The Winery Dogs (TWD) took the stage at the Agora Theater in Cleveland on Thursday, March 2nd. They delivered a spellbinding performance that had the crowd on their feet from the first notes of “Gaslight”. The band consists of Richie Kotzen on guitar and vocals, Billy Sheehan on bass and backing vocals, and Mike Portnoy on drums and backing vocals. Known for their incredible musicianship and infectious energy, TWD did not disappoint. This show was their closest to Western New York this tour cycle and a great deal of fans took I-90 West from Buffalo to Cleveland.
Billy Sheenhan and Richie Kotzen
Kotzen’s guitar playing was nothing short of breathtaking. His fingers flying over the fretboard as he effortlessly transitioned between intricate riffs and soaring solos. Meanwhile, Sheehan’s bass work was nothing short of incredible, with his signature style of playing providing a funky backbone to the band’s sound. And Portnoy’s drumming was as rock-solid as ever, with his beats and fills driving the band’s performance forward. You can say he is the G.O.A.T. (greatest of all time).
Mike Portnoy
The band’s setlist was a masterclass in rock and roll, featuring songs from their entire catalog. Classics like “Captain Love” and “Hot Streak” had the crowd singing along at the top of their lungs, while newer tracks like “Mad World” and “Stars” showcased the band’s versatility and range. The inclusion of a bass solo and “The Red Wine” allowed Sheehan to shine, showcasing his incredible technical skills and unique style.
But it wasn’t just the music that made the night so special. The Winery Dogs’ stage presence was magnetic, with each member exuding a sense of joy and passion for the music they were playing. The chemistry between the band members was palpable, with each musician feeding off of the others’ energy and elevating the performance to new heights.
As a music photographer, I was thrilled to be in the audience capturing the magic of the night. From Kotzen’s intense facial expressions to Sheehan’s lightning-fast fingers, there was never a dull moment on stage. And Portnoy’s playful interaction with the crowd and his bandmates made for some truly memorable moments.
The encore of “Regret” and “Elevate” was a fitting end to an incredible night, with the band leaving everything on stage and the crowd cheering for more. The Winery Dogs proved once again that they are one of the most exciting and talented bands on the rock and roll scene today.
The Winery Dogs’ concert at the Agora Theater in Cleveland was a breathtaking display of musicianship, energy, and passion. The band’s technical skills, infectious energy, and undeniable chemistry made for a truly unforgettable night of rock and roll. It’s no wonder that they continue to amass a loyal following of fans and are regarded as one of the best live acts in the business. The Winery Dogs are currently touring in support of their new album III.
Setlist: Gaslight, Xanadu, Captain Love, Hot Streak, Desire, Breakthrough, Time Machine, Stars, Damaged, Mad World, The Other Side, Bass Solo, The Red Wine, I’m No Angel, Oblivion
Regina Spektor made her long awaited return to Ithaca on Wednesday, March 1, playing to a sold-out crowd at the State Theater. The much-anticipated performance was Spektor’s first in Ithaca since 2016 and was the first stop on her spring solo tour. The show, originally scheduled for October 2022, had been postponed after Spektor contracted Covid-19.
As the clock approached 8:30, excitement in the theater became palpable, with the sold-out crowd eagerly awaiting Spektor’s arrival. Moments later, the house lights dimmed, and Spektor strutted to the front of the stage. She greeted the crowd with an excited wave and a curtsy before launching into the a-cappella track “Ain’t No Cover.” Spektor immediately had a captive hold of her audience.
Following the opening number, Spektor took her familiar seat in front of her piano and continued her diverse musical journey. A classically trained pianist at heart, Spektor has been performing on the piano since the age of six. Tracks like “Folding Chair” and “Better” took new life while being stripped to their piano-laden foundation. She delighted the audience with the quirky “Reginasaurus” (while her guitar was being tuned for “That Time,”), sang in three languages on “Apres Moi”, and showed off her storytelling abilities with the cryptic and political “Ballad of a Politician”. Despite the emotional nature of her music, Spektor kept the mood light between songs, telling comical stories of failed rehearsal attempts prior to the evening’s show.
With the evening winding to a close, Spektor delighted the crowd with “Fidelity,” a standout track from her 2006 album Begin To Hope. The audience joined in, singing along on the catchy chorus. Following the song, Spektor left the stage briefly, to a standing ovation. She returned moments later, and obliged the audience with a previous request; by performing the emotional ballad “Samson”. The audience, in complete silence, hung on her every word until the end.
It is a rare feat in this day and age to see an audience so fully immersed in a live performance, but Regina Spektor clearly held a captive spell over the theater. A glance around the room was not met with the glow of cellphones, but rather audience members hanging on Spektor’s every note. It is a true testament to her talents as a songwriter and performer.
Rochester artist Tony Gallicchio just dropped his new single, “My Baby,” featuring vocals by Canada native Yanick Allwood. The track additionally features John Viviani on guitars, funk master Sean McLay on the bass, and Jimmy Grillo on drums and percussion.
“My Baby” was recorded at The Green Room in Rochester, where Matt Ramerman helped to engineer, mix, and master the song.
The soul-funk track is fun, upbeat, and energizing. It’s the perfect song to lift up your spirit after a long day of work, school, or if you’re simply coming out of a dark place and in need of inspiration. “My Baby” can be anyone in your life that inspires you and takes out of that dark place you’ve been in, whether it be a romantic partner or best friend.
Rochester artist Gallicchio has been the keyboardist for the band Giant Panda Guerilla Dub Squad for the last 10 years, providing the keyboards for his most recent track. According to Gallicchio, Allwood “exceeded all expectations we had for this song.” Guitarist Vivani has played for bands like Filthy Funk and The Able Bodies. McLay provided the bass, giving the song a smooth feel and natural flow, and Jimmy Grillo was “so good, so solid and so graceful” on drums and precussion, according to Gallicchio.
Far above Cayuga’s Waters stands Barton Hall, a fieldhouse on Cornell University‘s campus where the Grateful Dead performed one of their most revered concerts, one reared against the arch of heaven. Dead & Company has been keeping the Dead’s flame alive with several tours since its 2015 debut, though sadly retiring following their upcoming Summer 2023 tour.
Quite a buzz was created by a simple graphic posted on Dead & Company’s Facebook, Instagram, and Twitter feeds on Feb. 28 where Deadheads quickly caught on to its nod to the May 8, 1977 Barton Hall show and what it alludes to.
The graphic, emblazed with Cornell’s signature red and white colors with the Dead’s lightning bolt set inside the university emblem’s border with “C23” styled in Cornell’s traditional block text. If that wasn’t a strong enough hint at something special in 2023, the text in the post reads “5.8.23 ,” the anniversary of the May ’77 Barton Hall show.
On Friday, March 3, Dead and Company confirmed they would be playing Barton Hall, responding by saying, “There’s a lot of excitement brewing about what’s to come at Cornell University. Yes–it’s true–Dead & Company will be playing a benefit concert at Cornell University.”
All proceeds raised from ticket sales will benefit MusiCares, a nonprofit organization that provides the music community with a network of critical health and welfare services. In addition, the show will support The 2030 Project, Cornell University’s climate change initiative.
Cornell University’s Barton Hall. Photo by Steve Malinski 2016
On the 40th anniversary of the May 8, 1977 show in 2017 the Cornell Chimes played a special tribute to the occasion with a concert comprised of arrangements of Grateful Dead songs, which can be seen below and read about in our article about that special event.
Having never set foot on American soil until a couple of days prior in New York City, the power metal quintet Powerwolf, founded in 2003 in Saarbrücken, Germany – affectionately known as The Wolves to their diehard legion of fans – descended upon The Palladium in Worcester, Massachusetts this past Saturday night, February 25.
Touring in support of their eighth studio album, Call of the Wild (Napalm Records, 2021), Powerwolf are vocalist Karsten Brill as “Attila Dorn,” lead guitarist Benjamin Buss as “Matthew Greywolf,” studio bassist and rhythm guitarist David Vogt as “Charles Greywolf,” keyboardist Christian Jost as “Falk Maria Schlegel” and drummer Roel van Helden.
Attila Dorn | Photo by Michael Dinger
Promptly at 7:00 pm, and much to the delight of nearly 100 fans who had been huddling together in below freezing temperatures (some as early as the morning hours), doors to the historic concert hall constructed in 1928 and known for hosting a bevy of legendary heavy metal acts over the years (Rammstein, Soundgarden, Korn, Rob Zombie and Slayer, to name but a few), finally opened. Approximately 30 minutes before the night’s opening act would take the stage, and with the nearly 2,200 seat venue filling up fast, fans continued to pack the warm confines of the lobby, while also checking out the ‘merch’ tables or grabbing a drink from the array of bars strategically placed throughout.
The Worcester Palladium | Photo by Michael Dinger
Running a little behind schedule, the house lights suddenly went dark as Napalm Records label mates Seven Kingdoms took the stage at 7:45 pm. Formed in 2007 and hailing from DeLand, Florida, they are a thrash metal band comprised of frontwoman Sabrina Valentine, her husband and guitarist Camden Cruz, along with brothers Keith and Kevin Byrd, on drums and guitar, respectively.
The Floridians performed a blistering 45-minute set that kicked off with “Universal Terrestrial,” taken from their most recent of five studio albums (Zenith, 2022). Led by Valentine’s broad vocal range that injects a raw emotion into all her lyrics, Seven Kingdoms nearly performed the entirety of Zenith, albeit two original songs (“Empty Eyes” and Life Signs”). Highlights of their set included “Love Dagger,” a tune reminiscent of the 1980s hair metal scene and “A Silent Remedy,” complete with explosive, crisp guitar riffing.
Sabrina Valentine | Photo by Michael Dinger
An unexpected inclusion in their 10-song set was a cover of Don Henley’s “The Boys of Summer.” However, with each member adding their own power metal flavor for good measure, the almost 40-year old tune written by the Eagles vocalist and drummer fit right in nicely. The penultimate song of the night was the aggressive “Diamond Handed,” before “In the Walls” (Decennium, 2017), a song inspired by an H.P. Lovecraft short story, left the crowd ‘powermetalized’ and wanting more!
After a very quick turnover of the elaborate stage design by Powerwolf’s road crew, filled with dark werewolf fantasy art throughout, the moment we had all been waiting for had arrived! At 8:45 pm, the lights went down once again and one by one, beginning with the Dutch drummer van Helden, each band member took the stage and acknowledged their fans for a lasting moment before assuming their respective stage positions. Wearing meticulously-applied silver and black corpse face paint and donning industrial goth outfits, the ceremony commenced with “Faster Than the Flame,” the first of four offerings from the aforementioned Call of the Wild album – Powerwolf would go on to play “Dancing With the Dead,” “Beast of Gévaudan” and “Blood for Blood (Faoladh)” later in the night. As the song concluded, the fans erupted in applause, a whirling mosh pit suddenly formed in the center of the General Admission floor and repeated chants of “Powerwolf” began in unison, the first of many that fans would bestow upon its metal heroes.
Matthew Greywolf | Photo by Michael DingerRoel van Helden | Photo by Michael DingerCharles Greywolf | Photo by Michael DingerFalk Maria Schlegel | Photo by Michael Dinger
Attila then addressed the congregation before him for the first of many times. “Good evening Worcester, it’s wonderful to be here! Welcome to the one and only holy heavy metal mass in the world!” “Incense & Iron” was up next, a track from Powerwolf’s seventh studio album (The Sacrament of Sin) released in 2018, which showcased Matthew Greywolf’s powerfully precise guitar craftmanship. Before launching into “Army of the Night” (Blessed & Possessed, 2015), Attila again acknowledged the faithful patrons of their music. “Thank you very much, you are very awesome my friends. Tonight is a very special night for us because we are playing here for the first time. It is a really amazing atmosphere here.”
Although Powerwolf would not present any songs from their debut album (2005’s Return in Bloodred) or their second album (2007’s Lupus Dei), there was plenty of other righteous material to keep their pilgrims satisfied, including “Amen & Attack” (Preachers of the Night, 2013) and “Armata Strigoi,” another gift from their sixth studio album Blessed & Possessed. In advance of the later piece, Attila humorously coached the audience to croon the anthemic (and rather complicated I might add) four-part chorus until we got it right, which we all did.
Attila Dorn | Photo by Michael Dinger
The subsequent quartet of songs were all selected from The Sacrament of Sin and included “Stossgebet,” “Demons Are a Girl’s Best Friend,” “Fire and Forgive” and Powerwolf’s first ever power ballad, “Where the Wild Wolves Have Gone.” While the fantastic audience continued to perform just as well as their Deutschland brethren, belting out lyrics in all the right places, our minds were officially blown when Powerwolf bestowed upon us the lead single to their ninth studio album (Interludium), set for release this Good Friday, April 7.
As the epic 18-song set entered the final stages, an encore was preceded by a glorious grouping of career-spanning tracks, including fan favorite and the third gift imparted from Blessed & Possessed, “Let There Be Night.” After Powerwolf exited the stage to quickly recharge their batteries, I was surprised to notice a throng of fans (albeit small) in the upper balcony heading for the exits – big mistake! Why you ask? Because an unforgettable, three song encore for the ages followed next, including back-to-back tracks from Powerwolf’s fourth studio album (Blood of the Saints), “Sanctified With Dynamite” and “We Drink Your Blood.” Sandwiched between these songs, Attila shared “This night showed me one thing my friends. All of you here are possessed with heavy metal! And I think I speak for everyone here in this venue, heavy metal, this music, gives us a lot of power and energy! And you my friends give us this energy back, and I appreciate that. In Germany, we say ‘vielen danke schön.’”
The Worcester Palladium | Photo by Michael Dinger
After splitting the crowd up the middle for a cheering match between each side of the stage (Matthew Greywolf versus Charles Greywolf), Attila promised us that they’d return and thanked their “best crew in the world.” As the night neared 10:30 pm, the religious experience was capped by 2009’s “Werewolves of Armenia” in grand fashion.
If you are able to join the pack, Powerwolf’s “North American Crusade” tour will resume in Dallas on March 20, followed by shows in Denver (March 22), San Francisco (March 24) and Los Angeles (March 25). On April 6, an exclusive “Interludium Release Show” will be performed at Palladium in Cologne, Germany. And to all the wolves out there, Metal is Religion!
Seven Kingdoms Setlist: Universal Terrestrial > Chasing the Mirage > The Water Dance > Valonqar > Love Dagger > Magic in the Mist > A Silent Remedy > The Boys of Summer (Don Henley cover) > Diamond Handed > In the Walls
Powerwolf Setlist: Faster Than the Flame > Incense & Iron > Army of the Night > Amen & Attack > Dancing With the Dead > Armata Strigoi > Beast of Gévaudan > Stossgebet > Demons Are a Girl’s Best Friend > Fire and Forgive > Where the Wild Wolves Have Gone > Sainted by the Storm > Resurrection by Erection > Blood for Blood (Faoladh) > Let There Be Night Encore: Sanctified With Dynamite > We Drink Your Blood > Werewolves of Armenia
After Buffalo’s blizzard postponed a bunch of events, popular EDM artist Kaivon made his way to western NY for a rescheduled show. On Friday, February 24, Kaivon performed a sold out show at Buffalo Ironworks.
Photo Credit: Maddie McCafferty
Supporting acts Daniel Win, Daggz, and Psognar opened up the night. The group varied their sound from melodic chill beats to dubstep tracks.
Photo Credit: Maddie McCafferty
Kaivon’s Awakening tour is dedicated to his 2022 album that sets as a reminder for listeners to stay true to their own selves and purpose. His debut album examines spirituality and self-examination in order to find fulfillment. The idea that one is not their thoughts but in fact the observer of those thoughts is how the album pushes the level of importance on presence.
Photo Credit: Maddie McCafferty
Kaivon’s Album Brought to the Stage
Kaivon’s personal storytelling in his music is brought to life in his performance. He creates a journey for his audience through introspective dialogue, eye-catching visuals, and dream-like beats.
Kaivon is the perfect candidate for individuals first getting into EDM because he doesn’t stick to one style. He introduces euphoric songs of his like “It’s Not Too Late” and “I Need You.” Also, the producer plays popular tracks that he has remixed such as The Fray’s, “How To Save A Life,” and Glass Animals, “Heat Waves.”
Photo Credit: Maddie McCafferty
The artist’s show is nothing short of nostalgia by playing remixes from Paramore, Kid Cudi, Kendrick Lamar, and more. His show is a perfect balance of lyrical euphony mixed in with classic hits that everyone loves. He even mixes in heavier bass like Zeds Dead for those EDM fans that love to head bang.
The venue was packed tight with fans against the rail and even after the show where Kaivon hung around to talk with everyone. He’s definitely an artist you want to keep an eye out for!
Photo Credit: Maddie McCafferty
If you missed this past weekend at Buffalo Ironworks, don’t worry there’s plenty more shows coming up! Chest Fever performs on March 7 and Shlump Alien Trip Tour makes a stop on March 11. Get your tickets here.
On the journey of their “Fresh Squeezed Happiness Tour,” The 502s and Oliver Hazard made a stop at Manhattan’s Bowery Ballroom for a double-header. Wednesday February 22nd was night one’s send off, and it was sweet and citrusy. With a sold out crowd and a New York City induced adrenaline, the two folk bands performed a summer-esque show to remember and cherish amidst the frigid February winds.
Photograph by Emma Dowd
The trio Oliver Hazard opened the show for the 502s. They introduced themselves with a warning and a premeditated apology when they said their songs are rather sad, and they’re ironically opening for “the happiest tour on Earth.” One of the three vocalists, Mike Belazis, explained that none of the band members are named Oliver Hazard. The name has historical ties to their hometown Waterville, Ohio.
Photograph by Emma Dowd
As their short but endearing set progressed, they played songs allotting for an immersive sing-along experience with the audience. They redeemed themselves and their melancholic reputation when they performed their joyful hit “Dandelion.” The crowd sang back to Belazis and the other two Hazards, Devin East and Griffin McCulloch, with lyrical ease. New York City was even lucky enough to hear their new single “Ballerina.” Their performance was the perfect warm up for the 502s convivial stage presence.
The audience attending the “Fresh Squeezed Happiness Tour” matched the tour name’s feel. Strangers turned into friends as fans underneath the notorious Bowery disco ball. Bodies filled the stairs leading up to the balcony and huddled around the bar. The 502s produce a very kind and inviting sound to develop a fondness to, and their fans emulate the same energy.
Photograph by Emma Dowd
It wasn’t long before the 502s set rolled into the night. The stage was a display for a multitude of instruments that fortify the sound of experimental folk. The instruments that paint the scene for road trips with pals, breezy beach days, or long summer days that turn into long summer nights. The six-man band made their way onto the stage with the widest smiles spread across their faces. Lead vocalist, Ed Isola, came strapped with a banjo slung around his shoulders. Joe Capati, the saxophone and trumpet playing vocalist, followed with his sax. Sean Froehilch, the percussionist and drummer, made his way to his throne behind his customized 502s drum set. Their keys player, Matt Tonner, who doubles as an electric guitar player got comfortable behind the keyboard. Lastly the two guitar playing harmony vocalists, Jake Isola and Nick Malashenko, followed suit.
As soon as the first strum of the banjo rang through the rows of fans, the stage erupted into a flow of movement. The bandmates jumped around, did high-knees, skipped in circles, and danced all while impressively maintaining the breath to sing their fast paced songs. The audience reciprocated their energy, jumping in a playful folk-version of a mosh pit, locking arms to do a makeshift linedance, and extending their hands in way of a physical sort of praise. To witness such a physical surrender to sound was a beautiful thing. A few songs in, the 502s spoke to this innocent chaos when they commended New York City for being “easily the best crowd.”
Photograph by Emma Dowd
After a few songs, Ed Isola reminisced on past shows in New York. Their first ever show in the city hosted a whopping twelve people. “Now we have two sold out nights at Bowery Ballroom,” Isola said with heavy gratitude in his affirmation to the crowd. They continued their sprightly show in a fluid harmony of a wide collection of instruments: a banjo, acoustic guitars, an electric guitar, a bass guitar, the tambourine, the saxophone, a trumpet, the keys, the drums, a harmonica, and even a kazoo. The intentional layering of particular sounds was admirably tasteful. Within the working collaboration of the songs, it felt as if two instruments would be duetting within the skeletal structure of the song. This allowed for intimate conversations between specific instruments. The mechanics of their sound were unmatched.
Photograph by Emma Dowd
As the show progressed towards its end, the band decided to spice things up. Everyone but Joe Capati, the horn player, vacated the stage. The lights dimmed as he took the center-spot, and began to play his saxophone. Unfamiliar freestyles wowed the crowd as he blew away expectations. Familiar covers of Marley’s “Don’t Worry Be Happy,” and George Michael’s “Careless Whisper” were easily fan-favorites.The band joined Capati’s introduction to their own tune and resumed their show. The audience continued their reciprocation to the band as they seemed to exist as a sole entity, pulsing in unison.
Photograph by Emma Dowd
What the band thought was going to be the 502s’s encore, turned into an electric drum solo from Froehilch. He whipped his drumsticks at rapid speed, which only fed into the addictive energy feeding the show. His band members joined him once again to finish a song before actually leaving for an encore.
When the six-man band returned to the stage, their audience of friends roared with excitement from the tangible passion of their performance all night and for what was to come. The 502s immediately kicked back into gear, bouncing and ricocheting off of each other’s physical bodies and each other’s instrumental sound. Their two song encore turned into a mic-sharing party where each of the members took turns coming to the front microphone to do their own personal riff with their own instruments. A wide spectrum of voices were presented, which elicited an aggressively pleased applause.
Photograph by Emma Dowd
All six members finally concluded their show by gathering at centerstage and clasping their hands into a bow. Sweat-soaked from dancing, playing, and belting songs, the group looked like they could’ve kept going all night long. They said their goodbyes, and the ballroom bid farewell in a sweet ovation. The 502s left the room, the city, happier than they found it.
Equal parts British and American, The Backfires returned from a show across the pond to play at Brooklyn’s very own Baby’s All Right on Februrary 22. With support from indie rock band Secondhand Sound, The Backfires fully entranced the fans at the sold-out show.
Frontman Alex Gomez (Photographed by Chinaza Ajuonuma)
Rock group The Backfires hails from both sides of the Atlantic. When Alex Gomez, the frontman, went to London to study abroad in 2018, he met Harry Ruprecht (lead guitarist) and Max Wanduragala (drums). Right before the production of their debut EP “Consider the Backfires” in 2019, bassist Matt Walter joined the group. The band completed recording the EP in London in January 2020. In 2021, the band released the EP and later that year, remotely recorded and published “Song 55.” The British members of the Backfires have secured their visas for 2023, ready for many more live shows in the upcoming year.
Secondhand Sound (Photographed by Chinaza Ajuonuma)
Nashville-based alt-rock quartet Secondhand Sound was originally formed in Urbana, Maryland after Sawyer John Estok (lead vocalist/guitarist) and Collin Plank (drummer) began writing songs in their parent’s basements. Eventually, Estok and Plank headed to Nashville, making friends with Teagan Proctor (bassist) and Cam Schmidt (guitarist/keyboard player). Through anthemic hooks, fuzzy garage-rock riffs, and irresistible youthful energy, Secondhand Sound craft songs that have granted them vast success, with more to come as the band self-proclaims that they “Will Be The Biggest Band In The World”.
Bassist Matt Walter (Photographed by Chinaza Ajuonuma)
During the show, Estok’s voice carried a windful southern howl that carries a weight of melancholy with a feisty rock n’ roll punch throughout the performance, while the band danced around and moshed in the pit. After playing stand-out songs “Dominoes” and “Pocket Change”, Estok left the stage to join the crowd in moshing. The remainder of the show kept the vibe energetic and fun. As their set closed out, the impression of their performance introduced an array of new followers to their rich Nashville sound.
Secondhand Sound Setlist: Heavy Metal Parking Lot Kind Of Cool, Darby, Stone’s Throw, Rorschach, Dominoes, Colm’s, Veritas, Pocket Change
Guitarist Harry Ruprecht (Photographed by Chinaza Ajuonuma)
When The Backfires finally started playing, the crowd immediately went wild as Gomez launched straight into singing “Matador”. Throughout the show, their enthusiasm and stage presence shone through as they played such hits as “Song 55” and “City Queen”. Before the end of the show, after much anticipation, The Backfires played their new single “Joyride” live for the first time. The atmosphere in the room was absolutely unmatched as they rocked the house down. As their first show back in the US in 2023, The Backfires showed that they’re up to incredibly exciting things and new sounds.
The Backfires Setlist: Matador, Preoccupied, Never Seen You Before, Figure It Out, Anything, R U Mine, City Queen, Turn off The Lights, Reflection On My TV, I am the Walrus, Brighter Lights, Song 55, Joyride, Blindsided
Bassist Teagan Proctor (Photographed by Chinaza Ajuonuma)
In terms of upcoming shows, Secondhand Sound doesn’t have any performances set up but be sure to check their Instagram for any updates. The Backfires also don’t currently have any upcoming tours, but any announcements can be monitored on their website or their social media accounts.
Photographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza AjuonumaPhotographed by Chinaza Ajuonuma
For the first time since 2018, moe. returned to the Palace Theatre stage in Albany for a pair of shows with new band member Nate Wilson on keys. The shows were marked by a proclamation earlier that day from Albany Mayor Kathy Sheehan to rename part of North Pearl Street as moe.street.
photo by Jarron Childsphoto by Jarron Childsphoto by Jarron Childs
While moe. did play a live-streamed show from the Palace Theatre lobby in 2020, the return to the stage was marked by welcoming back Chuck Garvey for his sixth and seventh shows back with moe., following recovery from a stroke. This was also the first time moe. fans in Albany would be seeing a sextet, as Nate Wilson has officially joined the band on keys, finding a natural fit next to guitarist Al Schnier, as the tones of these two would add layers to classic and fresh moe. tunes alike.
Friday night was marked by a proclamation amending moe.day (February 24) to be moe.weekend, read from the stage by City of Albany Treasurer, Darius Shanifar (filling in for Mayor Sheehan). With that, Shanifar introduced six guys named moe., as the band made their way onto the stage and began the run with an extended “Billy Goat,” which segued into “Bearsong” after much hinting from percussionist Jim Loughlin via his vibraphone. The underrated “Crushing” surged forth next and made way for “Blue Jeans Pizza,” a great song made even greater with the inclusion of Wilson on keys. Following “ATL” and “Don’t Wanna Be”, Suke Cerulo, who filled in on guitar during Garvey’s absense, joined for “McBain”, a song Cerulo has become quite familiar with, leading to a psychedelic jam among the seven musicians on stage.
Set 2 opened with the rarely played Tin Cans and Car Tires tune “Again and Again,” only having been played twice previously in the last decade. Another bust out followed in “Faker”, not played since 12/30/2018. “The Road” held its own with Wilson adding additional layers, while “Water” marked the first time it was played since Chuck returned last month in Huntington. To close out the set, back to back 16-minute versions of “Downward Facing Dog” and “The Pit” were the icing on the cake, with “The Pit” accented by Wilson’s use of flute and the band coming out strong as ever for a fan favorite show stopper.
An encore of “Letter Home” and “Captain America” bid the crowd a good night, as the kids kept dancing long after the show. Options afterward were plentiful, with fans opting for Cerulo at Empire Underground, Hilltop at Parish Public House, or for the adventurous, a Shrek Rave at Empire Live.
Saturday proved to be just as hot inside despite wintery weather outside. Karina Rykman wowed the audience as the opener, showing off her power-trio’s sound and rock-star vibe that is as infectious as her inspired playing. Rykman would come up later in the evening for the guest-friendly “Meat” that saw her trade bass licks with Rob Derhak over the course of an 11 minute jam session.
moe. would open their set with a slow-building “Lazarus,” followed by “Seat of My Pants.” Nate Wilson continued to make his presence known in the extended “Sensory Deprevation Bank” followed by the newer “Jazz Cigarette.” Conehead Buddha’s Shannon Lynch joined the band for “Happy Hour Hero,” taking centerstage for a solo, reuniting musicians who have been playing together in the Albany scene for more than 30 years.
A four song, hour-long second set was as tight on paper as the band is in person – from the first notes of “Waiting for the Punchline,” through the always enjoyable “Kyle’s Song,” the dark grooves of “Puebla” and ol’ reliable “Rebubula.” To wrap things up, “Plane Crash” took the encore slot, before fans rolled out onto moe.street following two memorable and sentimental moe shows at the Palace Theatre.
moe. – Palace Theatre, Albany – Friday February 24
Set 1: Billy Goat -> Bearsong, Crushing, Blue Jeans Pizza, ATL, Don’t Wanna Be -> McBain* Set 2: Again and Again^, Faker -> The Road, Water#, Downward Facing Dog -> The Pit Encore: Letter Home, Captain America * with Suke Cerulo of Schleigho on guitar ^ LTP 12/30/2018 # Not played since before Chuck’s break
moe. – Palace Theatre, Albany – Saturday, February 25
Set 1: Lazarus, Seat Of My Pants > Sensory Deprivation Bank, Jazz Cigarette, Happy Hour Hero*, Meat^ Set 2: Waiting for the Punchline, Kyle’s Song -> Puebla -> Rebubula Encore: Plane Crash * with Shannon Lynch of Conehead Buddha on saxophone ^ with Karina Rykman joining on bass. Karina and Rob traded licks during the jam.
Sawyer Fredericks has released his brand new EP The Golden Tree, featuring tracks “Lonely Bear” and “The Golden Tree,” recorded at Dreamland Studios in Woodstock in the summer of 2022.
Sawyer Fredericks became the youngest male winner of the Voice in 2015 at the age of 16, and ever since then has cemented himself in the folk scene, his latest release being his record Flowers For You in 2020. Fredericks has lived in Fultonville on an 88-acre farm since he was eight, learning how to sing at age 11 and performing at clubs such as The Bitter End for the experience. Discussing the EP, he says “I couldn’t be happier with how this EP came out. I feel the recordings really captured the sort of melancholy beauty that I wanted. I’m very excited to get to perform the songs live on this upcoming tour.”
The album includes four new tracks featuring his band, Gannon Ferrell on bass, Jerome Goosman on dobro, and Chris Thomas on drums, as well as Sav Buist and Katie Larson of The Accidentals on strings and backing vocals.
The first song “The Golden Tree” starts out slow and sweet, with Fredericks’s signature folk vocals shining through, with background vocals that make listening feel easygoing and calm. The song has deep emotional resonance, and Fredericks talks about growing up in poetic terms, singing “But with the light shined on me, a shadow is what I’ll be/To those below that watched me grow from seed to golden leaves.” He also goes on to sing about toxic masculinity and the dangers of growing up, and how you become noticed once you are older.
The second song “Lonely Bear” is just as slow as the song that comes before it. Speaking on the song, he says “I wanted ‘Lonely Bear’ to progress like a kid’s book, but the character and story itself is inspired by my dad, as well as my own personal struggles. I feel this song captured the sort of misguided hero I wanted, he is always helping others, but never letting others help him.” He makes me feel fuzzy and warm inside, as well as comforted when he sings “They’ll be times I’m lost and scared/And I’ll reach out to lonely Bear/And he’ll come running bruised and battered/He’ll make me feel I’m all that matters.” Everyone needs to have a “lonely bear” in their life to feel safe and sound, and it makes me think about my parents and how they protect me. The slow guitar solos near the end of the song wrap it up well and make the listener be able to sway to the music.
The third single “Farm Song” is a nostalgic folk tune about his life growing up on a farm and seeing life being born then feeling grief when they leave. I can’t imagine growing the emotional attachment one does with animals just to see them leave, but he puts it into words with fiery words and passion-filled vocal arrangements. The song is beautiful with added strings to show this emotion further and makes tears well in my eyes as I keep listening to him paint this picture of a beautiful farm.
The final single “So Smooth” talks about a relationship ending but in the best possible way, knowing it is going to be okay, and that the future will be much better. This song is much different than the previous ones as he adds drums in the background, maybe to signify his pounding heartbeat as he has to leave the relationship. All he longs for is happiness with himself, and he is going to experience that. There is a sad and sorrow-filled string solo near the middle of the song that tugs on your heartstrings and makes the listener feel emotional along with Fredericks. Overall, the EP The Golden Tree took me on a journey of happiness, sadness, nostalgia, and more as his smooth and sharp vocals filled my ears with delight. The guitars, strings, and drums in some songs all worked together harmoniously to create something enjoyable.
Fredericks will be returning to the road with a two-part tour with Chastity Brown, beginning on March 16 and stopping at the City Wineries in Boston, Nashville, Chicago, and NYC. To purchase tickets to his tour, go here.
Sawyer Fredericks Tour
March 16 Boston, MA – City Winery
March 17 Keene, NH – Colonial Performing Arts Center
March 18 Portsmouth, NH – The Music Hall, The Lounge
,” the anniversary of the May ’77 Barton Hall show.
