anspach’s Prophet and Nord synths got a serious workout in the latter half as Mitarotonda riffed on a theme similar to Kylie Minogue’s “Can’t Get You Out Of My Head.”

The final set of the five-night run began with a lengthy “Arrow,” breaking its longest show gap in three years. Mitarotonda attacked the jam with the same animalistic ferocity he had been displaying all week, and while it stayed relatively within the song’s boundaries, it should NOT be overlooked. A calm and beautiful reading of ballad “A Western Sun” led to another dance party in “Into the Myst.” Atkind propelled the band into a steady jam as Anspach worked his Vintage Vibe electric piano through the segue into “White Lights.”

Looking at the setlist on paper, this relatively short song in the middle of the set may look innocent enough, but it is well worth a listen. One of the biggest peaks of the entire weekend took place as the incredibly positive energy of the band and crowd flowed. Anspach danced like a happy camper within his keyboard rig as all five members became pieces of the same improvisational brain and launched the Cap into orbit.

A patient build on iconic Goose song “Elmeg the Wise” brought the tenth and final set of the run to a close in fine fashion. Anspach took a moment before the encore to thank each and every member of the Goose crew as well as the venue staff for an unforgettable week before the band absolutely tore “The Empress of Organos” to shreds. Weekz got his final bass solo to cap of what was undoubtedly the week of the BASS.

Over the course of five nights, Goose played 64 songs – 60 of which were originals and three of those debuts. The band took new risks in improv, debuted new rigs and tones, a new light rig – the list goes on!

With an extensive spring tour beginning next week in Boston, their first proper “tour” since October, anticipation could not be higher for what is to come in the future!

Goose – Sunday, March 12

Set 1: Time to Flee, Indian River[1], Honeybee[2], Jeff Engborg, It Burns Within, Butter Rum

Set 2: Arrow[3], A Western Sun, Into The Myst[3] > White Lights, Elmeg The Wise

Encore: The Empress Of Organos

[1] 80s synth version. With Welcome to Delta jam.
[2] With Coach on rainstick.
[3] Unfinished.

Saturday, March 11

For night four of five at the Capitol Theatre, Goose delivered what some have called the best show of the run yet – two dense sets packed with energy, improvisation and incredible playing from all five members.

Opening up the show with an upbeat “Echo of a Rose,” guitarist Rick Mitarotonda quickly led the jam from an airy space into a grimy section propelled by drummer Ben Atkind’s persistent beat. Using that as a launchpad for a modulation into Bob Seger’s “Hollywood Nights,” the band and crowd alike blazed through the rocking cover with great aplomb.

Ripping through a thick “Bob Don” next, Mitarotonda and multi-instrumentalist Peter Anspach locked in on the outro “With” jam as the crowd’s energy continued to climb higher through the band’s return to the ending of “Echo.” The twin parts of “Seekers on the Ridge” offered a bit of a breather before another incendiary Mitarotonda solo blew up the building in Part II.

“Mr. Action” was tapped ahead of a set-closing “Same Old Shenanigans,” a perfect call for the energy-focused first set. Anspach and Mitarotonda shined once again during their respective solos as the rhythm section locked in underneath them on the path to several mountainous peaks that ended the first frame.

Returning with “Hungersite” to open the second set, Goose wasted no time before diving directly into a heavy-hitting space that Mitarotonda peaked massively. Atkind and percussionist Jeff Arevalo’s insistent drumming helped push the blazing improv. Post-peak, bassist Trevor Weekz stepped out as the band led into a thick and grimy motif that has popped up numerous times throughout the Cap run.

“Silver Rising” offered a cool-down after the intensity of the “Hungersite” jam before the band debuted Anspach original “Feel It Now.” This catchy and danceable song is highlighted by a peppy groove and bright guitar lines from Mitarotonda – there is also tremendous jam potential that I am certain will come to fruition as the song gets played more.

Where else to go in the middle of a Saturday night second set than with “Arcadia”? Weekz once again absolutely brought the house down with a deep and funky bass solo before an aggressive theme developed. Picking up the pace and energy once again, Goose blasted the capacity crowd with peak after peak as they shredded through the ending of the song. A heartfelt and tender “726” closed out the second set.

Ripping into “Dripfield” for the encore was a perfect choice, getting the crowd moving in time with the pounding drums as the title track to the band’s most recent album rocked the Cap to close.

Goose – Saturday, March 11

Set 1: Echo Of A Rose[1] -> Hollywood Nights[2] > Bob Don[3] -> Echo Of A Rose, Seekers On The Ridge Pt. 1 > Seekers On The Ridge Pt. 2, Mr. Action, Same Old Shenanigans
Set 2: Hungersite, Silver Rising, Feel It Now[4], Arcadia, 726
Encore: Dripfield
[1] Fast version
[2] Bob Seger & The Silver Bullet Band
[3] With
[4] FTP

Friday, March 10

For the third of five nights at the Capitol Theatre, Goose delivered two blazing sets that were lighter on the improv that the first two shows but had possibly the highest energy of the run so far.

Opening up the night with a funky “Animal,” the band jumped into a concise “Flodown” next where multi-instrumentalist Peter Anspach threw in Prophet synth sounds as guitarist Rick Mitarotonda toyed with his delay pedals. Upbeat rocker “Everything Must Go” and Anspach tune “The Whales” continued the set before the energy really got taken up a few notches with “Turbulence & The Night Rays.”

The rocking Vasudo-penned song seems to reach new heights each time it gets played, and Mitarotonda’s emphatic solo had the packed Cap eager for more. Anspach took a second to introduce the next song, debut “Lead Up.” Displaying a rocking vibe similar to the Red Hot Chili Peppers at times, “Lead Up” retained that distinctive Goose song as well as showing off the band’s dual-guitar sound – the last two Goose original debuts with Anspach on guitar were “Butterflies” in June 2022 and “The Whales” in June 2020!

The momentum and energy of the first set came to a peak with crowd and band favourite “Thatch,” which featured its first extended improv and some mind-blowing work from drummer Ben Atkind and percussionist Jeff Arevalo, the latter of whom seemed to be at risk of breaking his cymbals from the sheer force of his hits.

Photo by Cory Schwartz

Returning from a lengthy setbreak, Anspach took a stroll into the crowd during the intro to “Creatures.” The dance party song morphed into a gorgeous bliss jam distinctly reminiscent of its counterpart from Legend Valley in 2022. Bassist Trevor Weekz really stepped out in this segment, while Atkind spun a beat that made the jam feel like the beginning of an “Empress of Organos” jam. Slowly returning to earth, Anspach led the band into “Red Bird” as lighting director Andrew Goedde bathed the stage in that colour for the duration of the song.

The bird took flight with a rocking jam led once again by the rhythm section – Atkind’s pounding toms and Weekz’s bursting envelope filter playing propelled the quintet to a series of big peaks ahead of a transition into Peter Gabriel’s “In Your Eyes.” Offering up the finest improvisation of the night, the classic cover tune quickly opened up into a thrashing groove as Mitarotonda took the reins with some serious fretboard fireworks. Building into some darker themes, Goose exploded into an amazing major-key section with strong “SOS” vibes before landing in tender ballad “Arise.”

Most known for its acoustic performances with offshoot group Orebolo, this gorgeous and heartfelt song translated exceptionally well to an electric setting for just the fifth time ever. Arevalo made an inside reference to a well-known acoustic performance with a reminder for the crowd to “zip it” before the song began (note: his instruction was followed by some, but not all). A blazing “Hot Tea” complete with filthy wah guitar from Mitarotonda, crunchy clav from Anspach, and a bass solo from Trevor closed out the set.

Goose welcomed comedian Jimmy Fallon to the stage for an encore of “Mustang Sally” last night that had the crowd eating up every moment of the fun shtick.

Goose – Friday, March 10

Set 1: Animal, Flodown, Everything Must Go, The Whales, Turbulence & The Night Rays, Lead Up^[1], Thatch
Set 2: Creatures, Red Bird, In Your Eyes^[2], Arise, Hot Tea
Encore: Mustang Sally^[3]

[1] FTP
[2] Peter Gabriel
[3] Wilson Pickett. With Jimmy Fallon on vocals

Thursday, March 9

Goose threw down another heater on Thursday night at The Capitol Theatre for the second of five shows at the historic venue. While nothing quite reached the improvisational heights of Wednesday’s show, the band but together two well-flowing and complete sets with fantastic moments throughout.

Beginning the night with a hot “Jive I”, guitarist Rick Mitarotonda and multi-instrumentalist Peter Anspach took their usual spotlights on the song with energetic solos as the crowd got warmed up. A jamless “Atlas Dogs” followed before the quintet fired up Anspach tune “Elizabeth.” The first extended jamming of the night, while just barely cracking the 10-minute mark, saw the band get into some nice churning themes.

The slinky vibe of “California Magic” fit the vibe of the first set perfectly before a new double-time arrangement of “Borne” was tapped next. Part of this new take on the song is a much cleaner slide into the jam which the band took full advantage of, developing a spacey theme with reverb-drenched piano at the forefront. Bassist Trevor Weekz led a slow build as the band worked together in a very democratic fashion. Drummer Ben Atkind pounded away at his toms as the jam build to a solid peak.

Anspach stepped out again on the Vintage Vibe outro to “The Old Man’s Boat” before Mitarotonda led Goose into “Rockdale.” Getting into the grime immediately, Anspach’s low clavinet colouring and Weekz’ deep bass accentuated Mitarotonda’s tension-building guitar as the band built to several phenomenal and explosive peaks to close out the first set.

The second set began in fine fashion with a long “Tumble.” The jam began with its classic dual-guitar churn groove as Mitarotonda got the energy of the crowd up. After hitting a first peak, the band took the vibe down and Anspach hit the keyboards. Displaying his impressive interplay with Mitarotonda that we’ve been seeing this week, Goose dove deep into a quieter section within “Tumble” that gave percussionist Jeff Arevalo an opportunity to really step to the sonic forefront of the jam.

Reaching a progression reminiscent of “Love is a Battlefield,” Mitarotonda took back the reins of the improv and built back to a final peak and return to the song. The guitarist then fronted the quintet on the debut of original “Not Alone,” a tender ballad that was received extremely well by the crowd – it acted as the perfect breather between two big second-set jams.

“Rosewood Heart” was tapped next and saw Anspach dialing up percussive loops on his Prophet synthesizer as Goose took a very different route in the jam. Eschewing the normal Type I section, they opted for a funky and percussive groove that had the venue getting down for its duration. A powerful rendition of Nina Simone’s “Sinnerman” came next before Goose ripped out “Madhuvan” to close the set.

Few songs elicit a crowd reaction on the level of this massive jam vehicle, and last night was no different. Beginning in a space not unlike its counterpart from Glens Falls this past November, Anspach laid down low tones on the Vintage Vibe while simultaneously creating feedback from his guitar, lending to the immediate dark and eerie tone of the jam. Patiently exploring every inch of this motif, Weekz dropped massive bombs as synthesizer loops and guitar arpeggios dominated the space. Gradually picking up steam, the improv took on a lighter tone as the band hit on their second “Loose Ends” tease of the week. Continuing the huge build, Mitarotonda led his bandmates into the ending of “Madhuvan” at full tilt, bringing an excellent set and show to a close. A brief encore of “Turned Clouds” sent the crowd home happy.

Goose – Thursday, March 9

Set 1: Jive I, Atlas Dogs, Elizabeth, California Magic, Borne^[1], The Old Man’s Boat, Rockdale
Set 2: Tumble^[2], Not Alone^[3], Rosewood, Heart > Sinnerman^[4], Madhuvan^[5]
Encore: Turned Clouds

[1] Double time feel
[2] With Pick Up The Pieces tease from Ric
[3] FTP
[4] Nina Simone
[5] With Loose Ends teases

Wednesday, March 8

For the first night of Goose’s Capitol Theatre five night run, starting the run with what they ended Okeechobee Music and Arts Festival with, Eddy Grant’s “Electric Avenue.” Check out video and more photos from Cory Schwartz below.

Set 1: Jam -> Electric Avenue^[1], All I Need^[2] > Dr. Darkness, Butterflies, Jive II, Earthling or Alien?^[3], So Ready
Set 2: Wysteria Lane > Doobie Song, Drive^[4], Yeti, Your Ocean
Encore: Pancakes

[1] Eddy Grant. Ending only, finishing the version from 3/3/23 Okeechobee
[2] Slow, melodic version
[3] With Jive II teases from Trevor
[4] With Loose Ends teases

Photos by Cory Schwartz

March 11, 2023
Evanescence offer an Unforgettable Night of Rock in Toronto

Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.

With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.

Will Hunt

From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.

Emma Anzai

Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.

Troy McLawhorn

But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.

Amy Lee

The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.

Tim McCord

One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.

Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.

Their next show will be in New York City at Madison Square Garden on March 17.

March 11, 2023
Harrison and Belew Serve Up A Cool Cool Cool Tribute to Talking Heads Remain In Light

For many Talking Heads’ fans, their 1980 album, Remain In Light, is the pinnacle. It’s groundbreaking blend of Afrobeat rhythms, synth textures, obtuse lyrics, Brian Eno’s crafty production and the searing “stunt guitar” of Adrian Belew made it a classic – the disc that put the funk into punk and New Wave. It was also the album that propelled this art school educated band of newbie groove nerds into the MTV mainstream. This was a non-stop dance party with cerebral trimmings, a collection of fierce tunes that were always the best parts of a Talking Heads’ live show, something evidenced in the peerless concert film made about their tour to support it, Stop Making Sense.

Last month, the band’s founding keyboardist Jerry Harrison teamed up with Belew and the band Cool Cool Cool to bring a concert celebrating the iconic album to 19 cities coast-to-coast.

If the March 8th performance at Albany’s Empire Live was any indication, they have achieved their stated goal – to recreate the excitement and joy of the Talking Heads’ remarkable 1980 tour.

The evening opened with a strong seven-song set by Cool Cool Cool, a super slick collective of funkateers with tight vocal harmonies, punchy horns, clavinet soul and stage presence to spare. The band is comprised of seven musicians who split – dramatically and en masse – from their former long-running band, the popular festival attraction Turkuaz, a year back. It includes Shira Elias and Sammi Garett (vocalists), Chris Brouwers (trumpet), Josh Schwartz (tenor/baritone sax/vocals), Greg Sanderson (alto/ tenor sax), Michelangelo Carubba (drums) and Craig Brodhead (guitar/keys). For this tour, the group is augmented by master bassist Julie Slick (Adrian Belew Power Trio/The Crimson ProjeKct) and percussionist Yahuba Garcia-Torres.

The Prince/Sly Stone/Tower of Power vibes were in evidence from the opener, “Gotta Give It Away,” sung with bravado and David Byrne-like hand gestures by Josh Schwartz (those would return in the next set too!). Shira Elias distinguished herself with lead vocals on “NAH” and “Tied Up,” while Sammi Garett shined on the ballad ,“With You,” and the baritone sax-driven set closer, “Try.”

Cool Cool Cool is not only a joyful party band but an ensemble of players’ players. In a duo of tunes, saxman Greg Sanderson slowly architected long spiraling solos that brought to mind the great Kenny Garrett in Miles Davis’ late 80s/early 90s band. On “With You,” Chris Brouwers offered up a muted trumpet solo with plenty of spacey echo. It was one that fused his own Milesisms with the prog/ambient leanings of ECM Records’ trumpet great Nils Petter Molvaer.

Harrison and Belew covered 14-songs in their set, most of Remain In Light, along with classics like “I Zimbra,” “Cities” and “Drugs” from their 1979 album, Fear of Music, and “Psycho Killer,” the set opener from their debut disc, Talking Heads: 77.

As he did in King Crimson, Belew handled most of the lead vocals in a style that bears more than a passing resemblance to David Byrne.

As anyone who’s seen him live can attest, Belew has boatloads of charisma. He’s got an amiable everyman vibe that invites everyone into the party, while sometimes obscuring his revolutionary talent as a guitarist. On “Psycho Killer,” he projected the appropriate amount of psycho and slayed with the first of his many animalistic guitar solos on the outro. The following tune, a rendition of “Houses in Motion,” greatly benefited from the backing vocals Shira and Sammi provided to Harrison’s lead. And here, there was another revelatory solo from Belew, who made his guitar sound like the Indian horn instrument heard on another Harrison’s The Beatles tunes, the shehnai.

Cool Cool Cool’s horn section ladled on added heft to many of the songs, especially “Cities” and “Born Under the Punches.” The latter was sung, more so preached with Byrne-like hand gestures, by Schwartz.

Jerry Harrison enjoyed a solo spot on two tunes, “Rev It Up” from his solo disc Casual Gods and “Slippery People” a much-covered song from the Heads’ 1983 album, Speaking in Tongues. The first number left space for an obtuse keyboard solo from Harrison and a nice guitar solo from Cool’s Craig Brodhead, who added some funky wah wah clavinet through both sets. Belew got his solo turn with a high-energy take on “Thela Hun Ginjeet” from King Crimson’s Discipline. More whammy bar guitar solo torment (a very VERY good thing) from Adrian on this track, one which featured a playback of his recounting his mugging in NYC from Crimson’s original recording.

Schwartz was back on lead vox doing his best Byrne for “Once In A Lifetime” and the set reached a peak with “Take Me to the River.” The Harrison/Belew version had even more punch than the Talking Heads’ original, bolstered by a Stax Records/Memphis stew of horns and backing vocal power.

The evening ended with a delightfully off-the-rails spin on “The Great Curve.” On Remain In Light, this tune percolates at 152 beats-per-minute, a hectic pace bettered in this live performance. It is also the song where Belew first got to fully stretch out on record. On record and at this concert, he stopped the show with his uniquely “apeshit” brand of Fender Stratocaster abuse, a step ahead in guitaring and stomp box logic that was the natural extension of Hendrix’s “Star-Spangled Banner” at Woodstock.

As fan well knows, the likelihood of seeing the original Talking Heads reformed in concert is quite dim. And Remain In Light itself is one of the sticking points, with songs that grew out of collective grooves and improvs at rehearsals for which Harrison, drummer Chris Franz and bassist Tina Weymouth may not have gotten their due.

And while he just dropped in to overdub his parts, Belew is another important ingredient without whom this album may not have been quite as iconic and continually relevant to new generations of music-lovers.

Photos by Jarron Childs

March 11, 2023
Nas Takes Over MSG For One Night Only Concert

On February 24, Nas took the stage at Madison Square Garden (MSG) for his highly-anticipated One Night Only: King’s Disease Trilogy concert. This was the first time the Queensbridge native played The Garden. The concert included songs from all three of his King’s Disease albums, along with some of his biggest hits from over the years.

The first half of the performance kicked off with Nas performing tracks from King’s Disease I, II and III, including “Blue Benz” and “27 Summers,” both of which were met with a thunderous applause from the crowd. Other songs he performed from the trilogy albums included “I’m on Fire,” “Spicy” and “Reminisce.”

After delivering an energetic first half of the concert, Nas took a brief intermission before returning to the stage for the second half of the show. This time around, he performed some of his most iconic hits, including “If I Ruled the World,” “Hate Me Now,” and “NY State of Mind.”

Nas’s first Madison Square Garden show was truly a star-studded affair, thanks to his impressive lineup of special guests. Hit boy, the celebrated producer and rapper, joined Nas on stage for “Michael & Quincy.” The legendary Mary J. Blige also made an appearance, bringing her soulful voice and electrifying presence to the stage for “You Remind Me.” Meanwhile, AZ, one of Nas’s longtime collaborators, wowed the audience with his impeccable flow on “Life’s a Bitch.” And last but not least, Slick Rick, the iconic rapper and storyteller, joined Nas for a performance of “Hey Young World.” Together, these special guests helped make the show an unforgettable experience that will be remembered for years to come.

Nas – MSG – February 24, 2023

Setlist: King’s Disease, Blue Benz, Car #85, 27 Summers, Ultra Black, Spicy, YKTV, The Definition, Get Light, Death Row East, The Pressure, I’m On Fire, 40 Side, Store Run, Rare, Speechless, Wave Gods, Thun, Michael & Quincy (Feat Hit Boy), Reminisce, Your Remind Me (Feat Mary J. Blige), 30, Legit, NY State of Mind, Life’s A Bitch (Feat AZ), It Ain’t Hard To Tell, Hey Young World (Feat Slick Rick), The World Is Yours, The Message, Street Dreams, Represent, Hate Me Now, Made You Look, One Mic, Hot Boyz, Oochie Wally, You Owe Me, Memory Lane, Get Down, If I Ruled The World

March 9, 2023
Aqueous Fans Brave Albany Blizzard for Bittersweet Send-Off

Emotions ran high over the weekend as Buffalo jam band Aqueous made their final Albany appearance before setting off on indefinite hiatus. Braving snowy weather and treacherous travel conditions, there was no turning back for the plethora of die-hard AQ fans who made their way to The Hollow on Friday, March 3^rd with Litz opening the night.

Selling out the venue one last time, Guthrie-Bell Productions has been bringing the acclaimed band to town for many years, however it was their first time back to this room since a memorable pre-Halloween show with Mungion back in 2018.

Aqueous performing for the final time in Albany before going on hiatus; 3/3/2023

Opening the show with about at much gear on stage as The Hollow could handle was high-octane funk rockers LITZ from Frederick, Maryland. Consisting of brothers Austin (vocals, keyboards, saxophone) and Logan Litz (bass) as well as guitarist Pat Shine and drummer Nick Thrasher, the hybrid party band has been around for almost a decade now.

Prior to their set, they expressed gratitude to the guys in Aqueous for the years of friendship and for having them out on this last run. Building momentum with long, trancey EDM-type grooves on songs like “Sunrise” and “New God”, the colorfully dressed Austin would spend the set going back and forth between his stack of keyboards, talk box and a large saxophone that remained anchored to the center of the stage. Trading off huge sax solos with guitarist Pat Shrine, it was bass player Logan Litz who would garner the biggest cheers of the set with his dynamic slap style bass playing and general sense of “cool.”

After working through a “Fifth Element”> “Straight to the Moon” sandwich, LITZ would play one of their most popular songs, “Morning Dew” off their 2016 album Illusion of Time before hitting us with a “Japanese Love Affair.” Perhaps pulling our fingers a bit, things would get a little weird before playing their final song of the set, announcing to the crowd that someone had spilled beer on Shine’s pedal board and that it had shorted out. As is the nature of improv music, LITZ rolled with the punches and somehow managed to bypass the problem and launch directly into their hip-shaking party anthem “Funkin’ Problem” to close out the fun filled opening set.

Brothers Austin and Logan of LITZ got the crowd fried up early at the Hollow on 3/3/2023.

Packed in like sardines, Aqueous’ most dedicated fans used the set break as an opportunity to push forward and claim a better spot for the main event. Many of these fans have been following the band since their infancy and have organically formed one of the most positive musical communities in the scene. Affectionately known as “AQuaintances,” the hugs were flowing all night long, as anyone “in the know” knew this could perhaps be one of the final shows they’d get to see of their beloved band from Buffalo. If you were an outsider trying to push closer to the stage, forget it. The territoriality here was fierce and it just wasn’t happening.

All tuned up and ready to rock, the band seemed to be in good spirits from the start. Consisting of Dave Loss and Mike Gantzer on guitars and vocals, Evan McPhaden on bass, and drummer Rob Houk, the guys joked they had each picked a song out and were all going to play it at the same time, hoping to be on the same page. They weren’t, at first, but they quickly settled in nicely on “Dave’s Song.” One of the founding members of the band, Dave Loss had taken much of the previous year off to focus on the birth of his first child. Too integral to simply replace, the band opted to recruit a revolving door of high-profile guests to help round out their sound while fulfilling remaining bookings in the beginning. Dubbing themselves AQ and Friends, it just simply wasn’t the same without Dave. Now back and with just the right touch, the contributions from Loss could be heard immediately.

Dave Loss performing with Aqueous in Albany on 3/3/2023

“Weight of the Word” would be played next before fan favorite and one of the biggest jam vehicles of the night, “Triangle,” landed in the three hole. The 2019 pop/punk singalong “Burn It Down” came next, complete with a heady “Shakedown Street” tease for good measure. Aqueous then segued into one of their most popular songs “Kitty Chaser (Explosions)” to bring the show to it’s halfway point.

As the snow continued falling outside, things were just starting to heat up inside. After a brief intermission, the guys returned to the stage as Chatty Cathy’s. Drummer Rob Houk was doing most of the talking as he lobbied his bandmates to cover the 1990’s smash hit “Hunger Strike” from the legendary grunge supergroup Temple of the Dog (Chris Cornell and Eddie Vedder). While Houk even began singing it, the rest of the guys pulled a fast one on him going into a tease of Collective Soul’s “December.”

All joking now aside, things got straight up funky as Aqueous then launched into the fan favorite “Mosquito Valley pt 1” which after about 12 minutes, transitioned into the hard charging “Eon Don” in silky smooth segue. During this standout version of the song, one of the most memorable moments of the night came when the band worked in a well-placed Metallica “Enter Sandman” tease before segueing into another homage to one of their biggest influences in Steely Dan’s “Josi.” The uninterrupted frame of music continued on as the band then landed on “Second Sight” which received a huge pop from the Albany crowd.  You can check out fan shot video of that below:

Fan shot footage of Aqueous performing at The Hollow on 3/3/2023

Cooling down for a bit of tuning and some priceless banter, an impromptu cover of “Sweet Home Alabama” emerged, before Gantzer finally pulled the rip cord. What we got next had some fans calling it an “all time” rendition of “They’re Calling For You,“ which went the full distance and would return us back to an “Eon Don” reprise.

Fan shot footage of Aqueous performing at The Hollow on 3/3/2023

Already approaching 2am and the heavy wet snow now 4 inches deep, the band opted to skip the usual encore theatrics of leaving the stage. Perhaps disagreeing with the song choice, Houk would break the fourth wall a bit, peering out from behind his kit to ask the crowd ‘what’s the most depressing song [they] could play?’ An intriguing question that immediately sparked a dozen different responses, it was here when the ‘beginning of the end’ feeling suddenly became too difficult to ignore.

You see, until this point in the evening, there was never really any acknowledgement by the band that we were closing in on an end of Era, at least not during the show. Instead, they let their music do the talking and chose to send us home with “Realize Your Light,” a song that features some of Dave Loss’ most heartfelt crooning and one of Mike Gantzer’s most emotive and expressive guitar solos.

And we can see where this can go

Around the corner still unknown

And we can see where this will go

In chilling snow, the thrill can still grow

And all the time that slips away

Will come back to you someday

Be anything. Not just anything. Realize your light like a spark in the night
Lyrics from ‘Realize Your Light’

As the pseudo-balled reached its epic conclusion, you could just feel the band digging into it with a different level of purpose. They were making a statement. They were going out on their terms and while still at the top of their game. No one ever called this ‘goodbye,’ but looking around the room, you could feel the emotion and see it in peoples eyes. Aqueous was their band. Real, hardworking, blue-collar nice guys with a propensity for dank, groovy improv music, who at one time seemed poised for major mainstream success.

Why it didn’t happen for them we may never know, but it certainly wasn’t for lack of talent. Maybe the masses just weren’t ready for this type of greatness? After all, the biggest whale in the sea got that way by never getting caught. Leaving behind a treasure trove of spectacular soundboards to tide us over until the 2.0 era door optimistically opens, we can only consider ourselves lucky to have been a small part of this amazing journey with Aqueous, one of New York’s best and most underappreciated bands.

Up next before hiatus officially begins, Aqueous will head to Erie, Pa for a gig at Kings Rook on March 11^th. After a few weeks off, they’ll be in Baltimore on April 7^th and Ardmore, PA on April 8^th. The last scheduled Aqueous appearance is set to take place at the Summer Camp Music Festival in late May 2023.

Aqueous | March 3, 2023 | The Hollow | Albany, NY

Set 1: Dave’s Song¹, Weight of the Word > Triangle¹, Burn It Down² > Kitty Chaser (Explosions)

Set 2: Mosquito Valley pt 1 > Eon Don³⁴ > Josie⁵ > Second Sight, Sweet Home Alabama⁶, They’re Calling For You > Eon Don

Encore: Realize Your Light

1) with ending
2) Shakedown Street tease
3) Enter Sandman full band quote
4) Second Sight tease
5) Steely Dan
6) Lynyrd Skynyrd

LITZ | March 3, 2023 | The Hollow | Albany, NY

Setlist: Sunrise > New God, Fifth Element > Straight to the Moon > Fifth Element > Kali, Eye of the Pyramid, Morning Dew, Japanese Love Affair, Funkin’ Problem

March 8, 2023
The National Debut New Music at Intimate Bearsville Theatre Show in Woodstock

Saturday, March 4th, saw The National playing a surprise and intimate concert at the Bearsville Theater in Woodstock. The show served as a warmup for their upcoming spring and summer tour, supporting their upcoming album First Two Pages Of Frankenstein. The show, presented by Radio Woodstock, had only been announced only a few days earlier.

Photo by Neil Segal

The National treated fans who drove across the country and arrived from Canada and Europe to a 19-song set, including 10 of the upcoming album’s 11 tracks and classic songs such as “Graceless” and “Fake Empire.” The performance was similar to July 2017, when The National performed Sleep Well Beast at Basilica Hudson.

Prior to the Woodstock show, The National appeared on The Tonight Show Starring Jimmy Fallon on Friday to play “Tropic Morning News.”

https://www.youtube.com/watch?v=Ms0QaFbkth8

Catch The National on tour this summer at Madison Square Garden on August 18 with Patti Smith and her band.

The National – Bearsville Theatre, Woodstock – Saturday, March 4, 2023

Setlist: Once Upon a Poolside (Live debut), Eucalyptus, New Order T-Shirt (Live debut), This Isn’t Helping, Tropic Morning News, Alien (Live debut), Grease in Your Hair, Ice Machines, Your Mind Is Not Your Friend (Live debut), Send for Me (Live debut), Don’t Swallow the Cap, Bloodbuzz Ohio, The System Only Dreams in Total Darkness, Light Years, Graceless, Fake Empire, Terrible Love, About Today, Vanderlyle Crybaby Geeks

March 7, 2023
Sway Talks With Rza and the Cast of Wu-Tang: An American Saga at 92Y

The highly anticipated final season of Wu-Tang: An American Saga, the biographical drama series about the legendary hip-hop group, has arrived. The show, which airs on Hulu, chronicles the early days of the Wu-Tang Clan in the gritty streets of Staten Island. As fans eagerly await to see how the story will end, journalist Sway recently sat with Rza and the cast of the show at 92Y in New York City.

The cast of Wu Tang: An American Saga at 92Y

The group and Sway discussed their experiences working on the show, the legacy of the Wu-Tang Clan, and what viewers can expect from the final season. The cast of Wu-Tang: An American Saga is made up of talented actors who bring to life the unique personalities and styles of each member of the group.

Ashton Sanders plays the role of Bobby Diggs, also known as RZA, the founder of the Wu-Tang Clan. Meanwhile, Shameik Moore plays Raekwon, Siddiq Saunderson portrays Dennis ‘D-Love’ Coles, and Dave East takes on the role of Method Man. Other members of the Wu-Tang Clan are played by Joey Bada$$, Marcus Callender, Julian Elijah Martinez, Zolee Griggs, and Erika Alexander. Together, this talented cast brings to life the rise of the Wu-Tang Clan in a gripping and authentic way.

Sway and Rza at 92Y

RZA, who serves as an executive producer and writer for the show, talked about his role in bringing the Wu-Tang story to life. He explained that the show is not just about the group’s music, but also about their struggles and triumphs as young men trying to make a name for themselves. “We wanted to show the human side of the Wu-Tang Clan,” RZA said. “We wanted to show their relationships, their conflicts, their dreams, and their failures

Sway, who is known for his work as a host and reporter on MTV and SiriusXM radio, praised the show for its authenticity and attention to detail. He shared that he was personally involved in ensuring that the show accurately portrayed the hip-hop scene of the early 1990s.

As for what fans can expect from the final season, RZA hinted that there will be some surprises and unexpected twists. “We’re going to take you on a journey that you didn’t even know you wanted to go on,” he said. He also talked about the enduring legacy of the Wu-Tang Clan and how their music continues to resonate with fans around the world.

Overall, the conversation between RZA, the cast, and Sway offered a fascinating look behind the scenes of Wu-Tang: An American Saga and the creative process behind the show. Fans can now tune in to Hulu to see how the story ends and say goodbye to the Wu-Tang Clan one last time.

March 7, 2023
In Focus: 2023 SAMMY Awards Ceremony

The 2023 Sammy Awards took place on March 3 at The Palace Theater in Syracuse. This year’s ceremony had an outstanding turn out as all came together to celebrate and applaud the accomplishments of all artists and genres of music across Central New York.

Liz Nowak – Founder of the Year Perri Sage Photography

This year’s SAMMY Awards were hosted by Dave Frisnia, notable for his career in broadcasting. Frisnia hosts his online radio show “Soulshine” every Sunday morning, and claimed to be one of the longest-running local music broadcast shows in the state of New York. A notable highlight of this year’s show included bringing out members on stage of the all time ‘Hall of Fame’ from the past 30 years.

These Hall of Famers came together to applaud their gratitude to Liz Nowak nominated as Founder of the Year. On stage she states, “I’ve worked and learned from everyone on this stage tonight. We wouldn’t be here if it wasn’t for the music that you create. It’s your courage that puts those lyrics to page.” Her dedication to the SAMMYs is well recognized among the Syracuse music community and the annual awards show wouldn’t be where it stands today, without her.

Dylan Michael – Best New Artist Perri Sage Photography

This year, not only was the SAMMYs a place of recognition with awards but also a place to acknowledge the joy of music. Between nominations various bands and musicians came to play and show their talent who deserve recognition. Such as Not Robots!, opening with one of their hit songs ‘Go Peacefully’. Other bands performing included Carolyn Kelly Blues Band, Chuck Schiele’s Quatro, Trauma Cat and the Brownskin Band, and a special performance by Dylan Michael, nominated as Best New Artist. At only tthe age of 13, Dylan proved his young talent on the electric guitar, having started playing at the age of 6 years old. As Best New Artist, Dylan won 6 hours from local recording studio SubCat Studios.

Chuck Schiele’s Quatro Perri Sage Photography

To conclude the 2023 SAMMY Awards, a major milestone was marked, celebrating 30 years of appreciating and awarding local talent and musicians from Central New York. Breaking all records with 242,190 total votes this year, NYS Music had the honor in presenting the Jazz Award to promote and honor blues, swing and passion expressed with creative freedom, and honoring diversity, collaboration and the community that music holds to bring us together.

Slick Fashionz & Queeto ABF – Best Hip Hop Perri Sage Photography

2023 SAMMY Award Recipients

Best Single – All Poets & Heroes, “Give it to me Straight”

Best Singer/Songwriter – Paul Case, “This Love”

Best Electronic – Everett, “Alien’s Attempt”

Best Other – Tom Rasely, “Nylon”

Best R&B – Shawn Seals & SMX, “Session Files #1”

Best Pop – Cloey Tierno, “i fell in love with the rain”

Best Country – Steven Cali, “Own Kinda Fix”

Best Jazz – London McDaniel, “The Christmas Album”

Best Jam Band – Adam Brooks, “Ain’t All About You (double album)”

Best Hard Rock – Stone Thrower, “This is Permanent”

Best Americana – John Cadley, “I Never Knew”

Best Hip-Hop/Rap – Slick Fashionz & Queeto ABF Ft. All Bout Family, “The world is Yours”

Best Alternative – Bell & Sgroi, “Candy Apple”

Best Rock – Glass Image, “Mixed Emotions”

Best New Artist – Dylan Michael

Community Spirit Award – Jane Stebbins-Skowron

Jack O Bocchino Award – Neil Daley

Founders Award – Liz Nowak

SAMMY’S Hall of Fame Inductees: Kevin Dorsey (Music Educator), Carolyn Kelly, Doug Thaler, Larry Hoyt and Irving Kauffman (Lifetime Achievement)

Peoples Choice:

Artist – Cam Caruso

Events – Oswego Harborfest

Organizations – Oswego HighSchool Marching Buccaneers

Venues – Gibby’s Irish Pub

March 7, 2023
Sarah King & Sydney Worthley Kick off Women’s History Month at The Linda

On Friday, March 4th at The Linda in Downtown Albany, Sarah King and Sydney Worthley kicked off the venue’s month-long event celebrating Women’s History month with their Women’s Voices Concert Series. Despite the impending snowstorm, nearly every seat was filled, yet it was still an intimate and delightful show.

Sydney Worthley

Local phenom Sydney Worthley kicked things off. This young lady (only 17!) can write the types of songs that most people double her age would struggle to write, let alone understand, and her voice sounds like she has been training for decades, except that’s impossible. She played with guitarist TJ Foster and the pair’s chemistry on stage was delightful.

If you haven’t gotten a chance to see or hear Sydney, she just released her first full-length music video called “Heart Shaped Mess.” Or you can catch her playing with Lucid Street at Putnam Place on March 10th.

Sarah King

As someone who has been covering shows for quite some time, it is a struggle to find the words to describe just how delicious it was to watch Sarah King perform. First of all, her voice is incredibly unique — she started off training in opera and it shows despite the fact that she doesn’t sing in that style at all anymore. Her range is unlike anything I have heard before. She can go from a Janice Joplin-type growl to a stunning high note within a millisecond and she makes it look easy.

Like Sydney, Sarah is a songwriter and a storyteller and her lyrics are so powerful it felt like she was speaking for every woman when she was up on that stage. If you missed last night’s performance, it won’t be your last time to hear from Sarah. She has released four new tracks recently and is recording an album in May that is due out this summer. Friday’s show was her kick-off to a month-long series of shows celebrating Women’s History Month.

Setlist: Wedding Rings, Not Worth the Whiskey, Oh Mama, Nightstand, Cold Hard Ground, Crazy People, Always an Almost, You Were Wrong, War Pigs (Black Sabbath), Blame it on the Booze.

Check out the full gallery from the evening with Sarah King and Sydney Worthley below.

March 5, 2023
In Focus: Joe Bonamassa at Shea’s in Buffalo

On February 28, Joe Bonamassa performed at the historic Shea’s Performing Arts Center in Buffalo. Two fans shared their thoughts from the show, accompanied by photos by Zachary Todtenhagen.

Since opening for B.B. King at age 12, Joe Bonamassa has continued to grow and display his unparalleled guitar skills. Out of the 16 shows I’ve seen, Joe always has a unique theme, 70’s funk, big band, old time blues, etc. the show on Tuesday, February 28, was reminiscent of good old rock and role. Joe played a bunch of new songs with some of his older hits mixed in.

The crowd was whooping and hollering when “Dust Bowl” was played and everyone was on their feet for the encore, “Sloe Gin”. It seems like Joe’s ability to play the guitar somehow evolves and improves at every show he plays, keeping the audience surprised, entertained, and always coming back for more. – Kailey Gyorffy.

My uncle first introduced my mother and I to Joe Bonamassa about a year before this show. He played a show at The Tralf that I unfortunately missed. When I heard he was coming back to Buffalo and to Shea’s I knew it was a show I couldn’t miss. My mom took me to the show for my birthday with my brother. The music was comforting. It brought me back to the time I was young and covered me with a warm blanket. A time when I was picking my parents brains for that quality old school rock and roll, blues, you name it. If I had to compare this to anything it would be that. A feeling of what it was like to be alive through the 70’s.

He busted out beautiful guitar after beautiful guitar and had some really great banter in between. His stage presence was one of experience and confidence. Joe used that presence to bring you in closer rather than intimidate, with fun body movements, gestures, and words. It was definitely one of those shows that you wish never stopped, but end up saying ‘WOW That went fast.” – Doug Recore

March 5, 2023